By Dr. Mutiat Oladejo
The film titled Anikulapo was set in the 18th century Oyo history. Beyond perhaps the distortion that comes with films to become fiction, the story represents some socio-economic realities in Oyo-Yoruba history.
First, Saro’s sojourn as a boy began by being sold into pawnship from Gbongan led him to wander through several Yoruba towns while growing up. In the process he learnt textile weaving. Saro’s entrance into Oyo depicts him as a young man seeking for livelihood without any means or guarantee. Then, indebtedness was a norm, it was a source of raising capital which has to be paid back through labor exchange. Kings, chiefs and few merchants controlled wealth, and they take pawn (Iwofa) as means of loan recovery.
Saro’s encounter with Sola Sobowale indicates the fact that men are also sexually vulnerable in the process of seeking livelihood. Saro had to survive through Sola a wealthy female merchant. He got a house and was able to establish his weaving work.
Arolake is a victim of girl child early marriage, it depicts how women had little or no choices in choosing their spouse. She was betrothed as the king’s fourth wife. She grew up in the marriage, but unable to conceive. She had the palatial treatment and she appeared as the favorite of the King. But, being unable to conceive and polygamous troubles became unbearable for her. Arolake’s polygamous experience is typical.
Saro’s invitation to the palace to offer weaving services changed the narrative as he met Arolake. Both had the connection of love at first sight. Arolake was choked in her marriage, and she went after Saro.
It is normal for women to want to leave unsatisfactory unions in the past, but then she is a queen. No man goes after a queen in the same Yoruba town where the king lives. They were banished into the forest. Forests before colonialism were dangerous zones to punish offenders. Hope of survival was slim.
Saro and Arolake’s sojourn in the forest showed that the forests were actually links among Yoruba towns. Meeting Yinka Quadri (the hunter) shows that Yoruba hunters were geographers and explorers. He gave them a clue as to the dangers of continued wandering in the forest. It was the era of Trans Atlantic slave trade, thus there was high probability of being captured as slaves. Of course, the kings, chiefs and wealthy merchants were complicit in capturing people for slave trade. The duo accepted the hunters protection in his hut.
The film depict the value of charms in Yoruba life as a welcomed mystery. Arolake discovered a charm while battling wild attacks. She was so much in love and she had to give it to Saro to perform wonders to resurrect the hunter’s son. That belief in resurrection is not real, but then, was there even a modern technology to certify death?
Saro became a resurrection sorcerer. He lived on the power accrued to him as he was treated like a king in the kingdom that accommodated them. He was recognized because of his ability to resurrect the dead. He leveraged on the power to acquire more wives who gave Arolake the same problems that choked her while she was a queen. Arolake was still unable to conceive! She had to leave Saro, but she detonated the charm, before leaving.
Arolake was a victim of early marriage and polygamous intrigues. Ultimately, the film depict the social realities of marriage, sex, survival, friendship, among others. The economic realities set in the film depict how Oyo was entangled between the Trans Sahara and Trans Atlantic trade. The walls, the horse, design of the kings clothes have connections with Trans saharan cultures. The setting of the Market explains the relevance of Oyo in large scale commerce.
However, I don’t think there is any Yoruba kingdom that disallows the king from speaking to the public. Depicting a Yoruba king that can’t speak to the public is off. Baba Wande as usual is naturally funny with his ways and words. It is also interesting that the daughter of the immediate Alaafin of Oyo acts as the princess Saro wants to marry by force.
Dr. Mutiat Oladejo
20/10/2022
