ISSN 0002 - 0087 Volume 40 Number 3, 2016 AFRICAN NOTES JOURNAL OF THE INSTITUTE OF AFRICAN STUDIES UNIVERSITY OF IBADAN, IBADAN, NIGERIA UNIVERSITY OF IBADAN LIBRARY African Notes Journal of the Institute of African Studies (IAS), University of Ibadan Special edition on King Sunny Ade at 70 © IAS African Notes, Volume 40 Number 3 (December, 2016) EDITORIAL BOARD GUEST EDITORS: Sola Olorunyomi Kayode Samuel JOURNAL EDITOR: Senayon Olaoluwa SALES COORDINATORS: Jeremiah 0. Arowosegbe Mrs. M. 0. 0 . Adeboye ADVISORY BOARD D ele Layiw ola Institute of African Studies, University of Ibadan B olanle Awe MacArthur Foundation, Ibadan A lex Iwara University of Calabar Tim Cribb Churchhill College, University of Chicago O lufem i Taiwo Loyola University, Chicago Dan Izevbaye Bowen University, Iwo Biodun Jeyifo Harvard University EDITORIAL INTERNS Diekara Oloruntoba-Oju FOR THE SPECIAL EDITION: Omotayo Omitola UNIVERSITY OF IBADAN LIBRARY Contents Editorial Note ix Sunny Ade's Creativity in “Aiye Ogun; Aiye Ote " 1 Isaac Olawale Albert Performance Aesthetics and Narrative Strategies in the Music o f King Sunny Ade 11 Bode Omojola and Bolanle Sogunro The Ecumenical King Sunny Ade 3 4 , Kay ode M. Samuel Locutions and Cultural Ideology in the Language o f King Sunny Ade's Juju Music 47 Akin Odebunmi King Sunny Ade: Liberal Sexuality, Reproductive Health and the Paramour 64 Mofeyisara Oluwatoyin Omobowale, Olayinka Akanle, Abel Akintoye Akintunde, Ayokunle Olumuyiwa Omobowale A Moral and Gender Analysis of King Sunny Ade's Juju Music 79 Sharon A. Omotoso Semiotics of Theatre Design in Sunny Ade's Musical Video “The Way Forward” 94 Adereml Michael Adeoye Oogun o Ran wa: An Afrocentric Analysis o f the Meaning and Efficacy o f Oogun in 106 Traditional African Medicine 1 Charles O. Jegede Sunny Ade Performs Sacred-profane in the Ogun Mythosphere 117 Sola Olorunyomi UNIVERSITY OF IBADAN LIBRARY | 4-frican Notes Vol. 40 No. 3, 2016, pp. 34 - 46 | The Ecumenical King Sunny Ade Kayode M. SAMUEL Institute o f African Studies, University o f Ibadan, Nigeria Introduction knowledge is non-investigation o f the artiste* The name King Sunny Ade is readily associated using the ecumenical lens. with and indeed, evokes music within and My main objective in this article is to explore without the African scundscape; This is the ecumenical stance o f KSA by raising the essentially because he is an accomplished following salient questions: songwriter, poet and vocalist, and singer all a) What is meant by ecumenism? w rapped into one. B esides these, his p r o f ic ie n c y in h is in s t r u m e n t— the b) Are its boundaries strictly defined, or is the guitar—exquisite dance steps and versatile term shifting in any way? stagecraftmanship earned him the titles 'Master c) What elements determine the ecumenical Guitarist' and undisputed 'King' ofj uju music. state o f an institution or individual? King Sunny Ade, popularly referred to as KSA, d) How do KSA's life, activities and music is a man o f many parts who represents many combine to confirm his ecumenical status? thipgs to many people. It will not be out o f place to state that KSA is a distinguished personality who needs no formal introduction. As a result, it Consequently, I argue that King Sunny Ade can be considered rhetorical to ask: who is is indeed ecumenical. KSA? Indeed, several works exist on the person In answering the first question, it is of KSA and his works, including his mastery of imperative to attempt a conceptual clarification music, instruments and stagecraftmanship. of the term ecumenism. It comes from the Greek While it is common to find studies on Sunny word 'oikoumenikos', or 'oikoumene' (the Ade's biography, his social credentials and the inhabited world); the root being "oikos', which social relevance o f his music (Palmer, 1982; means house. According to Kelly (1979), the Vanderknyff, 1994; Waterman, 1990; Decker, term "ecumenism" refers to the religious 1997; Adegbite 1995; Omojola, 2006; Mitter changes o f some historical and theological 2009; Shahriari 2011), a major gap in complexity; a searching by religious traditions UNIVERSITY OF IBADAN LIBRARY The Ecumenical KSA 35 for a greater measure o f cooperation on social M o v e m e n t (S C M ), S u n d a y S c h o o l issues and, on a theological level, a deeper Associations and Bible Societies rose to mutual understanding and respect. It connotes challenge the segregationist denominational tending to support and encourage unity among theology of that period. Consequently, by 1910, the various divisions, particularly of the the missionaries began a movement marked by Christian religion. the Edinburgh Conference which became the base o f ecumenical co-operation in foreign Genesis of Ecumenism missions by the churches and missionary societies of Europe and North America. The The ecumenical movement is a twentieth- assembly was held in Amsterdam in 1948, with century phenomenon which challenged leaders the adoption o f the motto: 'ONE WORLD - (p a s to rs , p r ie s ts and m in is te rs ) and ONE CHURCH'. congregational members o f all Christian churches to examine