By Babatunde Odubanwo

In its fifth year running, EKO THEATRE CARNIVAL, the flagship shows of breath taking performances by different theatre companies across the federation was held in Lagos this penultimate week. #ETC is an annual fiesta organised by Crown Troupe of Africa, a widely travelled theatre company headed by Segun Adefila a.k.a ‘’Oriade’’, a scholar of theatre arts and performer on big stages both locally and internationally.

From Bariga which is considered to be one of the most prominent cradle of Theatre Arts in Lagos Metropolis, Crown Troupe of Africa has consistently put structures in place as well as built talented individuals worth their salt within the culture and Arts sector in the country over the last 25 years. Infact, Crown Troupe of Africa is hailed as brain behind other successful theatre companies within and beyond the reach the Bariga environs.

Beginning from August 3, 2020 till the night fall on August 9, 2020, EKO THEATRE CARNIVAL boasted the dull streets of Awofodu area of Bariga, Lagos where the internationally acclaimed theatre convergence was held. Expectedly, the audience at each show didn’t exceed the total number of people allowed at any social gathering as stipulated by the Lagos State Government. Other laid down health precautions by both state and federal ministries of health were duly observed.

The one-week event was characterized by performances that worth every attendance. One of such performances is ‘’Iba’’ loosely translated as Obeisance in the evening of August 7, 2020. This spectacular piece was creatively enamoring, uniquely gratifying and every moves throughout the performance proved beyond words to be shield from the prevalent fiendish covid-19 pandemic.

From the moment the troupe members of FOOTPRINTS OF DAVID ARTS ACADEMY, a multi-award winning children theatre troupe took the centre stage, you could not help but to fix your gaze on these gifted Bariga breeds. Of course, FOOTPRINTS OF DAVID ARTS ACADEMY are no strangers to keeping up to such standards. It would be recalled that President Muhammadu Buhari (GCFR) had invited the troupe to Abuja after he was treated to a thrilling performance held sometimes in May 2019. To add to their many brilliant records, the troupe had performed before nearly every incumbent and past Governors across the country as well as other leading personalities in the country.

The performers were cladded in red top and (blue Adire attire wrapper for females; blue Adire knickers with caps for the male) on one hand; Yellow tops and (multi-colored batik wrappers for the females; multi-colored Batik knickers with caps for the male). Both sexes donned bead around their necks and wrists. Making an entry with the Ilaje folksong, Ojo’je, the sonority of their tender voices pitches high, even the deaf could pay attention to them at that very instance.

The premiere performance of the 30-drum ensemble dance performance was instantly followed by drum-talking. Gradually and swiftly, the performance transitioned from mid-tempo to a gallant melodic cries accompanied by the traditional ensemble. The ensemble included amongst other African musical instruments: The Sato drum from the Badagry area of Lagos; the Duma percussion from the Northern part of the country; the Udum from the Eastern part of the country; shakers from the Eastern part of the country; the Omele Bata and Gbedu drums from South Western part of Nigeria; Agogo and shekere from the Yoruba speaking areas of the country; Takoro from the Ibo(sic) part of the country, and the Palongo from Ghana.

Iba is a typical greeting duly employed by the Yoruba people. This is so in giving honour to whom it is duly due. The thematic structure of the dance performance hovered around paying homage to the forbears of earliest traditional performance arts (especially in the dance) as well experimenting new dance moves that is embraced by both young and old.

This phenomenal arts creation took the audience through a one-hour enrapturing encounter with side-cheers and applaud from the audience cheering on the talented youngsters. Intermittently, the performance was entwined with proverbial saying on the traditional round leather musical instruments, sweet medley arrangements infused with a saxophone up beating.