Sakara Music For My Birthday By Bashorun J.K. Randle

For my 78^th birthday party on 13^th January 2022 it is going to be a joyous celebration of the abundant blessings and limitless mercies of the Almighty.

As has been the case on previous birthdays, the music of the deities – “Sakara” will be live (and livestream in direct competition with Netflix).

It is not strictly correct to insist that “Sakara” music belongs to Isale Eko area of Lagos.  It was actually “imported” from Ilorin but was deftly ingrained into the psyche and lifestyle of Lagosians – in the 1950’s and thereafter.  It is still waxing strong.

It was my father, Chief J.K. Randle who introduced me to Sakara music.  Maybe, it was the other way round – he introduced Sakara music to me when I was only a kid.  From then on it became an enduring passion and joyous adventure into a world where late in the evenings (and sometimes into the early hours of the morning) Sakara music was available to be relished by the rich and poor; without distinction between the powerful and the powerless.  Both Christians and Moslems (as well as other faiths) found common ground while savouring mellifluous Sakara music regardless of its repetitive rhythm and improvised lyrics.

The composition was a direct assault on classical music.  It was free-flowing and totally unstructured as well as disingenuously creative.  The venue was nearly always improvised in IsaleEko or Okepopo areas of Lagos.  All it took was “Atibaba” (raffia mats and canopy) planted bang in the middle of Tokunbo Street or Isalegangan.  Whenever it was the turn of Campos Square to host the aficionados of Sakara, the neighbouring houses made a carnival of it.  Nobody complained about the music or the abundance of alcohol that accompanied it and served as the lubricant for merriment.

Quite often, my father would host parties in our house with Sakara as the main fare.  Chief A.S.E. Agbabiaka, who was then the most senior Nigerian police officer and an old boy of King’s College was undoubtedly a great fan and promoter of the music of his hometown, Ilorin.

What was fascinating about the pulsating tempo of Sakara music was that it seamlessly combined humour with satire which stretched into sarcasm.  It was mostly about the excesses of those in power and the extravagance of the affluent.  Ironically, those who were being savaged were right there – lapping it all up !!  They never took offence.  On the contrary, they would offer the musicians sums of money (in those days it was mostly coins) not to reveal all they knew while others would throw coins at the same musicians imploring them to disclose escapades that bordered on scandal – usually involving shady business dealing or acquisition of new wives, mistresses or palatial mansions by the “nouveau rich”.

My dad and his friends would sit in a circle (or semi-circle) and the musicians would “yab” each of them in turn.  They loved the self-deprecating humour and mockery of human foibles.  It was never done with malicious intent.  Rather, the likes of Dr. Flavius Akerele (an old boy of King’s College); Chief Emmanuel Okunowo; Chief S.L. Edu; Chief BolajiFinnih; Chief Oladipo Moore; Prince M.A. Ogun; Chief I. S. Adewale (an old boy of King’s College); Dr. M.A. Majekodinmi (an old boy of St Gregory’s College); Alhaji “Igbalaiye” Balogun (his roots were in Offa); Chief M.S. Adewale (an old boy of King’s College); Alhaji Taju Thompson; Alhaji Ajadi Adelagun Faramobi;  Alhaji T.S. Fujah; Chief S. B. Bakare; Mr. Mobolaji Odunewu; Alhaji Murtala Egbebi; and Alhaji Kekere-Ekun would compete with each other in their demonstration of generosity of spirit and humility.

Sakara music was (and remains) a leveller – regardless of your status in society you were welcome.  It was an elastic circle which was sufficiently flexible to accommodate whoever came along and would either sit or stand to enjoy the ambience.  However, it was also a sanitizer – ever ready to unleash well-armed arrows at the oppressor; the self-centred; the greedy and those who had deviated from the sterling attributes of prominent Lagos families.

My earliest memories reel back to AbibuOluwa followed by Ayinde Bakare and Yusuf Olatunji.  They were masters (and maestros) of the art of extoling the uprightness and generosity of the families of Anibaba (“Ta lo niawaonibaba?)by demanding:

“Who says we are fatherless or orphans when we have the Anibaba family around?  They are ever ready to assist the poor and homeless.”