the extent to which their The Vatican however remained adamant lives, faith, witness and worship conform to the against the movement for about three decades, doctrine o f a unified assembly. The movement although many priests and theologians within is aimed at promoting as well as encouraging the R om an C a th o lic C h u rch se ttin g , various stakeholders connected with the particu larly in N orthern Europe, were Christian faith to build bridges (real and unrelenting in working for unity across what artificial) among themselves as enunciated by could be considered the deepest and most the teachings of Jesus Christ as recorded in the difficult division o f Western Christianity. After synoptic gospels in the light o f a rapidly an initial delay lasting about a decade changing world. Prior to this transformative occasioned by World War II, the ecumenical move within the first decade o f the 20th century, movements in Protestant and Eastern Orthodox C hristians were taught and apparently Churches were organized into the World encouraged to believe that the full Christian Council o f Churches (WCC) in 1948. The truth was exclusively found in their own assembly had the mission, set as its primal denomination or confessional family. To this objective, o f tackling relations between the end, it was an era theologically characterised by churches and organizations o f other religions polemical standpoints. It witnessed a situation and ideologies. It was reported that during the w here m any church leaders p rac tised war itself, the WCC, in process o f formation, absolutism (a stance which attacked the beliefs had already begun its work o f reconciliation and o f other churches/denominations and was full providing humanitarian service to refugees. o f admiration for its own theology and A few years later, specifically on June 10, tradition). However, two groups involved in 1969, an historic event took place. The head of Christian service and the propagation of the the Vatican, then Pope His Holiness Paul VI, gospel, namely, foreign missionaries and paid a pleasant visit to the headquarters o f the laypeople such as the Young Men Christian WCC in Geneva. That singular action clearly Association (YMCA), Young Women Christian signified to all and sundry that the wall of Association (YWCA), Students Christian separation was beginning to collapse and an UNIVERSITY OF IBADAN LIBRARY 36 Kayode M. Samuel ecumenical progress had gradually begun. terms, especially considering the dynamic What made the event spectacularly historic is nature of the world we live in. Thus, a term may the fact that for the first dme ever since the be expanded to include some other variables, Reformation, the head o f ;he Roman Catholic which have thus far been excluded from the Church set an example to Catholic faithfuls that frame. It could also connote new meanings, he recognized the other Christian denomination especially in the light o f new findings, realities as part o f a single fellowship in one ecumenical and experiences. As a result, this article posits movement. Not only did the Pope pray publicly that any institution, which may not necessarily for the first time in a service which he was not be a relig ious o rgan ization , including himself conducting, also in his address he put on individuals and living legends, can aptly be the agenda for discussion and study the question described as ecumenical, especially if they o f Roman Catholic membership. exhibit ecumenical traits and attributes one why Over the years, the term ecumenism has or another. Against this backdrop, I suggest that been used in relation to the Christian faith, so ecumenism may not be solely applicable to the much so that each time the word pops up, it is Christian religion. In essence, the term coulcj, associated w ith the m ovem ent towards not and should not be restrictive. ensuring the universality o f one church. The First, I begin by identifying three markers main aim of the Ecumenical Movement was and (characteristic features) o f ecumenism: remains to bring churches o f all denominations 1) It is non-polem ic. At the heart o f and affiliated groups, and, ultimately, all other ecumenism is the notion of building religious organizations together as One bridges rather than walls of separation or Ecumenical Church or World Church. Thus, it promoting segregation under any guise. became a common term among Christian denom inations ju s t as it is frequently 2) There is a sense of critical balance and understood to indicate a long-term ideal of mutual understanding leading to general o rg an iza tio n a l unity . E cum enism can, acceptance, whether others fit into one's therefore, be seen to be primarily concerned own shifting sensibilities, beliefs, creed with Church unity. In a nutshell, the message of and so forth or not. the ecumenical is basically to seek to 3) D e s i r e to u n d e r t a k e p r a c t i c a l understand the creeds of others, respect and implementation o f joint projects for social accept others in spite o f seeming differences activities each sect/denomination may have, and also engender