Wednesday, 22 May 2013

Music is a continued process -Ayanbinrin

Ayanbinrin

Ayanbinrin



Her chants and dance steps resonate African traditional values. A peep into her lineage revealed that drumming runs in Ayanbinrin’s family. Her paternal grandmother's family were professional drummers. Her grandmother's immediate younger brother was once the leader of the Association of Talking Drummers of their time in Ondo State. Also, her father’s love for good music helped Ayanbinrin to develop interest in folk music.
She reveals why she chose folk music: “I grew up watching my father listening and enjoying music by Orlando Owo, King Sunny Ade and so on, that is why my musical thought geared towards culture and tradition. There was no cassette by Anita Baker or Shakira in our home.”
Her flair for dancing and the search for unique identity attracted her to playing talking drum.  She grew up and discovered that she could dance very well, especially when Sir Shina Peter’s Afro-juju songs were reigning. Basically, her music career began in 1999 after she joined a traditional group called Landmark Folk voices in Lagos State University when she registered for a pre-degree Programme.
She explained the meaning of her stage name, Ayanbinrin simply as a female drummer.
 In 2003, she decided to go into music full time to play talking drum.  She recalls how one of her friends called Akuko introduced her to a drummer who nurtured her. “Funny enough, I was playing in my mother’s shop, then, I told Akuko that I wanted to go into traditional music and he jokingly asked me to go and learn how to play keyboard and guitar. He later introduced me to his friend called Alaroye who actually taught me the rudiment of drumming, but the more you rehearse the better you become. Inspiration comes each day I pick up my drum.
“It is a continued process. My friends, well-wishers and Association of Professional Drummers of Nigeria contributed immensely to my success. I was the first lady that joined the association and they were very encouraging,” she added.
She has a band known as “Tiwantiwa Band,’ which consists of ten members. It is a versatile group with a mandate to communicate and transfer the displaced African values and heritage to every home through drums, songs, dance and dexterity playing African percussion like dundun drum famliy.
Just like an American hip-hop star, Shakira sang “Hips don’t lie,” Ayanbinrin believes that hips can serve as a means of communication. The genre of her music is called, “TradHiptional Gbedu,” a fusion of traditional arts and the combined groove of rhythmic drum ensemble, creatively grafted together to which the European colonization, trade, migration, religion and music has influenced our cultural heritage.
“Some may think that shaking one’s hips is a way of enticing men but I am only doing my job. I love dancing any traditional music. I also love indigenous things, that was what led me to music. The percussion is traditional. If you hear any music from me, you would know that it is Ayanbinrin’s music. Though it may be funky and hippie. The percussion and my dance step help stand me out,” she said.
Making sure that her TradHiptional music outlives her is a task she vowed to accomplish, that is why she said a lot of young artistes under her tutelage that will continue with her band till eternity.
The robust and ever smiling lady shone like a star during Felabration 2012 celebration at Africa Shrine despite the fact that she did not have enough time to prepare.  She explains: “I did not do enough rehearsal. Somebody pissed me off at the backstage and I entered into the stage without knowing what next to do. But I regained my confidence immediately I stepped on the stage.”
Is it not a taboo in Yoruba land for a lady to play a talking drum? She was asked. “I won’t say it is a taboo. The fact remains that there are limits to which a lady plays a talking drum and we have different kinds of drum. There are some drums women cannot play. We have social and spiritual drums/cultural drums. Cultural or spiritual drums are found in Oba’s palace. I play a social talking drum,” she explained.
Presently, Ayanbinrin manages herself but any interested company is welcome for a chat. Her contract with her former manager did not work so they parted ways. “I have always managed myself. Promoters came to me, but their terms were unfavourable. One of them asked me to sign for five years and told me not to marry within five years of signing a contract with them. I thought about it and decided to be on my own by ignoring their juicy offers of taking me to the United States of America.
“One company told me that after taking me abroad, sharing of proceeds would be 70 percent for them and 20 percent for me, then 10 percent to the company. I had a nasty experience and made up my mind to be on my own. Not that I came from a very rich family, I am from a humble family. I am where I am today with the help of God and the support of my husband, my mother and well-wishers. As much as I want popularity and money, peace of mind is important. We should live our lives,” she stressed.
Asked whether Aralola, the first female talking drummer influenced her to play talking drum, she cuts in: “Aralola did not influence me in any way. She is my colleague.”
In 2010, Ayanbinrin released her 11-track maiden album titled “Ayanbinrin Unveil,” which is being celebrated. She revealed that her second album is in the pipeline.
She featured Ego Ogbaru, former Lagbaja’s back-up singer in one her songs ‘Dance with me’. “I am a cultural activist. I am not a feminist but I love to promote female gender. The choice of Ego was because she is a female and very ambitious.”
She explains why she has not released another album after 2010: “I took a break to have babies because I could not cope combining making babies with doing music, that is why I have not brought out another album. Moreover, my work takes me out of Nigeria a lot of time. Thank God I have a very caring mother who has been helpful in nurturing my children. I have shot a video I made for her, titled: ‘Dear mother’. I also dedicated it to all mothers in Africa,” she said.
An indigene of Ondo State, Ayanbinrin was born into a family of four and she is the oldest child. She attended State Primary School, Dopemu where she had her primary school education. From there, she proceeded to Egbado College, Ilaro (now YEWA College) for her secondary education. She later obtained a degree in Chemical and Polymer Engineering from Lagos State University.
“My engineering background is a stepping stone to where I am today. I intend to become a professor of Arts.”
