AV Club: How Abba Makama’s ‘The Lost Okoroshi’ portrays ancestral tradition through modern lenses
Makama makes a compelling case for the fluidity of culture and tradition
[The Lost Okoroshi was initially released in 2019, and is now streaming on Netflix.]
Have you ever woken up from a dream that felt hauntingly real? The kind where you’re suddenly thrown into consciousness trying to make sense of everything only to realise moments later that you’re present and safe, and it was just another dream. Well, that’s usually the case for most of us, unless of course, you’re Raymond Obinwa (played by Seun Ajayi) in The Lost Okorosohi, a disillusioned security guard whose lucid dreams pierce the thin veil between fantasy and reality so much, that it begins to manifest in his real life.
The brainchild of Surreal 16 director and filmmaker, Abba T. Makama, The Lost Okoroshi is his second feature-length film and the latest on the rooster of Nigerian films catching the attention of media behemoth Netflix where the 2019 release is now available to watch in over 100 countries where its service is currently available. Set in present-day Lagos, Nigeria, Makama tells a tale of spiritual possession and the sustained connection between the physical and spiritual realm that transcends class and background. Our ancestors are always with us, or maybe they never left but whatever the case may be, The Lost Okoroshi does that on a remarkable level.
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The tradition of masquerades is one as old as time, and one that exists within almost every tradition and culture. According to Makama, his fascination was born after stumbling across the works of photographer, Charles Fréger’s Wilder Mann: The Image Of Savage which showcased ancestral pagan gods across Europe. The masquerades portrayed, looked a lot like the ones he grew up seeing during his childhood, which spurred the idea to capture how a masquerade in a modern-day context would manifest. All too often, what has since become the case in Nigerian cinema is the eschewing of our tradition in favour of modernity and we’ve seen this to be the case with recent releases like ‘Wedding Party’ ‘Our Excellency’ and more, which mostly present the glitz and glamour of the present day.
The Lost Okoroshi, however, aims to level the playing field, despite not enjoying the same mainstream appeal and cinema circuit that many of its contemporaries enjoyed. Its distinct feature lays in its storyline – there hasn’t been a semi-comic tragi-comedy quite like this before and with a convincing cast including Chiwetalu Agu, Judith Audu, Ozy Agu, and more, Makama presents a world where our ancestral tradition is revered, understood and placed on a pedestal for everyone to see regardless of being set in modern-day Lagos.
Raymond Obinwa is not a perfect protagonist, in fact, there’s little to be desired of his character except the fact that he is the story’s lead. He’s stuck in a security job that he hates, wearing half-dry clothes to work and showing up late despite several warnings from his boss. While at work, he doesn’t get anything done but sit around eyeing guests who visit the building or badgering them for some spare change. His life is fairly mundane though he lives in a megacity, and he seems to be fed up with the fast-paced life and constantly speaks fondly of returning to the East to live as a “real African” man on a farm. The only fascinating thing about his mundane routine life are the vivid nightmares he revisits every night, where an all-purple clad masquerade pursues him.
His trusted friend, a cranky old man by the name of Chief becomes his spiritual advisor when he informs Raymond that his dreams are not a strange occurrence but a deliberate message from the gods themselves. But when Raymond confronts his fears, he winds up being possessed by the Okoroshi masquerade who seems to be sired to him by fate. What follows next is pure comedy as life as the Okoroshi takes a toll on Richard’s human life – he loses his job, his friends, his wife and people run away from him when he attempts to use public transport or visit a hospital. He is an anomaly in this giant city and when we see him parading familiar streets and expressways, we are all the while being reminded that our tradition can sometimes appear out of place in today’s world.
But at its core, the real message is questioning how we make space for our tradition in the world today because our tradition will always be a part of who we are. Being a follower of Jung’s theory of duality and the collective unconsciousness, it isn’t surprising that Makama plays with these elements in The Lost Okoroshi which aid the storytelling. For instance, the film’s synth-heavy soundtrack is a nod to duality, introducing both new and old sounds, from electronic to afrobeats and funk, in its 94-minute run time. When Raymond embraces life as a masquerade and begins entertaining crowds at market places, the funk sounds of late William Oneyabor’s “When The Going is Smooth & Good” is played in the background, foreshadowing a darker, more sinister fate laying ahead despite the song’s cheerful message.
