Apala and Ayinla Omowura; The artist, genre echoing the voice of the masses.

It is often said that the ''ordinary'' man or woman on the street hardly has a voice, to state his or her case. In the process of trying to take on the role of vanguard of the masses voice, politics usually comes into play. Politics, however sometimes dilutes the spirit of objectivity, where the interest of the medium shapes judgement and positions. Music is generally agreed as one of the most effective universal languages known to mankind. It has the capability of breaking down barriers, uniting classes and taking a stand. 

However having the capability is an acknowledgment of the fact, in some cases that not all music forms are able to express the views, beliefs and aspirations of the ‘’down trodden’’. This category of people are not necessarily the financially poor, but more of the disenfranchised, the socially (including judicial), politically, educationally and in some manner economically disenfranchised as a result of limitations placed on these individuals by society.

The group of people highlighted above at least from the western part of Nigeria or those who understand the language and have a close affinity for Yoruba music would readily state the influence of Apala music and its message. Apala has a followership commensurate with Afro Beat in terms of population ratio. The similarity between Apala, Afro Beat and even reggae is quite glaring despite the fact that the language of communication varies.

The similarity is based on the fact that these music forms claim very strongly to speak for those on the margins of society in one way or another, such as the working class, the illiterate, semi illiterate, the poor and even a reasonable size of the professional class, who all constitute the majority of the population in most societies around the world.

The artist who revolutionised Apala music is no other than Ayinla Omowura. With popular albums such as ''Anwi Ele O gbo'' and others, Ayinla’s trade mark was his invective approach of throwing up issues which the ''ordinary man'' is continuously burdened with but feels helpless dealing with. His narrative style which is descriptive is often laden with ‘’flowery’’ language.

His deeply penetrating voice is often complemented with the use of traditional Yoruba music instrument such as the shekere (maracas), Gangan (talking drum) Bata drum and Omele. The fusion which emanates from the music is strong and authentic. While some may argue that he was abusive and rude(or a ''stack illiterate'' as some derisively referred to him), the truth really is, he was a radical coming out from a very traditional and conservative setting. Ayinla Omowura took a strong position with the establishment with regards corruption, lifestyle (though not an angel himself) religion.

Curiously Ayinla was an ardent commentator on people’s rights and relationships. He made wide ranging commentary on feminism not necessarily because he was a polygamist but for the fact that he raised the issue of where responsible behaviour starts and ends against the rights or idiosyncrasies of womanhood, basing his arguments on the psychology of a woman. His music also had what could be defined as a universal message or twist to it, through the incoherent but occasional use of English language in his local Egba accent.

Whatever is said about Ayinla Omowura, he could not be ignored by the establishment as he was embraced by admirers and his staunch followers. His style of music electrified the atmosphere with the attendant energy it generates. To anyone who has the basic understanding of unadulterated Yoruba language, his music had a hypnotic effect, just by being objective and playing down the holy than though disposition. It could be argued that it may be difficult to revisit Ayinla Omowura’s raw style of delivering this music form, a revival of Apala is long overdue. It is an aspect of the Yoruba nation and by extension Nigeria’s cultural heritage.


By Olugbenga Adebanjo

Acknowledgement : Tun Telev