She is married with children. She revealed that she met her husband in Lagos State University where he studied Mechanical Engineering. He graduated when she was in her first year. “My husband never knew I was going to be a musician even though he saw that I was music inclined. He loves my career. My greatest achievement so far is setting up my family.”
She rates the result for doing music in Nigeria and says: “Definitely for anything you are doing, you must look out for the monetary aspect but money is not everything. I believe that it will come at the right time. There are times I give free shows to sell myself. Right now, I am comfortable. Nigerian music is improving. We now have music with a touch of proverbs or local poetry. So be it hip hop or fuji, we are now promoting our culture through music. Many parents have been coming to tell me to train their children about drumming but I always advise them to send their children to school to enable those children have quality educational background before going into music. Music is improving. Most of our music now has a lot of messages unlike in the past. There should be room for creativity.
She has won many awards locally and internationally in the course of her career and they among others include: Yoruba Solidra Circle Award as the Best Performing Act in 2005, Outstanding Achievers Awards as the Outstanding Creative Entertainer in 2011 and Oodua Royal Icon Award as Asoju Odobinrin  Oodua of Yoruba land.
The brain behind the Mother Drum Arts Foundation launched her foundation on December 2, 2012 and sheds light on what her foundation is all about. “This foundation aims to use arts to promote African cultural values. We normally organise annual event, a gathering of arts lovers who participate or watch theatre, dance, choreography, cinematography and exhibition of artworks. Everything about me depicts arts including my hairstyle, costume and music so my foundation aims to unite arts practitioners in order to promote our cultural heritage. Arts run in my blood so I set up this foundation to reward both creative and musical arts practitioners. We have given awards to people who have made prominent impact in the world of arts like Joke Silva, Tunde Kelani and so on. I intend to set up an arts village where people will come and learn the art of sculpture, painting, drumming and dancing. I am also a sculptor and a presenter,” she revealed.
Finance is a very big challenge Ayanbinrin is facing. “I implore corporate bodies to come and invest in entertainment. Government should stop focussing on oil and gas alone, art is a very lucrative industry lying fallow to be tapped. We need people to encourage us to do more. We need investors.”
She attributed her success to God who has been sustaining her but said her greatest regret is not having sponsors who back her up when she needed assistance. Many organisations are scared of sponsoring new jobs due to their past experiences.”
One plague that is attacking artistes’ flow of income is piracy; Ayanbinrin has also had a bitter experience of the hydra-headed monster fighting against the financial success of many entertainers. She recounted how she bought a pirated copy of her album which was yet to be released because it was in post-production stage. “In 2010, I went to Alaba International market to see a friend and saw my own compact disc on sale there. I was flabbergasted and decided to check very well whether it is my work. I bought a copy of it at N40. 00, listened to it and it was my song. Sincerely, I didn’t make the money I invested in that album but I released it for the benefit of my fans because I wanted them to listen to it when I am not there,” Ayanbinrin said.
She suggested that piracy could be curbed through a law that will deal decisively with pirates. “Until somebody follows it with all sincerity, it will be difficult to eradicate piracy. Piracy is a general disease everybody must stand up and fight against, not only artistes. I implore my fans to buy only the original compact discs, though it is difficult to know that original ones and DVDs in the market.”
In the next five years, she aspires to be more successful. “I leave everything in the hands of God. I have plans and I know that God has His own plan for me so I will allow His will to be done.”
In the music industry her role models include: Lagbaja, King Sunny Ade, Ebenezer Obey, Sir Shina Peters and Asa.
Folk music has brought fame and fortune to Ayanbinrin. “Nobody would have known me if I was practising engineering. I thank God that I discovered my talent and passion on time. If there is anything I would like to do over and over again, it is arts.”
She is not a fashion freak, when it comes to style; she is simple, elegant and looks good in anything she wears. She wears anything African. Her hairstyle is part of her trademark. “I am Ayanbinrin on stage but Tosin at home. I am a very simple and humble person because I am not better than people on my street. I dress according to my mood. I combine formal and traditional wear.”
Her favourite colour is red because it is bright.
Mainly African in all its ramifications, Ayanbinrin makes her costume with fabrics like Ankara, Damask, Aso Oke, Kente and Kampala embellished with cowries.
Pursuit of excellence with respect and dignity is her philosophies of life. “My father taught me to respect other people.”
Her costume conveys a message: “It is pure African. I love to wear trouser because I dance with ease in it. As a drummer, I have to be flexible, dynamic and free. I also wear jeans and top. Whenever you see me, you must see a touch of Africa that is, cowries fitted in my hair, bangle, earring and cloth.”
She frowned at the rate ladies are almost going nude in our society in the name of fashion and urged ladies to emulate their mothers who did not go naked before their parents married them. “You have cheapened yourself and exposed all you have when a man sees everything you supposed to cover. It is what you keep that has value.”
She loves any kind of food as long as it is not poison.
In a nutshell, she aspires to dominate the African music scene with her unique fusion of traditional rhythms and also to be recorded in the history as the most exciting female talking drummer of renowned capability from the continent of Africa who contributed to the promotion of African culture.
She advised her fans to be diligent and know what they want to do in life by not allowing people to discourage them.

















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