By FANKLIN IFEANYI-CHUKWU DIALA (Pen Gun)
Originating from Akarakunmo Kingdom in Badagry, Lagos State, Nigeria, inherited since 1543, by the descendants of Tosavi, Kodjo and Avidagba, (ancestors of Akarakunmo Kingdom who brought the Sato drums into existence).
The first pair of the ancient SATO DRUMS are a sacred twin (male and female) giant drums, approximately 8 feet in height. The drums were made from antelope’s skin and the African Oak tree, also known as the Iroko tree (igi Iroko) – a large, deciduous tree native to tropical Africa; highly valued for its timber, and has cultural significance in many African societies. The female (mother drum) is a bit taller than the male (father drum).
‘Yoho’ is the shrine where the real ancient Sato drums are kept.
Whenever occasion calls for it, before bringing out the original ancient sacred Sato drums or taking it out to anywhere, some rituals must be made using kolanuts, palm oil (red oil), spiritual water, and a strong alcoholic drink like dry gin. A gong (called ‘Kakeke’) is first sounded, uttering some kind incantations. Then the male drum is brought out first, then the female drum follows. It is prohibited to look into the Sato drum when bringing it out. In fact, it is a taboo with a consequence said to bring misfortune.
The original ancestral Sato drums can only be beaten by the male descendants of Tosavi (the custodians), Kodjo and Avidagba. These are the people originating from the areas of Dadapame (now called Wheaga), Lokossa, and Agbokomeh. And while the men play the drums, the ladies/women have the duty to boost the morales of the drummers, by cheering them up with appraisals. Beating and dancing to Sato, requires serious energy.
For a non-indigene to be eligible or deemed fit to dance to and beat Sato, such a person must undergo initiation rites, with some rituals carried out in a traditional shrine of the Tosavis. The initiation/ritual is done by the head of the family called ‘Enuga’ (referred to as the Olori-ebi in Yoruba language).
The drums are beaten by six male drummers (3 for each of the drums), putting on colorful traditional attires (an attire around the waist called ‘Gbalié,’ and ones tied on legs called ‘Degba’), with each person holding two long drum sticks (called ‘Agita’), beating and dancing around the drums in a uniform rhythmic style. The men who play the drums must jump/dance simultaneously at the rhythm of the drums and sometimes display acrobatics.
The sacred Sato drums are the driving forces behind the sacred Sato dance. The Sato music and dance have a significant impact on the cultural and socio-religious life of the people.
The drums are used/sounded during important festivals, events or celebrations such as;
• in installation of a king/ruler
• in burial of an aged descendant or family member
• to welcome a new moon
• to usher in a new year – usually on every 1st of January.
• to celebrate the ancestors who brought the drum into existence.
The Sato drums are quite historical and monumental and said to have the scared power to conquer evil.
For the drums not to go out of existence, replica of the drums have being made, of which can be seen with some cultural troupes for different cultural performances with other percussions.
Origin of the Sato Drums
Three friends, Kodjo, Avidagba, and Tosavi came from different regions of Dahomey (present day Benin Republic). They displayed true friendship, did most things in unison, and were loyal to each other. Whatever they did, no one took individual credit. All three took the applause.
They all had different occupations. Kodjo was a herbalist, psychic, angler and a powerful warrior. He was a Prince of Weme Kingdom, but lived in Kezunu amongst the people as an ordinary. Avidagba was a hunter full of strength. He could hunt down any animal. Tosavi, who originally came from Fanme Agboso in Weme Kingdom, was a cultivator of fruits and vegetables and an angler (a fisherman who fishes with a hook and line).
But they all left Weme due to a war that broke out to avoid being captured, arriving at ‘Ajorohuntin tree’ near Akarakunmo (a place where the oracle told them to go to, after being consulted by Kodjo who was also a herbalist). While Kodjo settled at the entrance of Akarakunmo and near the Ajorohuntin tree, Avidagba moved further into Akarakunmo, into an area called Lokosa, while Tosavi moved into an area called Dadapame (now referred to as Wheaga) in Akarakunmo.
One day, the three men travelled back to Weme for a gathering. They then saw a drum being played at the gathering. They admired it and decided to build a similar but better, more colourful and bigger drums. So after the gathering, on their way back to Akarakunmo, determined to build the drums, the three of them went into Gbagodo forest, where they cut down an Iroko tree and transported it via canoe to a large space of land. They dug a big hole there, planted the Iroko tree inside it, and then began to carve. After days of carving and finishings, using antelope’s skin for the cover, the drums was made and lifted from the hole – what would now become the ancient sacred SATO DRUMS.
On arrival at Akarakunmo, the drums made a loud sound, reasonating across the villages. This was the first time Akarakunmo and its inhabitants would hear the sound of drum. The sound of the drums were so powerful that it scared away some animals from Akarakunmo, and they never returned. It was said to have also scared away evil spirits.
Same day the drum arrived Akarakunmo, was the same day the wife of Tosavi’s son (Agbanseme), gave birth to a baby girl called Yetonme. She was also named ‘Satosi’ (wife of Sato), for that reason that the drums arrived the village same day she was born. Yetonme (Satosi) would later marry one of Kodjo’s sons (Kunaso).
Tosavi was made to be the custodian of the drums, causing his descendants in Akarakunmo, Badagry, Lagos State, to be keepers (custodians) of the ancient sacred Sato drums.
Similar drums to Sato can be found in Onfo, Ipokia LGA, Ogun State. This is because the descendants of Tosavi, Kodjo and Avidagba are still in Ipokia, Ogun State.
The Sato drums became known in 1972, in Lagos, Nigeria, when the drums were beaten in Kaduna, during the administration of erstwhile Nigerian Head of State, Major Gen. Yakubu Gowon. It was at this period that the monumental statue of the drum with a drummer were sculpted at the Badagry roundabout. Same statue can also be found at Onfo, Ipokia Local Government Area in Ogun State.
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IFEANYI-CHUKWU DIALA is an arts and culture enthusiast and sent this copy from Lagos