discussion and positive action, which would promote better understanding and The focal lens of this article is directed at an cooperation within the church at large. institution by the name KSA, with a view to identifying the foregoing traits, which constitute the principles and practices of Locating its boundaries ecumenism not only in terms of his life, but also As is common in academia, it is not out o f place his music as a whole. I argue in this article that to re-define, deconstruct and re-construct King Sunny Ade, as a musical icon, is an embodiment of the ecumenical ethos. UNIVERSITY OF IBADAN LIBRARY The Ecumenical KSA 37 Ecumenism and musical forms: A synergistic musicianship. An excellent musician is that framework individual who is proficient in performance as a Generally speaking, most discussions on the singer/instrumentalist and also versatile both in subject o f ecumenism are usually anchored to a dancing and stagecraftmanship. KSA fits into movement, and since we also speak of this picture. In many respects, he can simply be movements when identifying musical forms or described as a king o f many parts. The subjects relating to music, I find it convenient to philosophical prowess overlaid in the lyrics o f adopt the term in this article. Movements in his songs is not only well grounded, but also his music refer to specific large sections of well sonorous tenor voice coupled with his mastery laid-out musical compositions. They are o f the lead guitar, excellent instrumentation as grouped under the macro structures and well as his theatrical display on stage in form of characterize musical genres such as sonatas, dance and dramatic spectacle make him stand symphonies, concertos and so on. The first two, out. Added to all the foregoing is the fact that comprise four movements each, while the KSA could be described as an astute concerto traditionally has three movements. In businessman in all ramifications. this same light, I have chosen to examine what I describe as four ecumenical movements of An appraisal of Nigeria's socio-musical KSA. This is patterned after the four distinctive landscape movements o f a standard symphony or sonata. (Roots o f Juju music) The movements are broken into: allegro, In terms o f its history and structure, Nigerian andante, minuet and trio, and finale. As a popular music is a confluence o f three distinct precursor to itemization o f the ecumenical cultures, the root being traditional Nigerian stance of KSA, it may not be out o f place to m usic and the su rfa c e lay e rs b e ing make some general remarks on his background characterized by A rabic, and W estern- with a view to gaining an insight into what KSA European trad itions, w hich have both represents and the context in which he operates. influenced its growth (Omojola, 2006). In Bom on Sunday, September 22, 1946 to a musicological parlance, modem popular music royal family in Ondo town, in present-day Ondo refers to musical performances that initially State, Southwestern Nigeria, Sunday Anthony were patronized largely at nightclubs as Isola Adeniyi Adegeye (aka King Sunny Ade or entertainm ent music, which later found KSA) is easily classified as a Nigerian popular expression in other more lucrative outlets musician, noted and well respected for his brand including social parties and open air mass o f juju music. Scholars, including Odebunmi concerts. They combine commercial and (1996) and Shahriari (2011) described KSA as a artistic objectives and are largely disseminated foremost Nigeria-based pop musician who is through the electronic media and the recording highly rated for his ambidexterity in language industry. use, choral organization and instrumentation Other characteristic features of pop music wizardry. Unarguably, ability to compose include an extensive use o f percussion acceptable music is insufficient for successful instruments combined with western European UNIVERSITY OF IBADAN LIBRARY 38 Kay ode M. Samuel instruments such as the electric guitar, light, soft entertainment music - eree faaji ti o synthesizer and a variety o f wind and brass pariwo (Alaja-Browne, 1985). instruments. As a result, the Nigerian pop Two major factors, namely, the Nigerian idiom s are d istinguishable by m ultiple civil war and the oil boom in the late 1960s and resources o f instrumentation, typified by early 70s respectively were responsible for the intercultural combinations of Western and rise ofj uju music, and both events are tied to the African instruments. Its themes range from love socio-political life o f the country. Many and romance to those o f politics, cultural beliefs prominent Lagos-based highlife musicians, and social conflict. Omcj,ola (2014) further especially of Igbo extraction, were forced to suggests that juju music represents a modem re­ leave Lagos (the biggest cosmopolitan city) for interpretation o f traditional Yoruba musical their respective homes in the eastern part of the practices. He traced its emergence to an country, a movement that created a significant interaction between social habits and musical musical vacuum. Naturally, the rising