If you have ever witnessed the Ede masquerade, the Aladoko, or the Alamudu perform, you will instantly appreciate the poetry of Niyi Osundare, the world-renowned poet. Osundare hails from Ekiti, as do these mesmerizing masquerades. Had education not found him, Osundare might well have been a bearer of one of these magnificent masks—adorned with multicolored feathers and mirrors cascading from the nape to the feet—chanting profound verses with the captivating grace of tradition.
The Ede masquerades are revered for their boundless knowledge, weaving chants on any subject with a voice as sonorous as a nightingale’s. Their repertoire spans reflections on nature, the environment, the economy, the essence of power, and the tribulations of life. These living archives of wisdom mirror the poetic genius of Osundare, who embodies the spirit of his Ekiti heritage.
Yet, education found Osundare. Had it not, he might today be a celebrated Aladoko or Alamudu, thrilling audiences with the eloquence of the masquerades.
I first encountered Osundare in 1982. That year, word spread one evening that emerging poets and performers would gather in one of our lecture theatres. Joining the crowd of eager students, I witnessed a creative spectacle featuring Wole Soyinka, Oyin Ogunba, Niyi Osundare, Kole Omotosho, Odia Ofeimun, Funso Aiyejina, and our American professor, Bob Fox, performing their works. Literary critics like Biodun Jeyifo, Ropo Sekoni, Bayo Williams, and Wole Ogundele were in attendance, while a young East African lecturer, Mutambuka, served as MC.
Osundare etched himself in my memory that evening with the refrain of one of his poems: “Jenje kiti, kiti jenje.” It immediately struck me that this poet must be Ekiti. My curiosity piqued, I became one of the first to purchase his debut poetry collection, Songs of the Marketplace, published in 1983. This book would later win the 1986 Association of Nigeria Authors prize and joint winner of the Commonwealth Prize.
The release was a sensation—not in the way of pop culture, but among us, young students of literature, who were grappling with the frustrations of a repressive regime. In that collection was a poem that became an anthem of our restlessness: “I Sing of Change.” Interestingly, this poem was reportedly the original title for the collection before it was changed to Songs of the Marketplace.
Change, as we yearned for, would come eventually, but Osundare has never ceased to long for a deeper transformation in our land. With awards upon awards and prizes upon prizes, he has dazzled the world with his creativity and prolificacy. And while we marvel at his accomplishments, we await the ultimate recognition. I promise you, it shall come—In Our Own Very Eyes. It shall be part 2 for our glorious land if you know what I mean.
