Contributions of veteran fuji musician, Kolawole ‘Kollington’ Ayinla, to national development appear undermined as he is denied national honours where his contemporaries get such, AKEEM LASISI writes.
When the founder of fuji music, Sikiru Ayinde Barrister, bagged the prestigious Member of the Federal Republic (MFR) in 2006, many people believed the crest was simply ascending the head that deserved it. The perception remains evergreen because the highly philosophical and indefatigable composer had not only nurtured the popular traditional music, but he had also made it relevant and enjoyable to generations of audiences within and outside the country. At the same time, he had made the music, which is an offshoot of the ‘were’ genre, a vehicle for promoting political, social and cultural development across nations. It was thus not surprising that the Obasanjo government had simply done the noble thing by honouring him with the MFR.
Fourteen years after, fuji music again attracted the national award to its enduring stage as, on October 11, 2022, President Muhammadu Buhari conferred the Member Order of the Niger (MON) on moderniser and versatile entertainer, Wasiu Ayinde K1 de Ultimate. This crowns the musician’s ever rising profile, earning him ample applause from his numerous fans. Ayinde, who hit limelight since as far back as 1984, when he released ‘Talazo ’84’, has also been able to combine partisan politics with his art – a risk that many creatives have always shied away from. Not even musical icons such as Ebenezer Obey and King Sunny Ade have dared openly declare support for any political party as K1 de Ultimate has done for the ruling All Progressives Congress (APC). The fact, however, remains that no matter what politics some people may be tempted to read into the coming of his MON, it is certain that his adventures and legacies in the music world have been monumental enough to merit the national award.
No wonder, as polarised as the fuji house often is, none of Wasiu’s colleagues raised any dust about the recognition. The relationship between him and the likes of Abass Akande Obesere, aka Omo Rapala; and iconic composer, Saheed Osupa, otherwise called Saridon P, is sometimes close to that of cats and dogs. Each of them is often at loggerheads with the reigning ‘Ade Ori Okin’ singer, on matters of hegemony. Yet, neither of them expressed any problem with the national honour. Osupa, indeed, surprised observers by releasing a statement in which he saluted Wasiu, saying it was a MON well deserved. The Facebook post is a message that won him – Osupa – a lot of accolades, with many of the commenting stakeholders saying he was the next in line to get the award.
But, wait, what about the other fuji legend, Kollington Ayinla? Does he not merit the national award? Does the country not appreciate his contributions or was it an oversight on the part of the panel that determined whom to honour? If it was an oversight, has it always been – say, since the 2006 that Barrister bagged the diadem? These are questions now colouring the sensation that Wasiu’s MON has sparked. Not a few stakeholders believe that, as much as Wasiu deserves his honour, Kollington Ayinla, aka Kebe n Kwara, Baba Alatika, Professor Master, among other aliases, has been a victim of a terrible oversight or national ingratitude. There have been a lot of online reactions to this effect.
A soldier-turned musician like Barrister himself, the Ilota, Kwara State-born artiste, more famous for the bata drum-flavoured and jazzy/racy brand of the genre, has for decades prosecuted functional and entertaining music. Many will rate Barrister above him – in terms of the founding history of fuji, power of composition and audience spread – but only a few will not recognise the fact that Kollington too has been a major factor in the continued development of fuji music. Besides, there are lovers of the genre who rate his music above any other’s, who prefer to listen to his songs to even those of Barrister or Wasiu. This, perhaps because, at the end of the day, art is a matter of taste or preference. In recent years, the artiste, who has scores of albums to his credit, might not have been as active as he used to be, nor command as many fans as he used to, he still boasts a legacy huge enough to attract any honour his contemporaries get. Of course, Kollington still sings. He still performs at events and still releases albums, which are comparatively doing well too.