juju stars concepts as well as the need for social of that period, especially those whose unique interaction among a group of rascals or area brand of music represents an interface between boys in the Old Saro (Olowogbowo) quarter of highlife and juju, quickly stepped in to fill this Lagos. More importantly, juju signalled a vacuum. On the other hand, the oil boom musical form of cultural nationalism through created an additional generation o f people the retention of the essential musical parameters which O m ojola (2014) describes as a of traditional music. It became an artistic generation o f petite bourgeoisie consisting metaphor for a creative and self-reliant Nigeria mainly of corrupt military officers, politicians and a symbolic consolidation of what an and businessmen. One of the fancies of these independent nation represents. Juju music was individuals was to organize parties at the initially conceived as a musical correlate o f an slightest opportunity, and juju musicians were envisioned political and economic self- often invited to play at such parties. From the sufficiency, though its practitioners' penchant e a rly 1970s, ju ju b ecam e the m o st for courting politicians and those in the business commercially successful popular music in class was viewed as negative because this Nigeria with King Sunny Ade and his well- action later glorified corrupt affluent lifestyles know n counterpart, C h ie f C om m ander rather than making juju a musical form of Ebenezer Obey Fabiyi, being the greatest cultural nationalism (Waterman, 1990; and exponents of that era. Omojola,2014). An understanding o f the socio-musical Juju music exhibited similar features with environment in which KSA sojourned and one of its antecedents ashiko in that it uses the under which his career budded is central to call-and-response format, short song forms, appreciating his ecumenical deportment. This loosely fitted poetic texts (asayan oro) strung section, therefore, briefly appraises the highly together to make a meaningful whole (esa). The volatile and conflict-prone environment of the music is often punctuated by intermittent Nigerian popular music scene, especially the refrains by both the leader and the chorus of juju musical genre, wherein a large majority of dancers, all performed with the context of a UNIVERSITY OF IBADAN LIBRARY The Ecumenical KSA 39 musicians were in constant struggle to dominate that dance to it and informed persons that can the scene. In such instances, each music artiste discern it'. Listeners, therefore, sometimes form often devised various tactics or adopted some lyrics to melodic phrases and interpret the texts approaches to protect his territorial music as guided missiles directed to a specific space, and by all means prevented incursion musician considered an arch-rival. Samuel from arch-rivals. This meant that they were (2015) further avers that musicians in Yoruba sometimes fiercely in contention with one society freely adopted proverbs as figurative another in an effort to ensure constant loyalty locutions and as a tool for praise, imoran and continuous patronage o f their listeners and (advice), didye (explanation), ibawi (reproach fans. The situation could, thus, best be or re b u k e ) , ikilo (w a rn in g ) o r is iri described more or less as one necessitating a (encouragement) to anyone depending on the 'survival o f the fittest'. Indeed, the pragmatic situation. steps taken by many o f the musicians especially Omojola (2014) states that there were those with limited western education can be reported cases of in-fighting among juju said to have been motivated largely by musicians. Indeed, KSA and Chief Commander Maslow's human needs theory. They clearly Ebenezer Obey were believed to have tacitly understood that their survival depended on their engaged proverbs as an effective arsenal against ability to remain afloat on the music scene at all each other during the period their cold war cost. lasted, in spite o f repeated denials by both Closely tied to the foregoing is also the fact artistes in the media. For instance, KSA that many members of the public, fans, potential released an album entitled Oro Agba (The and respective patrons, and music enthusiasts words of the elders), which contained the did not help matters. Acting on the general following texts: 'bi Sunny Ade ba nkorin, won a worldview of the Yoruba, listeners/audience ni Obey lo n ba wi, bi Obey ba nko ti re, won a ni often provided unsolicited interpretations to Sunny lo n ba wi; oro yi o sele, ko sele rara; oro simple melodic phrases, harmless coded drum jatijati o, awa o gbodo gbo mo'. When lines or plain instrumental interludes in the translated, we have: 'Whenever Sunny Ade music o f their favourite artistes by 'decoding sings, they (rumour-mongers) would claim it is and superimposing' unintended meanings. All directed at Obey, and vice versa; no such thing these formed texts and served as innuendos happened, such arrant nonsense must not be which became widely circulated among the heard henceforth.' After some time, KSA general public. The texts invariably invoked