In similar vein, they would extol the philanthropy of the Agoro family by reminding all and sundry of the family motto:  “Agoroabogunbolu” (they would ensure that nobody was hungry no matter how many asked for alms or sustenance).

As for Chief A.S.E. Agbabiaka who was in charge of the police in Lagos, they challenged him to go after the big rogues such as Anikura instead of the minor thieves.

“Anikurabembe won le mu.”

The Akerele family would be affectionately reminded that their roots were in Oyo along with their long established connection with the Alaafin of Oyo:

“Omo Akerele, sekere (The Spokesman) of the Alaafin.”

Without missing a beat, they would switch to castigating those who they considered extravagant and reckless with a dose of sarcasm.

“Ogunbanke, eyimapo.Timiba lo wo, ma ramotokan.

Unlike Ogunbanke (who bought two new cars at the same time) even if  I had the money, I would buy only one car.

Never two cars.

Perhaps, their best-known song is “KiniEdungbe ?” which translates as what did Edun who was a trusted official in Egbaland steal and why ?  He stole money just to buy western-style clothes (white man’s attire).  A case of vanity combined with greed.

I do not intend to join issues with the connoisseurs of Sakara music who insist that the number one classic is undoubtedly:

“Olofofoyera” (let the traitors amongst us leave so that we can discuss confidential matters meant strictly for Lagosians).

This would glide smoothly into a declaration of fealty and enduring loyalty to the King (Oba) of Lagos as the guardian of law and order.

“Tiobasitoba, mbafailu e ya.”

But for fear of offending the King, I would have dealt with the intruder who is beating a drum and disturbing the peace while we are discussing crucial matters close to the heart of Lagosians.

The song that truly captures the essence of Lagos is: “Eyo O. OloriEyo O.  Eyobaban ta watofigolu sere”.  It is actually a celebration of the unique majesty and unrivalled elegance of the Eyo masquerade which would be decked in gold as a symbol of its direct link not only with the King of Lagos but with the dieties.AgogoroEyo !!

The problem is that the Ijebus are adamant that the Eyomasquerade and the song owe to their origin to Idowa in Ijebu kingdom.

One of Abibu Oluwa’s vintage performances was at the Palace Hotel, Broad Street, where he surveyed the assembly of the elites of Lagos and urged them to reflect on the sincerity (quality/genuineness) of friendship amongst them and the rampart duplicitousness in society in general.

“Ki adiju.Kasebienitoku.”Let us pretend to be dead. He waxed philosophical.  His recommendation was deep reflection combined with introspection in order to determine what would happen in the event of death and who (and how many) would genuinely mourn us rather than grab whatever we have left behind – our wife; our property; our chieftaincy title etc.

It would be remiss of me not to mention (indeed emphasise) that Sakara music provides an oral chronicle of the epochal events in our history – wars; political turmoil; treachery and betrayals; injustice; landmark court cases, marriages and deaths etc.

What I have written about in my book “The Godfather Never Sleeps” bears repetition.  Right there in the presence of my Dad, the Sakara ace musician AyindeBakare “shafted” him.

“Esin Baba Bandele je lodan, won gbe fun.Awon J.K. Randle, won pa kadarad.Oro ponibe.”

What had happened was that at the Race Course (horse racing), a horse belonging to a non-Lagosian had tied with a horse belonging to Sir AdeyemoAlakija (a Lagosian).  It was actually a photo-finish.  The judges could not determine the winner until my father stepped in and with his casting vote, Sir AdeyemoAlakija’s horse was declared the winner.  It caused considerable uproar and resentment especially amongst those who had backed the other horse.  What was truly amazing was that my Dad actually took it all on the chin.  He laughed uproariously and handed over a huge sum of money to the musicians as a parting gift.  It did not in any way disrupt the fantastic relationship that had been firmly established between him and the Sakara maestro.

My only disagreement with the Sakara musicians revolves around the song:

“Ibitialagbara tin sise, Ole asi ma rise”

Which translates as:  “While the hardworking man is striving to succeed, the chronically indolent will somehow prosper.”

Absolute rubbish.Disgusting.  That is how Lagos and Lagosians became totally brainwashed (and thoroughly messed up).