Late 2019, he released ‘Baba Be’, in which he alerts whoever cares to hear that he is still available as the champion of fuji music. The album that showcases Kollington’s constant exciting voice and ever danceable beat is larger than self-praise, which (self-eulogy) is even like a heritage for many traditional musicians. Even the younger ones, say in hip hop, have only mordernised the trait. In ‘Baba Be’, Kollington returns as a socially conscious artist, one who projects current affairs nationally and internationally. He, in one of such segments, tackles xenophobia, which some forces had unleashed on foreigners in South Africa around the time. The artiste dissects the crisis, highlighting the woes Nigerians in South Africa were facing, while invoking history and slamming even the S/A authorities. He wonders if South Africa has forgotten Nigeria’s contributions to the struggles against apartheid, singing:
S’o ye ko je yin se
Ko ye ko jeyin
B’a ba n wo yin ba o ba soro
Ko ye ko je yin
(Should it at all be you/It should never have been you (perpetuating evil against us)/Even if we choose to keep quiet/It should never have been you.)
Of course, if no other Nigerian musician tackles South Africa as far as anti-foreigner violence is concerned, Kollington could. The reason is that he had invested memorable lyrics in the anti-apartheid war. At a time creative greats such as Fela Anikulapo Kuti, Wole Soyinka (as in his poem ‘Mandela’s Earth’) and Sunny Okosun were waging art wars against the oppression of Blacks in South Africa and other countries, Kollington too stood to be counted. He had sung to inspire freedom fighters, and when apartheid fell, he never forgot to celebrate President Mandela in his album, ‘Fuji Ropo’, chanting:
Mandela
Mandela
O lo fara jiya, nitori ominira
Congratulations for (sic?) your freedom…
He adds:
The struggle continues
Victory is certain
A o ni gbagbe e Mandela o
A o ni gbagbe e Mandelaa
A Mandela
A Mandela
A Mandela
A Mandelaa…
In terms of his commitment to the political emancipation of his fatherland, Kollington indeed remains one of the most vocal artistes the country has produced. He always enlightens the public about national affairs, a cause he champions from one political era to the other. During the Second Republic, he did a lot to sensitise politicians and voters alike in ‘Oro Idibo’ (Election Matters). When the economy began to grow the proverbial ‘k-leg’, he raised the alarm from one song to the other. He was (and still is?) a supporter of the late sage, the late Obafemi Awolowo, always extolling his welfarist philosophy. Sarcastically, he had, in an album warned the people to slow down in their consumption of the conjugal yam (E rora je’su), warning that the then popular baby food, NAN, had become scarily expensive. No wonder, when the Buhari/Idiagbon military regime overthrew the Shagari government, Kollington joined other Nigerians to celebrate the change, now urging folks to, in a song, ‘je’su repete’ – eat the metaphoric yam as much as they chose – because ‘Buhari ti gbowo wole’, meaning Buhari had brought prosperity. Whether or not things turned out the way he and other Nigerians envisaged then was and remains another story entirely. The fact, however, is that Kollington demonstrated a political and reportorial instinct that always wants to enlighten the people about national issues.
In his music, past economic policies such as MAMSER, Second Tier, Census (in ‘Ijo Yoyo’) etc. echo. In 1981, Kollington sang about the religious riot that rocked Kano – in his ‘Esin o fa’ja’. While he also later enlightened the public on the Peoples Bank during the Babangida era, he did help mourn the late Green (now Super) Eagles player, Samuel Okwaraji, in ‘Fuji Megastar’, singing:
Oh, Okwaraji
Oh, Okwaraji
Iwo nikan lowo baba, iwo nikan lowo mama
Bi won ba n gba boolu lorun
Ko ge won lege ara.
His fans will also recall that in other albums such as ‘Ijoba Alagbada’ (Civilian Government), ‘Mekunnu n Jiya’ (Masses are Suffering), ‘Nigeria ko le Ku’ (Nigeria can’t Die) and ‘Unity’, he simply plays the mouthpiece of either the people or governments, the latter not in terms of sycophancy but in enlightening the public about governments’ intentions, policies and programmes.