released an album to debunk rumours making negative emotions either on the part of the rounds that they were arch-enemies. A section initial innocent composer o f the music, his arch­ o f the music goes thus: 'Awa o ja mo o, Sunny rival or supporters o f his perceived opponent(s). Ade pe VEbenesa, ore ni won je', meaning, 'we We wish to draw attention to Samuel's (2015) are no longer at war, Sunny Ade and Ebenezer quotation o f a popular Yoruba adage: 'l'owe (Obey) are friends'. Regardless o f the foregoing l'owe la nlii'lu ogidlgbo, Ologbon lo mi a jo, text, both artistes, after a series o f denials, Omoran ni n mo on', meaning 'ogidlgbo drum is finally admitted that a frosty relationship once cryptically played like a proverb; It is the wise existed between the duo. However, as at the UNIVERSITY OF IBADAN LIBRARY 40 Kayode M. Samuel time o f the recording and release of the latter First movement (allegro): KSA as an African album, all forms of aggression were over. music missionary After fifty years on stage, KSA has simply It was earlier mentioned that the root of the become a phenomenon. His first album, Alanu ecumenical movement could be traced partly to L'Oluwa (The Lord is merciful), was released in the efforts of foreign Christian missionaries 1967 on the African Songs label. The album who worked in Asia and also in Africa. They which was recorded with bis former band, the noted that fellow missionaries from other Green Spots, was reported to have been a churches were often closer to them both in disaster financially as it sold only 13 copies. belief and practice than were most of the However, through Providence, it didn't take m in iste rs and m em bers o f th e ir own long for KSA to become a mega-star in Nigeria. denomination. In the same vein, KSA was His first single entitled Challenge cup was responsible for taking African music in the form reported to have been a major hit in 1967 with of the genre o f juju to listeners all over the sales o f over 500,000 copies. After renaming his world. Although he had hit the limelight in group the African Beats in the late 1960s, he Nigeria by the 1960s, KSA became an released albums regularly such that between international star by the early 1980s. Stapleton 1967 and 1974, he already had 12 albums to his and May (1987) wrote in African Rock, “ ... in credit. In addition, he was in constant demand Europe and North America, he (KSA) has been for live performance on stage. responsible for taking juju out of its small cult following and nudging it, slowly but surely, After some contractual disputes with toward the mainstream album m arket.. while African Songs, a label company he signed on to, Decker (1997) quoted Pareles as stating that KSA decided to create his own label known as KSA elevatedjuju from street music played by a Sunny Alade Records in IS75. It was about this few instruments into a big-band style that can time that he also opened a juju nightclub in shimmer and crackle. As KSA put it in an Lagos known as Ariya which became the main interview “I will just call myself a person, but performance venue for die African Beats inasmuch as I have been called a legend by the whenever his group was not on tour. KSA was people, it becomes my responsibility. I am more on a three-month tour o f England, performing or less an ambassador. I have the responsibility mostly to expatriate Nigerian audiences at halls to keep up the image and the tradition.” and community centres during cultural theme nights in 1975. King Sunny Ade had hoped to capitalise on the growing interest in African music in the Having presented a brief review o f how United Kingdom. He, therefore, started what is KSA attained his status by rising from obscurity tagged African Series o f releases with the to stardom, I now proceed to discuss the four Sound d'Afrique compilation album in 1981. ecumenical movements of the artiste with Decker (1997) reports that his plans agreed with relevant examples to support my claims. those o f England's Island Records, which was UNIVERSITY OF IBADAN LIBRARY The Ecumenical KSA 4 1 eager to find a replacement for the tropical efforts at fostering unity among Nigerian music o f Bob Marley, who had died in 1980. A musicians are most evident when he and a few contract was, therefore, signed between KSA other like-minded Nigerian musicians came and the Island Records in 1982 for releases in together to form the Performing Musicians Europe and North America. Although this Employers' Association o f Nigeria (PMAN), contractual agreement ended abruptly after which became the umbrella union of musicians about two releases because the expectations of in the country. In 1982, KSA invited some Island Record in terms o f sales target were not distinguished Nigerian music artistes including met, the support he had received as a result of Chief Ebenezer Obey, Tee-Mac Omatshola extensive promotion and media exposure Iseli, Emma Ogosi, Laolu Akins, Funmi Adams, coupled with a dint o f hard work all combined to Oby Onyioha, Christy Essien Igbokwe, Sunny make KSA a worldwide phenomenon. Okosuns, Bobby Benson and so forth to his