Adeleke Onanuga became a professional dancer at an early age. A former dancer with the National Troupe of Nigeria, in 1996, he formed the Dugombas Dance Company. Even though he has since relocated to the United States of America, the troupe is still intact. Its spokesperson, Adepeju Oguntade tells Edozie Udeze how they once used dance to dazzle guests in the Gambia, the uniqueness of their own dance patterns and what it takes to be a strong voice in the dance trade and lots more
In 1996, Adeleke Onanuga, one of the few people who had taken to dance as a profession in Nigeria, gathered a few artistes together to form the Dugombas Dance Company. Onanuga, a former member of the National Troupe of Nigeria, had deemed it necessary to form this group so as to expand the frontiers of traditional dance in Nigeria. Beyond that, his primary aim was to provide opportunities for young Nigerian artistes who wanted to go into the dance profession full time. Then it was only very few people who believed in him; thinking that this was a tough terrain where no same person should venture into. But he proved cynics wrong.
However, that did not deter him. Promptly, he left the National Troupe of Nigeria in order to have enough time for his pet dream. To make this a reality, Onanuga decided to create his own dance style, launching into traditional music and local dances that would appeal to the people.
Since the formation of Dugombas, they have been involved in many dance competitions and outings both in Nigeria and abroad where they have been able to entrench those sensational elements of local dances for which the society is widely known.
Speaking to The Nation on the exploits of the group and why they have kept the flag flying ever since, Adepeju Oguntade, the spokesperson of the group said: “Even though Onanuga, the founder now lives in America, he comes home from time to time to see how we are doing. What is more important to us is that we have been able to let the world know that dance is now a serious business. And as it is today, we have been able to create our own niche, our own dance patterns and methods.”
Particularly by looking inwards in terms of the sort of dances they engage in, they have equally evolved new styles and ways of beating the dundun drums. She said, “In our own type of dundun drumming we try to be very solemn in all our beatings and dances. If we are doing it for a festival, we try to create our own unique songs, songs that usually suit that very occasion. There have been occasions where we were asked or rather invited to perform in a funeral, it was our duty to compose the songs that suited the ceremony,” Oguntade decided.
To her and her group, the real essence of Dugombas is to ensure that traditional dance patterns in Nigeria are given deserving attention.” This is why,” she explained, “We have adopted some songs and dances from other parts of Nigeria. What we have at every outing are complete dances representing each tribe in Nigeria. From Ijaw land, we have copied Aganenboh, a dance that is peculiar to the people. Also we have learnt Egwu Odu which is Igbo and which also showcases the type of maiden dance peculiar to the women. Not only that all these dances are traditional to the people, they are well-known and such bring out the whole beauty and essence of what the people stand for.”
In other areas of the dance pattern like Akoto which is taken from Badagry, the Dugombas have found solace and real satisfaction in using the solemnity of the traditions of the people to extend the frontiers of the dance. “The people of Badagry love this dance a lot and wherever we take it to, people usually take a liking to it. It is just because we have learnt it so well that it is now seen as being unique and special”, Oguntade said.
The group has also adapted to the sango bata dance, a pattern that has always been common to Yoruba traditions. “This is one of those very striking movements that give a typical Yoruba traditional dance setting its uniqueness. To us at Dugombas, sango bata has the best sound in known history. And whenever it is sounded or beaten, you’d notice how piercing the sound becomes. You know sango is a very powerful deity so is its sound in form of music,” she pointed out.
Oguntade whose father, Ahmed Oguntade produced and directed Ajeniyami, the first Yoruba home video in Nigeria and who also directed Ken Nnebue’s Living in Bondage in 1990s said that for her group to perform in any social function the least amount they can accept for a ten to twelve minutes performance is N300, 000. “Dance is beginning to prove tough. More prominent Nigerians have indeed begun to buy into it. Most often we are asked to travel outside Lagos to perform for big people. Even though we wouldn’t say the money is big enough now, our joy is that at least if you are good as a dance company, people who matter are out there to show appreciation.”
A few years ago, the troupe travelled to the Gambia on behalf of Nigeria to participate in that country’s national dance festival. It was an occasion to showcase the traditional dances of Nigeria during which also other countries of the world came to appreciate Nigeria’s numerous dances. “The festival in the Gambia proved to be an eye-opener,” Oguntade professed. “This was so because we decided to travel with the best dancers we had. The drums we took there were unique and our costumes proved to be the most colourful”.
To date, she explained, they have been involved in other very important local dances like those of Gulder Ultimate Search, Maltina Dance Hall, Star at 50 and lots more. “During the Maltina Dance Hall, we had to travel to Enugu to be part of the closing ceremonies. Maltina cannot invite you if you are not considered good enough to be part of it. The show was so good that is indeed opened more new doors for us”
When you talk of one of the most consistent dance companies in Nigeria today, Dugombas stands out because even in the absence of their proprietor, they have been able to hold forth. Oguntade noted that this is due to their tenacity of purpose. For instance, in the past years they have been consistent with their weekly rehearsals which run thrice weekly. “But whenever we have a serious assignment to face, we rehearse every day. With this, we have been excelling in all our shows. You cannot call yourself a serious dancer when you cannot be committed to rehearsals and occasional exercises to put your body in proper shape. Part of what keeps you up there is your ability to prove that you are physically strong.”
With a sound and symbiotic relationship with the National troupe of Nigeria since its inception, Dugombas has come to occupy a very prominent position among all the privately-owned dance companies in the country. As it is now, each time the National troupe wants a freelance artiste it usually goes to Dugombas for such service. “It is a long standing relationship,” Oguntade enthused. “It has been so because we understand what they need and they too know that we can satisfy their requirements. Over the years most of us have benefited from such arrangements”.
One of the most impressive qualities of an outstanding theatre or dance troupe is its ability to create its own brand in all aspects. In terms of costuming, the Dugombas have been able to achieve that. All their costumes are designed by their own artistes. “We do that to create the kind of designs that suit our purpose,” she said. “We know that or would be a bit difficult for an outsider to really understand our taste s when it comes to costumes and that is why we’ve chosen to do it our own way”.
Currently, they have two female artistes (costumiers) whose sole responsibility is to design and create the style that suits each of their outings. “Above all, the fabrics are sourced locally. They need to be in conformity with our local need,” she further stated. “And that is why anywhere we appear on stage, the sparkle is different because the colours of your costumes add a lot to your displays”.
