Category: Arts & Life

Almost two and a half decades after the death of Dr. Hubert Adedeji Ogunde, the family of the theatre doyen who died at 74 says a museum to showcase his collections is in the works. The family marks his anniversary this week, Taiwo Abiodun visited Ososa, his village in Ogun State reports.

From the entrance and exit of Ososa village in Ogun State are two giant sculptures of the late theatre icon Dr Hubert Ogunde in his costume with his plaited hair holding a fly whisk. Underneath the artworks are dates of his birth and death (from 1916 to 1990) boldly engraved. In his expansive compound where he was living before he died are different carvings representing some aspects of his life. On his tomb is his giant human size statue with the head decorated with cowries and on the wrists and necks are tied beads. His two hands hold sticks beating a carved giant drum – all these depict his theatrics while alive. It is his final rest place.

The big compound is full of artworks in his remembrance. Also in the compound are statue of his late mother, Owotusan, and that of his late wife, Adesewa, holding a microphone. Adesewa died in an auto crash in 1970 in her 40s and to honour her, her giant statute is erected in the compound.

Welcome to the home of the late Nigerian doyen of theatre, Hubert Adedeji Ogunde.

During Nigeria’s centenary celebration, the late theatre legend was among the 100 Nigerians honoured for his contributions to the development of arts in the country. The children of the late Ogunde have converted the expanse building into a tourists centre by turning it into a museum where people from all over the world can have a look at his works.

On Friday, the family will be marking the 25th anniversary of the demise of the late theatre guru. According to one of his children, Bayo Ogunde, “This Friday, we will go to church for a short service and prayer, we will fry akara (bean cake) and entertain friends and families. It will be a low-key ceremony.”

Contrary to people’s opinion that his late father was fetish and used juju while acting weird plays such Aiye, Jaiyesimi, Ayanmo that had to do with fighting evil, witches and wizards on stage, Bayo denied this and said: “He was not fetish, and what he was doing on stage was all acting and for stagecraft. My father was a dramatist. He captured what was going on in the society, especially in the villages and in the rural areas where the witches and wizards were confronting one another; there was war between the good and the bad. He got the idea of incantations, ifa oracle, egungun from our grandfather who was the head of the oracle in Ijebuland. My late father was able to know what was going on then and he put all of these into acting. It was just an act. He used modern technology to do all these. Ola Balogun was the man that directed his first movie Aiye.”

Bayo continued: “He only used modern technology and he got all his crew from England. He had a studio there and he used celluloid, then everyone in Nigeria was using 16mm but he was using 35mm. He was far, far ahead of his time in the theatre; it is the 35mm they are using now.”

He said his father did not belong to any secret society. “I don’t think so, no, he didn’t. He was never a member of Ogboni. He participated in what we know as Rosicrucian and The Grail Message. He was a devoted Christian. We had a church in our compound; he was a member of the Cherubim and Seraphim Church. He was a devoted Christian.”

Asked whether the children are also involved in theatre, he said: “Every Ogunde child must have participated in one way or the other in the theatre with our late father, whether using the maracas or acting on stage.”

Going down the memory lane, he said: “My father was once jailed in the 40s when he started agitating like other Nigerians, like Papa Awolowo, Nnamdi Azikiwe, Herbert Macaulay for liberation, as he was fighting the colonial masters with his plays, he was speaking out against the colonial masters. The colonialists were not happy with him when he said they should be paying more to Nigerians. He performed stage plays like Bread and Bullet, Strike and Hunger and The Tiger’s Empire; the plays were provocative and he accused the colonial masters of enslaving Nigerians and paying them peanuts.”

 

Memories are forever

 

Speaking on the project on ground, Bayo, who is the spokesman for the family said work is going on to build a museum in their father’s memory. “If he could be honoured and remembered along with former heads of state, I think we too should elevate him and make him proud. That is why we are turning this place into a museum. Before now, many people from far and near have been going to Ososa village on a pilgrimage to see how this man made this small village popular. In the museum, all his items such as music and costumes that he used would be displayed for all to see. Everybody knew him as a dramatist, but not many knew he was a musician; he was a complete musician. He played the saxophone, guitar and the drums. In fact, he recorded more than 96 songs. The small vinyl and songs and we are putting all his costumes, the items he used in the movies and on stage, his bedroom, and many others are being put together in the museum as you will find in modern museums.”

According to Bayo, many of the old man’ s wives are dead while some are still alive. Among those alive are Mama Ibidun, Aje Pupa, Oludayo, Ebun, Aira, and Alaba.

Bayo disclosed: “My father had 24 children and we are all involved in different businesses; some are in theatre arts, but dad left his big shoes and none of us could wear it. No Nigerian artiste or film maker could wear his shoes.

My late father came up with 35 mm celluloid when Nigerians were using 16mm, but that does not mean some of them nowadays are not doing well.” The family said they are still expecting the Ogun State government to assist in setting up of the museum.

The museum project is spearheaded by Richard Ogunde. “Up till now, the Ogun State government has not contributed and I believe they will still come in. If the Federal Government can recognise the late Ogunde’s contribution, the state government should please come in. Although when we finish the packaging of his music.” He thanked Ekiti, Ondo and Osun States for financially aiding the project.