At another point, Makama adopts a comic-style art to recount the legend of the Okoroshi masquerade, a stylistic choice that reads very much superhero comic book. Its novelty is more than just a way to introduce a young artist to a new audience, the stylistic choice is a deliberate act to remind us that old and new can co-exist side by side just as tradition can exist in a modern context. When I spoke to Makama a year ago, he shared that his vision with this film was to debunk some myths about ancestors and masquerades, by showing them in a comical light and here, there is a humanity that shines through despite being a spiritual, otherworldly being that once instilled fear in many of us.
Even the characters within this world constantly remind us about the duality of things. When word of the reincarnation of the great Okoroshi reached the rest of the country, it attracted members of the IPSSHRR (you’ll have to watch to find out), a society that wishes to have the Okoroshi masquerade for their own gain. The members of this secret society debate about whether a masquerade of such reverence should remain in a city like Lagos where it does not belong or return to the East where it came from, even suggesting that people watch the festivities to celebrate the Okoroshi over the social media pages that will be set up in its name (hilarious, I know).
In each scene, Makama is constantly questioning how we can adapt our ancestral traditions and culture through modern lenses without diminishing their reverence. Voiceless but armed with supernatural powers, the Okoroshi takes on a modern-day Lagos, fighting crime when he can, living it up in dimly-lit clubs, falling in love with a girl who breaks his heart, and making some adversaries on the way. Witty, interesting, and worthy of all the attention its getting, The Lost Okoroshi is truly an enjoyable watch and an unconventional offering from the current crop of films now streaming on Netflix Naija.
Featured image credits/TheLostOkoroshi
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NATIVE PREMIERE: Rigo Kamp Runs Ahead Of The Pack With The Visuals For “Marathon”
Rigo Kamp’s Marathon video is an intimate Afro-juju revival that pays homage to Sir Shina Peters and stamps...
Last Friday, Rigo Kamp, a NATIVE uNder alum and one of the architects of an equal parts nostalgic and refreshing sound released his self-titled debut EP, delivering a propulsive fusion of Alte, R&B, Funk, and Soul-infused rhythms.
Featuring previously released singles “Morning Sun” and “Summer”, the six-track eponymous EP executively produced by Odunsi The Engine sees Rigo lean heavily into his element as a sonic alchemist, jumping from silky falsettos to gritty grooves without losing an ounce of cohesion, and ultimately stamping the Abuja-born, Lagos-based singer-songwriter as a mad scientist of sound.
Just last November, Apple Music named Rigo Kamp as its Up Next artist, an acknowledgment that underscored his potential and confirmed what the tastemakers and underground scene already knew. Weeks later, he delivered an exhilarating live set for Spotify Fresh Finds in Lagos, proving he’s just as compelling live as he is in the studio.
On “Marathon”, the refreshing opener to the Rigo Kamp EP, Rigo borrows the bounce and swagger of Afro-Juju legend, Sir Shina Peters’ golden-era, fusing nostalgia with re-imagination to birth a vintage performance that feels like a private party for two, where it’s just Rigo, and you.
Get an exclusive first look at the video for Marathon here:
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Togo YEYE & VLISCO’s new collaboration is a celebration of Lomé’s thriving creative scene
Togo YEYE is a community we are building for us by
Togo YEYE, a creative duo formed by Lomé-based creative director Malaika Nabillatou and London-based photographer Delali Ayivi, is a conceptual publication that was created to empower and champion Togo’s young fashion creatives. Since its inception in 2021, Togo YEYE has released several personal projects and has also partnered with a number of brands to further its hugely imaginative aesthetic mandate. For their latest collaboration, Togo YEYE teamed up with textile printing company VLISCO to present Blossoming Beauty. Tagged as a love letter to Togo’s creative community, the campaign captures Lomé’s scenic beauty alongside VLISCO’s vibrant prints with the aim of connecting the feminine grace of nature with identity and artistry.
