Of the three genres of Literature, drama is the most versatile,
the most social and the most physically present of all artistic productivity.
It being a composite interplay of literature, visual art, speech, movement and
spectacle, for me, makes it the icing on the cake of the three genres of
literature. Perhaps, in the process of drama creation, various social aspects
of human history are contracted and expanded in artistic reflection and
refraction. In so doing, pleasure and entertainment are guaranteed as a sole
purpose.
Comedy is one of the subfields of drama which, according to modern
notions, is to amuse. The classic conception of comedy, which began with
Aristotle in ancient Greece of the 4th century BCE and persists through the
present, holds that it is primarily concerned with humans as social beings,
rather than as private persons, and that its function is to make correction and
erupt laughter. The comic artist’s purpose is to hold a mirror up to society to
reflect its follies and vices, in the hope that they will, as a result, be
mended. The word comedy seems to be connected by derivation with the Greek verb
meaning “to revel” (enjoy oneself in a lively and noisy way, especially with
drinking and dancing).
Of all his contemporaries such as: Opebe, Lukuluku, Ajirebi,
Elesho, Aderupoko, Koledowo and so on, Babatunde Omidina otherwise known as
Babasuwe aptly demonstrated what comedy truly is as explained by classic comedy
scholars such as Aristotle, Aristophanes, Shakespeare, Moliere amongst others.
Through skylarking and mischief, Babasuwe made his mark in theatre.
Like Richard Wagner’s concept of a Gesamtkunstwerk (Total
Theatre): a total or unified work of art, in which all elements – music, voice,
movement and spectacle – work together; Babasuwe was a total comedian. His
diction, oculesics, body movements and vast knowledge of Yoruba proverbs that
he corrupted and convoluted to suit his own narratives are a testament to his
comedic brilliance. Little wonder Pablo Picasso, a legendary artist, said:
“Learn the rules like a pro, so you can break them like an artist”.
Babasuwe professionally learnt the rules of comedy and he shaped it as he liked
in order to give his audience hilarity as the end product: “awon ekute yi ti ya
hulgans o, baagi ti mo Ko Ogun ekute si ni won tun nje” antithetical! See pure
genius at work. Irony at its peak. If Babasuwe were a “Whiteman ”, he would be
in the class of Michael Jackson.
I doubt if any thespian has so many nicknames as he had as his
mischievous roles in movies conferred numerous nicknames on him from from Baba
Suwe, Baba Cheeroke, Adimeru, Baba Londoner, Baba Thuraya, Obelomo, Oyinlomo,
Oko Safu, Maradona, Oluaye Marose, Jor Jor Jor, Omo na Bouncing, to Kosomona
and so on. He was a true thespian and comedian. He brought so much laughter to
tens of thousands of Nigerians and snatched them away from the hands of
unhappiness through his many comedic roles that he played in “Yoruwood”. He was
a class act.
In one of his numerous movies titled “Elebolo”, he remarked: “I am
the one who confidently cremates the fowl before its owner. While the
owner weeps, I grind the pepper for the chicken sauce.” He was an apostle of
improvisation and spontaneity. Sadly, in this part of the world, we are used to
neglecting heroes and talents like Babasuwe until they are gone before we start
writing glowing tributes. It is time government looked into theatre, culture
and tourism and give it the needed attention.
The reality of life is that we live to die. The words of Ian Lancaster
Fleming— an English author, journalist and naval intelligence officer who is
best known for his James Bond series of spy novels— “Death is forever. But
so are diamonds” are both apt and soothing here. Death has claimed Baba
Suwe’s life. But Adimeru, to us, is a diamond. He would forever be in our
memories. May God forgive him of his iniquities and grant him a beautiful
repose.
Folorunso Fatai Adisa, Abeokuta