King Sunny Ade's ability to transcend Ariya Nite Club, Jibowu, Yaba in Lagos to form cultural barriers was also displayed in a concert PMAN. The association which has its national at London's Lyceum Ballroom in January of headquarters located at 18, Adegbola Street, 1983. Stapleton and May's (1987) discussion of Anifowoshe, Ikeja, Lagos was registered in this concert confirmed his status as an 1984. The primary objectives o f the group international star: “Raved over without include bringing Nigerian music practitioners exception by the weekly music press, many of together in defence o f a common interest that whose critics hailed Ade as one o f the emergent principally bothers on piracy and bootlegging. dance-music stars of the year, Ade and his band That initiative led to the election of KSA as the played to a hugely enthusiastic multi-ethnic pioneer National President o f PMAN, a audience, proving that, in a live context at any position he held between 1982 and 1986. ratq, juju's use of Yoruba rather than English- When the association ran into murky language lyrics was no barrier to overseas w aters because o f protracted conflicts, acceptance.” He made a successful tour o f the especially bordering on rudderless leadership, Americas in 1987 as well as a performance at such that its existence was threatened, major the Montreal Jazz Festival in 1992. stakeholders again called upon KSA to provide the way out. He obliged and through purposeful leadership was able to forestall any possible Second movement (Andante): Promoter of shipwreck. Consequently, he remains the only unity among Nigerian musicians individual that had served as two-term national The cultural activism o f KSA is manifest in the president o f the body. His second coming was fight he led for Nigerian musicians to receive between 1999 and 2002. Under the KSA's fair compensation in a marketplace crippled by leadership, PMAN welcomed and encouraged piracy. He was also known to have lobbied the formation o f peculiar smaller bodies such as government to lower import taxes on musical Juju Musician Association o f Nigeria, Gospel instruments, so young musicians don't have to Musician Association o f Nigeria and so forth rely on electronics for production of their within its organisation. It, therefore, recognised recording albums. His strong belief in and and encouraged the coming together o f UNIVERSITY OF IBADAN LIBRARY 42 Kayode M. Samuel members and group of performers of common I take my time, I don't introduce instruments genres to further promote their distinct interest just like that. You have to look at the music as it and realization of their objectives, within the was played by the ancestors. When the electric ambit of the larger framework and umbrella guitar came, I had to let it sound like the kora. provided by PMAN. This was confirmed by The pedal steel responds to the African violin. KSA during an interview he granted Jason You look at what the ancestors have done, and you change the instrument, but not the tones. Gross in 1998, and which he corroborated with th is author. K ing Sunny A de served In addition, KSA is not known to be meritoriously as Chairman of the Advisory discriminatory. He is an individual who relates Council of PMAN as well a.; the chairman of the well with friends, connects with people of Musical Co-operative Society o f Nigeria for diverse cultural backgrounds and often honours many years. Besides these, as the Patron of the invitations to perform at various occasions Juju Bandleaders' Association, KSA ensures irrespective of his patrons' religious beliefs or they all work together at all times towards the affiliations. To this end, his philosophy and progress o f their profession. practice are in tandem with the typical Yoruba traditional musician, especially the 'Ayan' who At present, PMAN has at least 28 functional state chapters across many states and is a friend to all and sundry. KSA is known to the federal capital city. The body is known to be have effectively collaborated with major at the forefront o f the crusade against music international artistes such as Manu Dibango (WAKAFRIKA) and Stevie Wonder in the past. piracy and bootlegging in the country. In spite o f the various challenges facing PMAN, On the home front, he collaborated with Onyeka especially the perennial leadership crisis, the Onwenu in 1998 to release a commissioned gains which have been recorded so far can be album entitled: W ait for Me. The theme of the attributed directly and indirectly to the vision song is centred on population control and the and ecumenical spirit of KSA. project was sponsored by the USAID, Office of Population. Third movement (Minuet & Trio): Non- It is also noteworthy that KSA, in discriminatory posture & perfect blending of con junction w ith m em bers o f PM AN, musical instruments of di eerse cultures embarked on a music project to promote patriotism when he released an album/music There is no gainsaying that KSA was video entitled: The Way Forward featuring a responsible for blending foreign musical popular song: Naijiria yi, ti gbogbo wa ni, ko instruments such