What does Togo YEYE mean?
Malaika Nabilatou: My name is Malaika Nabilatou, I’m the creative director of Togo YEYE. I’m Togolese and I was born and grew up in Lomé. I see myself as a West African creative director and I’m working to be the best in a few years. Togo YEYE means new Togo in Ewe, one of the most popular languages spoken in the South of Togo.
What inspired you to create Togo YEYE?
Malaika Nabilatou: We started this project, my friend Delali and I, 5 years ago. We just wanted to show that Togolese youth are also creative. Togo YEYE is a community we are building for us by us. It wasn’t just a project for Delali and I. It’s become something for the creative scene of Lomé. Lomé is like our studio.
What role does Togolese culture play in your creative process?
Maryline Bolognima: For me, Togolese culture comes first. For example, in the South, there are the people of Anero. If you come, you can go to Anero. In the North, there are the Evals, so if you come to Togo, you’ll learn a lot.
What’s the most exciting part of working as a team on projects like this?
Malaika Nabilatou: I need to tell the truth, we dreamt about this campaign before [it happened]. When VLISCO contacted us, we were like wow. I can’t really explain how thankful we are to VLISCO for trusting us. Because it’s a risk that they took by trusting us, making that campaign here with our team and honestly we are going to keep it in our hearts for the rest of our lives.
Claudia Sodogbe: For me, it is the first big contract of my life that I had with Togo YEYE. I still remember, on the last day of the shoot, I was feeling nostalgic about separating from the teams and the others. It went well in any case, and I’m very grateful to have been on this project.
What has been your proudest moment as part of Togo YEYE?
Malaika Nabilatou: I think the proudest moment I had with this campaign was when I saw the result first on the website. When I saw the story, I was like “wow, we finally made it.”
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Inside The Parties Breathing New Life Into Lagos’ Nightlife Scene
No matter who you, these parties provide a safe space to let loose without fear of objectification or...
The crowd marches along on the dancefloor, vibrating to a pulse that is both familiar and electrifying. It takes a second to identify Grammy nominee, Rema’s “Ozeba,” pouring out of the speakers and whipping the crowd into a frenzy as it takes on new life as a turbulent EDM track. The crowd growls and screams in approval of the DJ’s remix, yet another banger in a night filled with back-to-back hits. Hands in the air, sweat dripping from glistening bodies, smoke floating around the dancefloor and young people gyrating with reckless abandon, Element House provides the people with the release they deserve and they reward it with an undying loyalty to its rhythm and raves as they keep coming back.
Party culture has taken on new dimensions in Nigeria over the last two decades as a reaction to economic, social and cultural progressions. This evolution of the way we party is significant considering that Nigeria is a society that lays heavy emphasis on certain accepted standards of moral behavior, rooted in culture and tradition. But that has never once stopped a good time from happening. Millennials and older gen-z will remember the street parties and carnivals of old, usually held at the end of summer holidays or in December, where music by TuFace, Mo’Hits, Akon, Shakira, Lady Gaga and 50 Cent were the staple, among others. There were certain songs automatically expected from any DJ worth his salt otherwise it was not too far-fetched to see a DJ, with his equipment on his head, fleeing for his safety while being chased by an irate mob of partygoers.
The more things change, the more they stay the same. These carnivals and street parties might have been phased out but the idea remains the same while the power and influence of communities powering party culture in Lagos and Nigeria at large has only gotten stronger, especially with the advent of social media. The Block Party series–started in Lagos, Nigeria as the Mainland Block Party–has become the go-to event to celebrate youth culture and foster connections that cut across multiple African cities and walks of life. Today, with curated events in Ibadan, Abuja, Lagos, Accra and others, a community of partygoers is assured maximum enjoyment whenever the Block Party organisers announce an event in their city of the month. The people will always return to where their tastes are catered to, bringing along friends, family and newbies eager to bask in the atmosphere of loud music and togetherness.