Regardless, I am on their side in their consistent denunciation of those who are in office but not in power and vice versa.  The same goes for their repugnance of arrogance of power by the pompous and the obnoxious.  It is most gratifying that they remain eternally grateful to late Chief Obafemi Awolowo for his free education programme which was launched in 1955 in the Western Region and subsequently spilled over to parts of Lagos – Badagry; Epe; Ikorodu and Ikeja.

I never cease to be amazed by the dexterity of Sakara musicians in recalling flawlessly the royal lineage and tenure of the Kings (Obas) of Lagos from the first ……… to the current Kabiyesi, ……………..Oba Akiolu II.

As for the military and civilian governors of Lagos State from 1967 to date, the Sakara musicians have done their research into their antecedents and pedigree with uncommon diligence – regardless of whether their original roots were in the North; South; East or West.  They would not ever allow any one to pull the wool over their eyes.  They remain a veritable encyclopaedia – going back several generations.

Where the musicians truly excel is when they pay fulsome and well-deserved homage to the Abibu Oki; Coker; Shitta-Bey; Ajose-Adeogun; Gbajumo; Dabiri; Durosimi-Etti; Okunnu; Jubril Martins; Smith; Mabinuori; Doherty; Emanuel; Ogunbiyi; Augusto; Olanrewaju; Oshodi-Glover; Oyekan; Leigh; Euba; Daranijo; Lawson; Abisogun; Pedro; Cardoso and Sho-Silva, and Williams families.  They have mastered the “oriki” (cognomen) of each family and committed it to memory.  Absolutely phenomenal.

When it comes to paying tribute to royalty of various categories (especially those who own large tracts of land), you cannot beat the Sakara musicians who never fail to remind the present Obas and princes of the exploits of their ancestors in terms of business acumen, piety, and humility as well as their doggedness in protecting their property from invaders, including the British Colonial Government.

We owe the Sakara musicians a huge debt of gratitude for the vigour with which they have captured, through oral history, the amazing courage of the “Agbekoya” (farmers) in fighting oppression and high-handedness by government officials to a standstill.  In similar vein, the musicians slagged off the masters of corruption and the puppeteers behind rigged elections as well as the beneficiaries of abandoned projects.

What is most remarkable is that in the performance of these monumental feats, Sakara musicians rely on their voices accompanied by rustic musical instruments such as “Molo” (also known as “Agidigbo” and native violin.

Incidentally, Bashorun M.K.O. Abiola who was a Chartered Accountant and winner of the 1993 Presidential election started off playing in a Sakara bank in his youth.

Perhaps I should add that Sakara musicians came to the rescue when two Lagos families were hit by disaster.  The first was the Akerele family.  About eighty years ago, one of the Akerele twins drowned in the Lagos lagoon.  About a decade later the family of Chief H.O. Davies (an old boy of King’s College, Lagos) suffered a similar fate.  A son drowned at the Bar Beach.  It was the musicians who went to town with the warning to all children:  “Ma lo we lokunmo”.  “Do not go swimming at the Bar Beach.”

It is most surprising that the government has not thought it fit to engage the services of Sakara musicians in the COVID-19 campaign to persuade Lagosians to vaccine.

Sakara music has earned its place as a “Hidden Treasure” by regaling us with tales of long forgotten epic battles for power and kingship between Oba Adeniji Adele and his rival and successor Oba AdeyinkaOyekan.  Where the music gets even more exotic is when it delves into religious themes:  “Alhaji to re Mecca, barika e.”

“The Alhaji who has just returned from pilgrimage to Mecca, you are most welcome.”

This would almost invariably be followed by an appeal for gifts:  “EfiAlasalatu ran se”  –  to encourage the musicians to confine themselves to religious music.

However, on one occasion a pilgrim who was alleged to have committed an offence in Mecca and had consequently been punished by amputation of his right hand became the target of the musicians when he returned.

The music promptly changed to:

“Alhaji to re Mecca, gbeowo e sokekiaiye le ri” which translates as:  “The pilgrim that has just returned from Mecca, please raise your two hands so that we can verify the allegation regarding amputation.”