Between Barrister and Kollignton
Perhaps part of the cause of the possible oversight Kollington suffers is the usually intriguing relationship between him and Barrister. Although they were friends and contemporaries, somehow, Kebe n Kwara seemed to have lived in the shadow of the late giant otherwise called Barry Wonder, Mr Fuji and Alhaji Agba. The seniority was not stone-cast. Indeed, Barrister was never really Kollington’s master – at least not like Wasiu who was initially one of the deceased’s crew members. Yet, Barrister is often considered as being ahead of Kollington. Although the latter never accepted or accepts this. That is why the rivalry between them, which played up in several albums on the part of both, was fierce almost till the time Barrister passed away.
In different albums, they attacked each other, though some of the jabs were at times explained away as an instrument of the trade and mere metaphors not directed at anyone in particular. Their fans seemed to know better, however. Barrister could often be coded in his approach, but Kollington tended to be more vocal and arguably loose in some of the exchange of bitter words. It was a rivalry that bred enemies on both sides, while it also ironically helped the growth of fuji as it seemed to have propelled each of the artiste to continue to be his best. Well, so intriguing is the war that some of the fans so much inherited it that, years after Barrister’s death, they are still prosecuting it on his behalf; while some of Kollington’s people also believe he was right to have given the deceased the raw deal. These are some of the vibes one still runs into at fora offline and online. But the relationship between the singers was not always defined by enmity. As a matter of fact, Kollington will gladly say he and Barrister outgrew the rivalry before his death. It is, however, not too clear whether or not the rivalry has not affected Kollington’s rating in vital places.
Unfair
Such a stand notwithstanding, a fan of Kollington, Olusanjo Awotunde, says it is unfair not to consider the ‘Ijo Yoyo’ singer for the honour. According to him, he has greatly contributed to the growth of Yoruba culture and language apart from the relevance of his music in socio-political advocacy.
“I think the Federal Government should right the wrong. If Barrister and Wasiu are seen fit for the award, there is no reason Kollington too should not be. He is an icon and an achiever, and a patriot to the core. I learn a lot from his music and I know many people also do. What will be bad is moving on to honour the likes of Adewale Ayuba and Osupa, maybe in the nearest future, while Kollington has yet to be awarded. It is not the best to wait till he is no more before bathing his body with any presidential accolades,” Awotunde says.
Akure, Ondo State-based lover of traditional music, Eyitayo Falade, adds another dimension to the development. According to him, Kollington does not have strong attachment to many of the people he calls big men, whether in politics or business. This, he says, may be the real reason he has not got the award since the selection process involves referrals too.
He adds, “Perhaps he needs to be nominated by some influential person. I am sure if the governor of his state did that or an Asiwaju Bola Tinubu does that, he is likely to make the list. But I think Kollington has been detached for some years, apart from the fact that many of the fans, especially the influential ones, of old musicians like him are no more.”
Kollington or Wasiu?
Afro singer and culture activist, Agbeniyi Edaoto, believes Kollington has paid his dues but he argues that certain parameters make Wasiu more suitable for the national honour after Barrister. According to him, Kollington has never actually led fuji, whereas Wasiu had largely been ruling it even before Barrister’s death in 2012. Edaoto also gives Wasiu an edge over Kebe n Kwara in terms of contribution rate to the development of the genre, while he suspects that Kollington did not actually activate certain structures that could have expanded and strengthened his position. Among such, Edaoto, a great vocalist with albums such as ‘Kajowapo’, ‘Rock On’ and ‘Alakit’i to his credit, identifies his not wielding his Ilota-Kwara and Lagos Island backgrounds as well as not invoking his Islamic heritage in his music and business.
“Compared him to Barrister on this,” Edaoto notes. “Although Barrister grew up in Mushin, he was so dominant on Lagos Island that he was the Baala of Lagos. He made his Ibadan person so dominant in his music that he was Agbaakin/Bobagunwa of Ibadanland. Although he would praise-sing the Iya Mi witches and wizards to any length, Islamic culture was a recurrent theme in his songs, flaunting the Arabic language and other related languages like Hausa – to the extent that he was a turbaned title holder up north. All of these may seem distant from the issue being discussed but the fact is that they were part of what made the phenomenal Barrister, but which are not part of Kollington’s legacy.