as the vibraphone, the maa gbodo ba je, meaning, 'This Nigeria Hawaiian guitar, maracas, synthesizers and belongs to us all, it must not be destroyed'. To other electronic technology with African date, the song remains a chart buster and often traditional musical instruments. This is also one invokes patriotic feelings in many Nigerian o f his traits as an ecumenical musician. In 1976, listeners. he added a steel guitar to his instrumental ensemble. As quoted in one o f his interviews A lso w o r t h y o f m e n t i o n is his with Gross: philanthropic gesture. The ecumenical spirit in UNIVERSITY OF IBADAN LIBRARY The Ecumenical KSA 43 KSA led him to establish and run the King would further reveal his ecumenical status. Sunny Ade Foundation to assist the under­ Odebunmi (2012) observes that Sunny Ade's privileged. In one of his interview sessions with songs have their meanings anchored to the Jason Gross, KSA declared: (remote) social and cultural contexts, which I believe that I can hook the whole world m o t i v a t e t h e i r uses and id e o lo g ic a l together with this foundation, helping under­ configurations. This implies that the lyrics and privileged people and helping them get work. their uses hardly play neutral roles. Many times We have a school o f music and a school o f they connect the socio-cognitive frame o f an drama. That is my aim of what I'm going to do. individual with a group's and, consequently, As it is, we're sending our music around the evoke ideologies as a central issue in the critical whole world. I believe that I am one o f the discourse they make possible. pioneers and I know that for any other musicians coming after me, it is going to be Although KSA professes to be an adherent easier for them to penetrate (the market) of Christianity; he is well known to have because as you are talking to me, you are embraced other religious organizations/bodies, aware ofwhere my music comesfrom and I am. including the African Traditional Religion. He You can quickly say 'oh, this is African music. clearly states as follows in one o f his songs: 'ojo This music comes from Nigeria. This music ni wa, a o b'enikan s'ota o, eni eji ri, I'eji npa\ comes from Ghana. This music comes from (our position is more or less like the rain that is Mali. 'It's a great thing. nobody's enemy; its drops reach all and sundry). From the foregoing narrative, we can see KSA employs in song form various themes how KSA is further projected as an agency ranging from praise to the Almighty to selflessly committed to improving other incantations and rendition o f specific verses people's lives through his generous devotion to, from the Ifa corpus. One can also identify in his and willingness to leave, an enduring legacy, lyrics issues centring on love, didactic themes especially to the less privileged. or social commentary. He also engages his listeners in songs with popular entertainment and culture-related issues. An attempt will be Fourth movement: (Finale): Ecumenical made to identify some themes which cut across themes in KSA's music the various religious divides within the socio­ This article will be incomplete without a cultural milieu o f the Yoruba. There are musicological analysis o f ecumenical themes in countless examples o f his songs which were KSA's works, especially since this is a derived from biblical passages, particularly the contribution from an ethnomusicologist. The Book of Psalms. Songs such as 'Ma Vanu, ma expectation, therefore, would be that music k'orin, ma ft gb'Oluwa ga, F'ibukunfOluwa o, analysis should be the main focus of this iwo okan mi, komase gbagbe ore re lori mi' and presentation. I have deliberately reserved this 'Emi yio yin Oluwa, Oba rere t'o s ’ike mi' are for the last. To a large extent, a careful clear examples o f scriptural texts from the Book examination o f selected themes in KSA's music ofPsalms. UNIVERSITY OF IBADAN LIBRARY 44 Kayo de M. Samuel Ma la nu maa k'orin K.SA There is a general notion that many Yoruba substance, which he observed predated the are religious and music-loving people. They advent o f orthodox western medicine. KSA's naturally enjoy listening to and appreciating compositions with biblical themes are well music, which more often than not is believed to known to cut across denominational divide, strengthen their religious beliefs. On most from mainline churches to African indigenous occasions, KSA expresses his confidence in the churches such as the Aladura (C&S), up to their Almighty God. There is also the notable Pentecostal counterparts. He also has songs example o f an album, which he released much with Islamic themes. His music, thus, is all earlier in his career, containing panegyric embracing, and all the foregoing movements go themes in honour of Ogun, god o f iron and war a long way to confirm that KSA is indeed in the Yoruba pantheon. In addition, he once ecumenical. sang the praise o f Osun, and alluded to the long­ standing efficacy o f Osun's therapeutic UNIVERSITY OF IBADAN LIBRARY The Ecumenical KSA 45 Codetta (Short conclusion): and still, as at the time of writing this article. We