Akeem Lasisi
So, life and drama are truly far from being the same. For if it had been in a play or movie, to which Dagunro dedicated his life, could death have brought him down just like that? Just like a mere mortal? All he would have needed is an ocean of incantations from his ever loyal brain – and death itself would have died to the admiration of the audience.
But because man shall not live by make-believe alone, the reality has dawned on millions of the fans of the iconic actor, Fasasi Olabankewin, who passed away on Wednesday. The artist and producer popularly called Dagunro (earned from a script he once wrote) has, unfortunately, gone the way of several Nigerian ‘natural actors’ who have bid the stage and the screen bye while they still had much to offer. The consolation is that, unlike a Tajudeen Adesina (Arakangudu), Mufutau Aladokun (Alaran) or Aisha Abimbola (Omoge Campus}, who left the stage at a younger age, Dagunwo was 70 and remained in showbiz for more than five decades. He, indeed, celebrated his 50 years on stage in 2015.
A consortium of energy and talent, Dagunro played major roles in many Yoruba films, often acting as the powerful man either fuelling a conflict or combating those behind it. Usually, he did this not as a pastor or western soldier but as a medicine man, an herbalist robed in charms, spiting words that must come to pass immediately. Even if the words would not have an instant effect , they would surely move mountains later. In Yoruba, such expressions are called of ọfọ or ogede, translated as incantation, which is one of the spectacles many will remember him for.
The fact is that incantations play a major role in the works of many Yoruba artistes, whether they are filmmakers, musicians or poets. For instance, super singers/chanters such as Ayinla Omowura, Ogundare Fonyanmu, King Sunny Ade, Ayinde Barrister and Kollington Ayinla, occasionally punctuate their songs with such. Although this is supposed to be primarily an artistic venture, the incantations give their listeners and fans an opportunity to interpret the lines in various ways. This particularly happens when the musician is in a battle with a rival or more in the industry – like when Barrister and Kollington’s rivalry went fierce.
In the case of Danguro, fans and followers of Yoruba movies will recall how he roasted his antagonists in fires of incantations. It could be those terrorising a particular community or those wanting to invade his territory. In this regard, his like in the industry include Ojo Arowosafe (Fadeyi Oloro), Tajudeen Oyewole (Abija), Ganiyu Oyeyemi (Ogunjinmi), Tajudeen Adetayo (Lalude) and Rasaq Ajao (Araosan).
While Yekini Ajileye and Jimoh Aliu (Aworo) produced several films that feature incantations, Eda Onileola also effectively makes use of the device in his acclaimed play/movie, ‘Ogbori Elemoso’, which tells the story of his Ogbomosho home town. But, in Yoruba films, incantations are for fun, because an actor is not expected to harm his colleague on stage. Well, it could be argued that some of those who specialise in performing incantations have Ifa or babalawo backgrounds, which enhance their mastery of rendition. But, as Dagunro noted in an interview, charms and their accompaniments are all for fun in films. As a matter of fact, the Yoruba’s incantation is a form of oral poetry like iyere Ifa (Ifa chant), ijala (huntes’ poetry), esa egungun (masqueraders’ chant) and ekun iyawo (the bride’s poetry). This is why, despite its hard images, incantation is very interesting to listen to.
“I’ve never said I want to do what’s real. If I bring out a masquerade in a film, it’s not the real one. It’s just entertainment. If you do the real charm, there will be repercussions,” he had said on a TV programme, ‘Gbajumo’.
Incantations deepen the theme, compound the conflict and raise the viewers’ emotions. Because the immediate audience of Yoruba films are largely traditional, incantations also re-unite them with that cultural aspect. And when the characters go into a competition – incantation for incantation – the audience get more excited and are abundantly entertained when a winner eventually emerges.
Although Dagunro was a versatile actor, playing some other roles at times, he will be mostly missed in this regard. Unfortunately, the role of a priest, babalawo, or medicine-man is not one that just every person can play. It is thus a matter of concern that a thoroughbred like him is no more. It is also bad that a good number of the ‘incantationists’ are no more active on the scene. While Fadeyi Oloro is indisposed, Abija and Ogunjinmi’s are rare faces in recent productions.
In a tribute to Dagunro, versatile artist, Mufu Onifade, described him as a friendly person – warm even to young people and strangers. Onifade – of the Araism art school fame – said, “Uncle Fasasi was an inspiring actor; very impressive, energetic, dazzling and spectacular on stage! I fell in love with his acting style immediately (at an event in 1985). In later years, I found in him the same firm command of the stage possessed by the likes of Yinka Quadri, Fatai Oodua (Lalude), Segun Remi (Kanran), Rasaki Ajao (Araosan), and of course Mathew John (Sulaiman Olawale).
“When I saw Uncle Fasasi on social media a couple of days back, celebrating his 70th birthday, and looking younger than 60, I assured myself that I needed to hook up with this great Thespian again after almost 15 – 20 years of our last meeting. Little did I know that death, the debt we all owe, was waiting in the corner to strike.”
Some of Dagunro’s major films are ‘JJC’ (Sesede), ‘Akanni Mefa’ and what is possibly his biggest, ‘Osa Eleye’.