“Also, we shouldn’t forget that Barrister had become a household name before Kollington began to have hits. Initially, it was fuji and awurebe that were rivals. By the time Kollington began to have the hits – like ‘Ropopo’, ‘Ijo Yoyo’, ‘Lakukulala’ – Barrister had become global, touring continents and competing with the likes of KSA and Ebenezer Obey. Yet, Kollington was still competing with him.”
He adds that by the time Kollington could have got a better consideration, Wasiu Ayinde had arrived the scene big, experimenting and taking fuji to another level.
“Wasiu made fuji simple, more fun, more classical, coming with more modern instruments, short clips and featuring artistes from other popular genres. Wasiu was then filling the gap between Barrister and Kollington, creating the impression that if you don’t see Barrister you would see him. Adewale Ayuba tried to compete with him in terms of innovative fuji, since the ‘Bubble’ time through to ‘Koloba’, but he could not match the surprises continually sparked by Wasiu.
“What I’m saying is that Kollington was looking for Barrister’s space, which Wasiu was already occupying. Kollington never led fuji. He couldn’t when Barry was alive. After his death, Wasiu naturally became the leader since he had been occupying the space before. The fact is that Wasiu took fuji to where even Barry hardly did. With him, the same person who would listen to Ayefele, Shina Peters etc. would conveniently listen to his ‘Consolidation’, ‘Eyin Mama e Senpe’ and ‘Ade Ori Okin’. So, you can’t leave Wasiu and give MON to Kollington – whether we like it or not.”
Edaoto further notes that, in recent years, Kollington has also been producing less and promoting less.
“The ‘Baba Be’ he released about two years ago, as good as it is, did not see much light. The new generation didn’t hear it, and they don’t really know Kollington,” he says.
A fuji scholar and author of My Journey with Barry Wonder, Tunde Busari, believes Kollington also deserves the award, but he sheds light on what may be missing. The seasoned journalist, who is also the publisher of ‘The Tabloid’, recalls that Barrister got his MFR in 2006. He is puzzled that 14 long years passed before fuji could get another national honour. According to him, it is either that something was wrong with the genre or its singers were not working hard enough. He expresses the hope that it will not take such a long time again before the feat is repeated.
Also very importantly, Busari stresses, Barrister did not ask to be given the MFR. Rather, it was one of his big fans who spearheaded it by nominating him and following it up. He says the musician was not even in the country then as he was on a musical tour abroad, but only sent his CV as the fan required.
“I believe something similar is likely to have happened in Wasiu’s case too,” he adds. “For some time, Kollington’s profile has suffered, partly due to age, change in music taste etc. Only few of the people of his age, who produced evergreens, are still coping well. I also suspect that Kollington does not have enough people that matter in the corridor of power or fans that could also push his profile, which is also big enough to earn the honour.
“If the message of music as related to current affairs is a yardstick for determining the musician who gets the national award, just a song by Kollington Ayinla, released in 1983, ought to have qualified him for it. During teachers’ strike during the Shagari era, he had recorded ‘Asiko Lo To’, on the flip side of which he urged the Shagari government to do more for teachers’ welfare. It is a very significant song that speaks to the soul of nation building. In 1986, he sang about FEM, and later SFEM, census etc., to enlighten the populace about government’s economic policies. All of these alone were enough to have given him the national honour since.
“I wish Kollignton and other fuji musicians get great recognitions as due. Fuji is our own. It is our own creation, a combination of different traditional genres. So, it should be a thing of joy to us for it to grow.”
But while it should be recalled that the Abacha regime honoured Kollington with an honorary music General, the musician’s response to Wasiu’s MON has been elegant. He received it with maturity and joy as he congratulated him and prayed for him. His belief, as related in an online post, is that honour belongs to time and, invariably, it is God that gives it to mortals whenever He chooses.
