Omotunde Alawode
Remember him? He’s the dare devil actor robed in charm-riddled costume; horn in hand, as he commanded fire and brimstone on his perceived enemies.
His real name is Idowu Adeoye but many knew him by his stage appellation, Abija. In fact, he was the ‘Enfant Terrible’, the nemesis of wicked people in most Yoruba films of those days.
In this interview, Abija opens up on his career, challenges, disappearance, and plans to stage a comeback. Enjoy it.
What inspired your stage name, Abija?
In my family, there was a masquerade called Abijawarabiekun (warring lion) and it’s known for its agility and bravery. By the grace of God, when I found myself in the make-belief industry, and I am also a brave person, people chose to call me Abija, which was the name of the family masquerade. And that was how the name got stuck on me and also that’s how the name of the masquerade got known all over the world. However, my real name is Idowu Adeoye.
How old were you when you joined the theatre/film industry and what propelled your joining the sector?
I was only 22 or 23-years-old. I was moved by the acts and deeds of those already in the industry, when I was still schooling. Some of them including Pa Hubert Ogunde, my sister, Peju Ogunmola, Professor Peller, the magician, Ade Love and so on. I loved the way they made people stay glued to their television sets and how people talked about them all over the place, I felt it would be nice if I also come into the limelight like them. They are my heroes so, I wanted to become famous just like them and be known all over world. That was my driving force then. So, I started visiting the late Alhaji Ajileye in company of my brother, Tajudeen Oyewole, who was the first Abija in the film industry, because he was the first person to act in the capacity of Abija. Note that my brother, Tajudeen Oyewole, was the person in charge of the family masquerade, Abijawarabiiekun. I and other people used to accompany him to his acting location, and with that, my interest was kindled.
It means that you are the second Abija?
Yes, I am the second Abija, which was initially called Arole Abija. But now, it is called Aremo Abija and the reason is that there cannot be an Arole in a palace when the king is still alive and agile. Instead of such a son to be called Arole, he would be known and addressed as an Aremo. My brother who was the first Abija in the film industry is still much alive and kicking, though he may not be featuring in films again, though the job I did after his retirement could be more than his, my brother is still much alive to the glory of God.
Aremo is the proper tittle given to anyone who is acting when the real person is still alive. Even the Aremo which should be the right appellation has fizzled out with time, and people had forgotten about it but only refer to me as Abija, as many did not know that I am not my brother. They think we are the same person.
Where are you from? How was your growing up?
I grew up living with my brother in Ibadan; then moved to Oshogbo and later Kwara State because I am a bit related to Kwara. I was born to the family of Alape of Afuwape in Omuaran, which is also called Omido, in Kwara State. But my mother is from Ilegbonmi in Oshogbo, Osun State. The likes of Baba Suwe were my contemporaries.
In which theater group did you train?
I trained under the ‘Meiran caucus’, which is in Command Area of Ajasa in Lagos. It’s called ‘mass caucus’ because Mass Hotel is closer to the place, and it’s under the leadership of Prince Oguntade at that time. In those days, Mass group comprised of so many talented people, but the leadership of the group fell on Prince Oguntade.
What’s the play that brought you into the limelight?
The play that brought me into the limelight is called, Aja Akanbi. It’s a play that brought out the best in me as an up and coming actor. It was staged in 1996 or 1997.
Have you produced any film of yours?
Yes, I have produced some films. They are Oluweri, Asake Omo-Orukan, and Ebi Taani.
Do you have any film in the pipeline right now?
Yes, I have more than three stories that are now ready for production, but there is no (financial) power to release them. If any sponsor is interested in seeing the scripts, I will be glad to give such a person the privilege of seeing it, and he or she will discover that they are not cock and bull scripts. In fact, I have a script in which I intend to feature my brother, the first Abija. No matter his age, there are some scenes that he can act and act with dexterity in that script. That will make the two of us come together and entertain our fans. Even the children who may have heard about us but never had the privilege of seeing our plays or films will have the opportunity of getting to know us. So, I am using this opportunity to appeal to those who love Yoruba culture and tradition to please come to my aid and sponsor these films.
Comparing your days in the film industry with now, what are the developments you have observed?
There is so much development now compared to when we were in the industry. When we came in, we started with stage, drama, dance etc. but now, you hardly see people going into the rigours of drama, dance and so on, most especially if you are lettered and can deliver your script. You just take your script study and deliver.
Another interesting thing is that in filmmaking, you have the advantage to pause in case there is a mistake of rendition. That particular scene where there is an error can be re-recorded, and those would be behind-the-scene errors that no one would know about, except if ‘the making’ of the film is purposely imputed in the film for the audience to see.
But in our days, acting was very strenuous. You must be versatile in your act; there was no room for mistake when production was in motion. While acting on stage, if you make any mistake, you have spoilt the production, and no one would want to be seen as a spoiler, hence everyone endeavoured to put in his or her best, for the expected output.
That is why I want a cheerful and willing sponsor to come to my aid so that I would be able to bring back all the cultural heritage of yesteryears, which the present viewers are not opportune to have, and by so doing, I and my team of well-groomed professionals would be able to impact greatly the lives of our young generations.
How old are you now?
I am 61 years old.
If you’re invited to act in any film now, would you be able to fit in?
Of course yes. I will be able to key in perfectly. Even if you want me to act and speak English, I wouldn’t be left behind with the little I know. In fact, I would be looking forward to act with the illustrious sons and daughters of Yoruba in the film industry to propel the glory of our culture.
What advise do you have for the practitioners, your colleagues in the film industry?
I would advise them to always produce films with one or two cogent lesson for viewers to imbibe. They must always produce films that will leave a strong legacy for others. And to the viewers, especially the parents, they should always abide by the rules of ‘viewers’ discretion’ when it comes to the films their children watch. Some films are not meant for children but because it’s a Yoruba film, most parents disregard the ‘viewers’ discretion’ advice and go ahead to watch the film in company of their wards. Along the line, they will discover that some scenes are not meant for youngsters. So, the best thing is not to ignite the fire of desire in our children through what they watch.