Bayo said he feels great seeing his father’s statue. “I feel great seeing my father’s statue and paintings all over the place. He was a great man. If you have such a kind of hard-working man, you will like it. He was also honest. When you see a hard working man you feel great.”

Referring to one of his honest deeds, Bayo said: “When my father did Yoruba Ronu, he was called to present a play in Ibadan for the opposition, and Chief Fani-Kayode and Chief Samuel Ladoke Akintola were there at the University of Ibadan in Obisesan Hall, but he went ahead to stage a play on how Awolowo was betrayed. In the hall, they started going out one after the other before the play got halfway. He was later banned. The second day, these people came with a box of money and asked him to perform another play, but he declined!”

Mama Ibidun, one of the wives of the late Ogunde, said she would not forget her husband. According to her, “I used to act and prepare their costumes in those days. But now I am 83 years old. If you want to know more about my late husband, the children will tell you.”

Idowu Ogunde, who is the custodian of the museum said: “This place has become a tourist attraction centre as people come from America, United Kingdom, among other places, to have a look at what Ogunde used in those days. Ogunde was a great man.”

Going round the big compound, one could see the buses, lorry, propeller, calabashes, different drums, beaded crowns, police uniform and other costumes he used both as a colonial policeman and theatre practitioner. All these are materials for public sightseeing. Bayo finally said,”He was a great man.”

The geographical boundaries created by the old colonial administrators in the country ‘crumbled’ at the National Museum, Onikan Lagos. It was at when an exhibition on the traditional art of ethnic groups along the Cross River basin through to the Cameroon Mountains was opened recently.

The exhibition, tagged Cross River Valley: Eden of art and culture featuring some works from the collections of National Museum, Lagos that have hitherto not been exhibited in previous outings.

It was put together to focus on the multifaceted social, religious and economic lives of the people in Cross River, Benue, Akwa-Ibom, Ebonyi States and Southern Cameroon that form the mainstream of the Cross River Valley.

The exhibition was opened by the Director-General National Commission for Museums and Monuments (NCMM) Mallam Yusuf Abdallah Usman. He said the exhibition is to demonstrate the creativity, ingenuity, skills, aesthetic qualities and technological know-how of the people of this area dating back to several decades. Usman noted that the display is however not exhaustive, but limited to objects from the commission’s collection and from states such as Cross River, Akwa Ibom, Ebonyi and parts of the Cameron.

“The exhibition presents a number of stimulating aspects of the traditional art pieces of the groups dwelling along the Cross River Valley such as masks, currencies, ancestral figures, terracotta works, royal paraphernalia, body ornaments, household utensils, traditional rulers, yam barn and fire place,” he said.

According to the DG, ‘our valuable collections are our pride as a nation and as a people not only to those that visit the museum on daily basis, but most importantly to the outside world as a boost to our reputation, integrity, creativity and ingenuity as a people with a very rich and robust historical past.’

Curator of National Museum, Lagos Mrs. Edith Ekunke said the objects show that Nigeria is culturally endowed. “We as a cultural commission are desirous to showcase our heritage to the world,” she said. She further narrated that the critical thinking that has given birth to today’s exhibition will also give birth to further exhibitions that will feature fascinating objects from other geo–political zones.

The concept behind the exhibition is to educate and entertain visitors to the museum. It is to prove that museums are not were fetish objects are kept as people erroneously believe,” she added.

Apart from the exhibits on display, there are rich historical facts on the socio-cultural life of the different ethnic groups. Also on display are objects of body adornment, face and masks, royal insignia and costume, household items and food preservation. Among the exhibits are Ingay, Calabar Terracutta, Afikpo Masquerade, Y Shaped Currency, Yala Salt and Obong of Calabar. Obong of Calabar is the statue of Obong of Calabar, the paramount traditional head of the Efiks and the custodian of the Efiks tradition in Cross River State. By the 19th Century the kingship institution in old Calabar area was fully developed based on the cross cultural interactions between the various ethnic groups occupying the lower cross river basin. Ingay (human figure) A male pair wooden figure is a collection from the Tiv people of Benue State. It is worshiped by the Tiv.

Calabar Terracutta comprises of decorated bowls, pots, head rest, figurines and anthropomorphic figurine. The bases of the figurines are plain while the body, neck and head are demarcated. The body is divided into vertical sections that are decorated in a wide variety of raised or incised patterns and shapes while the head display an endless assortment of shoved coiled or braided coiffure or head gear.

Afikpo Masquerade captures the Afikpo Igbos of Cross River Valley that is rich in masquerade tradition and is linked to the men’s secret society and the annual festivals. The masks carved in various shapes, sizes, designs are also used for social control.

Y Shaped Currency reflects the economic life of the Ogoja people showing iron currency popularly known as Ogoja Penny. It is found in the Ogoja area of Cross River State and was equivalent to penny used for payment of bride price in Ogoja.

Yala Salt was difficult to obtain and so it was highly valued trade item to the point of been considered a form of currency by certain people.