Asiko music emerged on Nigeria Musical space late 70s and accompanied with the emergence of Madam Comfort Omoge. Reminiscenting on the sudden evolution Asiko music, Olu Akinfosile Study Group based in Igbotako, Ondo state, initiated a research into every element of the renewed Asiko Music, its transformational stride and promotion, to prevent impending extinction. Before the reinvigorated Asiko genre, Biripo Music was the dominant classical Ikale and Ilaje musical identity, later complimented by pockets of Highlife Orchestra and Juju Bands to entertain at social functions, Oro Festivals and seasonal cultural displays. The traditional Biripo genre became cumbersome, difficult for contemporary generation to sing and gyrate especially with the regrettable vogue of speaking English and general Yoruba Language in homes in preference for Ikale dialect. Asiko Music was resuscitated by Madam Comfort Omoge regarded as Queen of Asiko Music. The name of the music is deeper than literary interpretation and dated back to early 20th century which means, it pre-dated comfort Omoge who was the progenitor of the modern brand that liberalised its content. The history of Asiko emanated from light music entertainment after the return of folks from the farm and trading ventures in the evening, mostly after the dinner. The Osoro othorchitones within Ikale land also call the music “Amuludun”. The present Asiko instruments are incomplete; it is without its traditional and fundamental “Rolling drum” which has two threads lined horizontally across the face. This can better be described as the old Primary School drum, “Rolling” is next to the base drum. It has now been modernised and called “set drums”. Other two brands of Ikale music though unpopular outside the region are “Agbala” and “Ojeghe”. Agbala now in extinction was a music for worshiping or performing Ori (destiny) rite, while Ojeghe is a light music played with Agogo, Panpala (made from baboo tree) and Sekere (made of Calabash and beeds), it is usually played during processions for marriage or announcement of the passing away of an elderly person. As mentioned earlier, researching into the re- emergence, growth and acceptability of Asiko Music as exemplified by Mama Omoge is imperative, what gave it an advantage over Biripo and Juju Music at the time is equally compelling. It is suffice to mention that statistically, out of one hundred ceremony of musical engagement from early 1980s to late 2000, sixty will be in preference for Asiko, thirty for Juju Music and ten for Biripo which was popularized by the legendary Papa zebilon Omoranmowo. Comfort Omoge introduced Christian songs now in vogue into Asiko music, modern days hip-hop and gospel musicians have remixed her works repeatedly. Crusdale Juba a highlife music crooner who was a contemporary of king Sunny Ade and late Dr. Orlando Owoh Highlife genre would have outshined Asiko but for his untimely death in December 1976. Crusdale who made great wave in Ghana during black’s cultural emancipation and renaissance struggles through instrumentality of music, was the harbinger of Ikale people’s popularity `a la music. In the interim, though historians says there is no mono-causal event, one of the reasons for the sudden popularity of Asiko Music over others is its liberal appeal. The music is mild and flowing, it has scripts that considers love songs and contemporary dynamics of events and circumstances, unlike Biripo that is fixated in lyrics. Asiko singer can compose extemporarily while the beat is on, to suit the mood, thrill the sensibility and emotional adrenaline of celebrants. Let us take few examples from Omoge hit songs (one)“Maje o Oko, me n’awo yo gbobe, maje o oko (two), ka se o oko, me n’ele yi e hun oyi, kase o oko (three) ori emu d’oko, e se ewa eyan, ori e mu d’oko. Meaning, please eat the food my husband I don’t have big pot (2) please cuddle me my husband I should not lay fallow (3) its is destiny that chooses husband not beauty. (Song in Ikale dialect).These are attributes of expressive and clarity songs. Asiko music would have officially hit International Music scene in the first quarter of 1984 if not for fate. Madam Comfort Omoge was nominated by the Federal government of Nigeria to represent the country at the Black Cultural Festival scheduled for USA in April 1984 but did not materialised due to the change of government in December 1983. To be Continued........
Posted on: Sun, 25 May 2014 07:16:35 +0000
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