A sibling going to bury the corpse of his elder brother naked should take his younger brother along. Why? Because the way today’s corpse is buried naked is how tomorrow’s corpse would be buried. That is a Yoruba thought on fairness, respect, and reciprocity. But who is burying who?
To interrogate Yoruba popular music with regard to their origins and heritage, rise, peak, vulnerability, decline, and potential rebirth, without talking about Yoruba’s worldview on music and drums is tantamount to tea without sugar; Abeokuta without Olumo; Idanre Hills without monkeys; Nigerian politics without corruption.
Quoting from the Ifa corpus, the Araba of Osogbo, Chief Ifáyemí Elébuìbon, cited Òrosùn Agbe, recalling that drumming started in Ilé-Ife. Specifically, Elébuìbon recounted a period during the reign of the Olúfè, Oba Àjàláyé, when a festival of drums was held annually. “In a particular year,” Elébuìbon began, “there was a great celebration of drums, dancing, clapping and drinking. Then some young elements became intoxicated and started disrespecting elders. The king became annoyed. So, he banned drumming and dancing in the land.
“From then till the following season, the land wore an apparel of grief. Then, the king became worried, and he called on his diviners to help unravel the reason for the joylessness in the land. Oba Àjàláyé’s diviners told him that the banning of drumming and dancing in the land was the reason the land was sad. Ifa told Àjàláyé that drumming chases away evil spirits known as Ajogun in the Yoruba cosmic realm. Hence, the king restored drumming and dancing, but with a caveat: everyone must drink responsibly.”
