Serenades for Septuagenarian thespian Oba Sonuga unites culture aficionados

BY ONAOLATOMIRIN FALADE

In Western civilization, our elders are books –books with pages brimming with wisdom, knowledge and understanding. Oba Gbadebo Olugbenga Sonuga, the Fade­sewa of Simawa, who recently clocked 70, is just an exemplar. In commemoration of his land­mark age, the septuagenarian gathered friends, family, for­mer colleagues, mentees and arts and culture aficionados for a cultural fiesta/book launch on Thursday, February 19 at the Freedom Park, Lagos.

The day began with the pre­sentation of the celebrant’s photo autobiography entitled Deep as the Ocean. In the autobiography, the king recounts his experience and viewpoints as a heritage of historical photography spanning over 70 years.

During the book launch ses­sion, Oba Sonuga launched what promised to become an annual lecture on the importance of re­taining our essence of arts and culture, particularly in its impact on community building and the selection and election of leaders.

For many years, the quintes­sential monarch has been a strong voice and advocate in the fight for change and excellence in the arts and culture sector, having been under the tutelage of Prof. Wole Soyinka, who he fondly calls Mon Prof, while working under Demas Nwoko for a decade at the New Culture Studios, Ibadan, af­ter which he ran a film company called 4Reels.

Before being crowned the Fade­sewa of Simawa in Makun Sag­amu, Oba Sonuga, fondly called Oba Arts and Culture or Baba Culture, was the Director for the Lagos State Council for Art and Culture under the late Governor Mudasiru, where he served for ten years. As a director, he produced a touring performance of Ori by the state troupe to the United States. He also wrote and produced a play for the World Decade for Cultural Development, declared by the UN via UNESCO in 1989 called Salt, which was rehearsed for three months and performed for one night only at the National Theatre Main Bowl, where few have been privileged to perform. After for­mal public service he founded the International Centre for the Arts, Lagos (ICAL).

Oba Gbenga is truly a living legend and cultural icon in Nige­rian arts and culture history. He has, over the years, mentored and worked with icons, like Otunba Sola Fosudo, Mufu Onifade, Toyin Gbajumo, Kunle Bantefa, among others.

The birthday celebration was well attended, needless to say, Oba Sonuga was serenaded. The evening session had in at­tendance many industry icons, including Ifayemi Elebuibon, Araba of Osun land; Peter Badejo a.k.a. Lord of the dance; Abiodun Ayoyinka, Mufu Onifade, Araism himself; Professor Olusoga So­fola, former Vice-Chancellor of Olabisi Onabanjo University; Jah­man Anikulapo, veteran journalist and director, IREP International Documentary Film Festival; Wale Macaulay, actor par excellence and grandson of Herbert Macau­lay; Yemi Sodimu, former Special Adviser on Information in Ogun State; Arnold Udoka, current Dance Director of the National Troupe of Nigeria, amongst many others. Otunba Sola Fosudo did a marvelous job as a compeer, keep­ing the audience on the edge of their seats.

The evening session opened with a fervent gyration by mem­bers of the National Troupe of Ni­geria, looking resplendent in their white and green ensemble. The ICAL Troupe came up immedi­ately after with (Ajigbo) Badagry dance, after which the Lagos State Council for Arts & Culture came up with a performance, “Limbs of OGS” (Oba Gbenga Sonuga). Their performance attracted re­sounding applause from the audi­ence, especially with Papa Ajasco mounting the stage and thrilling the audience with some Ijebu (Yengben) dance moves.

Crown Troupe of Africa further set the bar higher as the perform­ers mounted the stage in charac­teristic energy, rendering a fast-paced, enthralling and objective performance. Though their theme was based on a message for the coming elections and the need for people to vote for the right leader, they melded it with a chant led by Amulegbajo, who extoled the Fadesewa with Yoruba traditional praises that earned him a royal whisk of the “irukere”. Next was the performance of a royal ballad entitled “Edu” written by Mufu Onifade. The ballad, performed by Adunni, Nefertiti and Wale Macaulay, was a compendium of songs, poetry and chants luxuri­antly embroiled in wise sayings and royal innuendos. The lovely ladies of Nefertiti were elegantly garbed and well costumed, carry­ing their trademark maracas with which they created rich accompa­niment for their songs. Wale Ma­caulay, of course, lived up to his name with his powerful rendition and all-round stage charisma. The National Troupe took the stage immediately, after with their rivet­ing Kolanut Dance choreographed by Arnold Udoka. Their unique and well-knit performance further trilled the audience when three maidens of the troupe carried little baskets of kolanut into the audi­ence, serving the Fadesewa and Olori Adepeju first before serving the seated audience.

The children of the ICAL troupe came next with Atilogwu dance. Their performance was followed by a unique dual performance from Footprints and Kings and Queens’ troupe. Despite young age, their performance was one of the most captivating. Aside their message of cultural revitaliza­tion, they showcased rare talent destined for the future. Another performance by the Lagos State Council for Arts and Culture brought Oba Sonuga up the stage with his friends and family, with joining the dance.

An unforgettable experience, the Araba of Osun land, Ifayemi Elebuibon, closed the cultural session the traditional way with prayers and blessings for the Fadesewa at 70. To further mark the occasion, the king premiered the video recording of Salt for the first time ever since its perfor­mance in 1989. During his time at the council in Lagos, he edited and published one of the first dedicat­ed books on Lagos life and culture to wide and global acclaim.

He had, also, at a time, taken a troupe to FESTAC 77, where the current DG of the National Troupe of Nigeria, Akinsola Ad­ejuwon, was working with him. Oba Gbenga Sonuga also set up the International Centre for the Art, Lagos, to promote Nigerian arts and culture both on the con­tinent and internationally. Chaired by the late Ambassador Chief Segun Olusola, ICAL went on to stage many cultural interventions in London, the United States, Ethiopia and others, some funded by grants provided by the Ford Foundation.

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