In concluding this article, it is important to draw wish to suggest that it will be a great delight to the attention of certain institutions, KSA on one have Otunba KSA appointed to occupy the chair hand, and the university administration, at IAS. There is no gainsaying the fact that in the through the Institute of African Studies, to some same ecumenical spirit o f 'O se f o nile, o se pressing issues. falejo ' (one whose benevolence extends beyond home to visitors; to all and sundry), First, to Otunba KSA, our elders have a KSA would not mind a pendulum swing saying: “Agba kii wa I'oja, k'ori omo titun wo” between the University o f Ibadan and Obafemi (An elder cannot be present in the market place Awolowo University, Ile-Ife, where he is while a new bom baby's head is misshapen). currently occupying a similar office. The state o f PMAN, especially the protracted leadership tussle, which has factionalized the Finally, on the home front, it is important organization, is appalling. The writer hereby to note that at present, there is no musicological seeks permission from KSA to borrow a phrase study entirely devoted to KSA in the library of from one o f his songs: “Ebe la b 'ey in agba, ti th e I n s t i t u t e o f A f r i c a n S tud ie s . A mbe nidi oro aje, e ba wa daa si” (We earnestly comprehensive study o f such an icon o f KSA's plead with the elders, who are well versed and status is long overdue from the music experienced to intervene on this knotty issue). discipline. The Institute o f African Studies As one of PMAN's founding fathers, its first and through its music unit in conjunction with the two-time national president, an elder statesman national secretariat o f the International Centre and a notable stakeholder, the time has come for for African Music and Dance (ICAMD), KSA to invoke that ecumenical spirit of his to located within the building of the Institute, is bring about a positive change in the association. poised and should be more than willing and The wisdom to call all conflicting parties to ready to spearhead this project in collaboration order ever resides in the elderly. Now is the time with other interested scholars, departments and to bring all feuding parties to the negotiation units in the University. There is no doubt that the table for constructive dialogue in the interest of project will be a welcome addition to foster the the association. In line with the saying o f the ecumenical movement with which KSA is sages, 'agbara ojo, ko I'oun o n'ile wo, Onile ni associated. oni gba fun' (torrential rain will not hesitate to bring down the building, it is the house owner's References responsibility to prevent this from happening), it is high time the fortune o f PMAN was Adegbite, A. 1995. Sunny Ade: gbajumo olorin juju. Long Essay: Department of Linguistics and restored. African Languages, University of Ilorin. To the university administration, it is Alaja-Browne, A. (1985). Juju Music: A Study o f Its instructive to note that the Institute o f African Social History and Style. Ph.D. dissertation, Studies (IAS), University o f Ibadan had had an University of Pittsburgh. artist-in-residence at various times. The office Decker, T. (Ed.). 1997. King Sunny Ade. has remained vacant for close to two decades, Contemporary musicians. Encyclopeadia.com UNIVERSITY OF IBADAN LIBRARY 46 Kayode M. Samuel Retrieved June 11, 2016, from http://www. 2016, from www.nytimes.com/1982/.../past- encyclopedia. com/do:/lG2-3493 600007. and-prcsent-fuse-m-african-pop.html. html. Samuel, K. M. (2015). The mask and the message: Kelly, J.R. (1979) The Spirit of Ecumenism: How musical figuring of Lagbaja's artful diplomacy. Wide, How Deep, How Mindful of Journal o f Peace Studies and Development Truth? Review o fR eligious Research, Vol. 20, No. 2 Vols. 5 &6.pp. 154-165. (Spring, 1979), pp. 180-194. Shahriari, A. (2011). Sub-Saharan Africa: icons of Mitter, S. (2009). From pioneer to ambassador. Afropop. Exploring Popular World Music. Boston Globe. Retrieved June 11, 2016, from Retrieved June 11, 2016, from www.pearson http://siddharthamitter.com/2009/06/12/from- highered.com. pioneer-to-ambassador-king-sunny-ade/. Stapleton, C. and May, C. (1987). African Rock: The Odebunmi, A. (1996). Nigericnisms in Sunny Ade's Pop Music o f a Continent, E.P. Dutton. m usic: a lex ico -se m a n tic a n a lysis . VanderknyfF, R. (1994). Pop: the beat of tradition: Unpublished MA thesis, University of Ilorin. King Sunny Ade stays close to his love-and __________ (2012). Locutions and cultural Life - Nigeria's Religious and Court Music. ideology in the language of King Sunny Ade's Retrieved Dec., 12, 2012, from articles, juju Music. latim es.com /1994-08.../o l-23277_1 Jting- sunny-ade. Omojola, B. (2014). Yoruba music in the twentieth century: identity, agency and performance Waterman, C. A. (1990). Juju: A social history and practice. New York: University of Rochester ethnography o f an African popular music. Press. Chicago: University of Chicago Press. Palmer, R. (1982). Past and present fuse in African pop. “New York Times" Retrieved June, 11, UNIVERSITY OF IBADAN LIBRARY