In 2012, Warner Bros. Pictures released Project X–a film that follows three friends and high-school students who attempt to gain popularity by throwing a party which ends up escalating out of their control and reaching epic proportions. This idea propagated by Hollywood would go on to influence several house parties thrown in Lagos during the mid to late 2010s. The idea that with the right DJ/music playing at the right venue and with just the right crowd, then immortality was possible–a party so grand that it would be spoken about in glowing terms for years to come until it became lore. Today, house parties are more intimate and controlled, the degrees of separation between attendees reduced by a mutual friend or WhatsApp group they all have in common. From game nights to karaoke sessions to kinky sex parties, whether it’s at Balloons & Cups, a Vogue Boys pool party, or a get-together by the ‘Lagos on a Budget’ IG Community, the role house parties play in the ever evolving party culture is not insignificant, creating a pipeline that feeds into the much larger raves which weekends in Lagos are becoming synonymous with.
Whether it’s Element House today, Mainland House tomorrow, Group Therapy next weekend, WIRED or a host of other house and EDM inspired movements, partygoers are spoiled for choice when it comes to where to indulge their fundamental music tastes in a secure and controlled environment. Nothing is off the menu and a good time is the only badge of honor worth collecting. The increasing popularity of the rave movement in recent years is testament to the fact that it works for both organizers and attendees. The Covid-19 lockdowns changed the way Nigerians party; after months of being isolated from their communities and having to socialize in more intimate and private spaces, it’s no surprise that raves, with their underground nature, became the outlet of choice for several young people as soon as the world opened back up. According to Tonia, a medical doctor and frequent raver living in Lagos, her first few times at parties following the end of the lockdowns were not fun. “I was partying with caution, wearing face masks constantly and carrying hand sanitizer around. It became a much better experience subsequently when everything relaxed and soon enough, I was back enjoying the time of my life at Lagos parties.”
Unburdened from the heavy spending, bottle-popping culture that characterizes Lagos nightlife and cloaked in the embrace of judgment-free anonymity and numbers, raves have become a safe haven for a community of partygoers determined to turn up in the midst of the sheer craziness of living in this day and age. For Michael-Peace, a brand & creative assistant and frequent raver, the appeal goes beyond a need to unwind and the feelings of peace he experiences at raves. “Whether I’m listening to the DJ or just watching the crowd move to the music, it’s a very mindful experience for me,” he says.“I’m grateful to just be there and appreciative of how we can all be one community or family for that period of time.”
The appeal of the rave scene is its inclusivity and it’s a common theme for the new wave of parties exploding in Lagos and environs. No matter who you are or what you stand for, these parties provide a safe space to let loose without fear of objectification or discrimination resulting from socio-economic and political differences, misogyny and other less elegant occurrences which are part of mainstream Nigerian nightlife. This is important to Tonia who, on multiple occasions, has been prevented by bouncers from entering clubs without a male companion. “I’ll always prefer raves, they are much freer and nobody is performing here. There’s no need to show off the number of bottles you bought like there is in a club. Everyone just wants to turn the fuck up and have the time of their lives.”
For five or six hours, the disco lights, turbulent music and fellow ravers provide solace from the outside world. “Dancing the night away” is not merely a suggestion but a divine mandate from the gods of the rave. It is almost impossible to emerge after such an experience and not want to do it again. The music beckons all and sundry to come out, purge yourself of all inhibitions on the dancefloor, then return home and spread the gospel of the electronic music scene to all who might listen. In Michael-Peace’s own words: “There are people I’ve put onto raves and who loved the experience and constantly thank me for introducing them to it. Once you get hooked on it, you’ll never want to let go.”
Party culture in Nigeria continues to evolve as the new wave of parties mark their time and place in history. But the street parties and carnivals of yesteryears are not to be forgotten. The power of community continues to connect the old wave with the new wave, ensuring that actual people remain the focal point of these events, and party goers can enjoy nightlife experiences uniquely tailored to their ever changing wants and needs.
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