A Steady Climb to Centre-Stage Success

Yinka Olatunbosun

From baby strides to stage stardom, the multi-talented artist and Programmes director of Bi-okoto Drum and Dance Theatre in Ohio, USA, Yeye Funmilayo Ajamufua set her feet on the journey into theatre arts through a series of learning curve. Beginning with her childhood years, she recalled how her elder brother was one of her earliest influencers.

“He introduced me to the National Theatre when I was just eight years old, and the experience left an indelible mark on my memory,” she recounted in an interview. “He was there for a rehearsal, and I was fascinated by the energy and creativity that filled the space. Additionally, my mom was part of an entertainment group during her time at Leventis store, so you could say that art was in my blood.”

Beyond the natural instinct, she partied and partook in dance competitions where she often wound up in the top three. In time, she developed self-confidence and stage presence as she represented her school in literary and debating activities.

In order to pursue her interest in arts professionally, she considered having a formal education at the university. Prior to that, she enjoyed the tutelage of theatre artists in honing her craft.

“I was fortunate to have had the opportunity to train with the renowned Aunty Sola Sobowale’s dance company, Grassroot. Under her guidance, I honed my skills alongside talented arts ambassadors like Muyiwa Osinaike (Bababe) and later with Gong Beat, led by Debo Alexander. The infectious beats of drummer Isioma Williams would transport me to new heights, fueling my creativity and dedication to my craft.”

Tired of learning on the job, she studied at the Obafemi Awolowo University and obtained a certificate in Drama and Music.

“As a member of the Lagos State standing troupe, I had the opportunity to represent the state and country at local and international festivals,” she continued. “Through this experience, I learned the value of discipline, hard work and dedication.”

Life as a student in OAU was tough for her owing to her humble background.

“I recall racking pool tables at New Buka and assisting my friend, Lady B, with her food business in Old Buka, packing plates, and washing them. My determination to succeed drove me to travel to Lagos every Friday, perform with Kola Ogunkoya’s Afrobeat band at Jazzville or other venues, and return to Ife by Monday morning to attend lectures.”

The busy schedule took its toll on her and eventually, she couldn’t complete a degree programme at Ife. Later, she met Dr. Yeside Dosumu-Lawal at the Lagos State University (LASU) and finally completed a BA programme in Theatre Arts.

Her path eventually led her to audition for the Lagos State Arts Council, marking a significant milestone in her career.

For her, art is more than just an entertainment piece. It celebrates diversity, promotes cross-cultural understanding, and inspires future generations to embrace their creativity and individuality.

A product of Abeokuta Girls Grammar School and Titcombe College, Ajamufua has grown to become a multifaceted traditional cultural teaching and performing artist with a strong educational foundation and extensive professional experience.

In addition to her formal education, Yeye Funmilayo has acquired specialized training in Early Child Care at the Ohio Department of Education.

Now based in the US, she serves as the Programs Director of Bi-Okoto Drum & Dance Theatre, an esteemed African cultural institute in Ohio. She has significantly contributed to preserving and promoting African heritage through the arts.

Recently, Yeye Funmilayo was invited to serve as a panelist for the Ohio Arts Council’s ArtStart grant program, recognising her expertise in the field.

Asides her skills in grant research and writing, program development and management as well as community engagement and outreach, she highlighted some attributes that boost her professional growth.

“Dedication is the backbone of artistic growth, requiring consistent effort and hard work to hone one’s skills,” she observed. “Creativity is the engine that propels innovation, allowing artistes to think outside the box and bring fresh perspectives to their work.”

In addition, she identified resilience- amongst others-as a firewall against rejection, criticism, and failure, enabling artistes to keep pushing forward despite obstacles.

“Discipline is the framework that provides structure, ensuring timely delivery of quality work.

“Continuous learning is the compass that guides artistes through the ever-changing landscape of their craft, seeking feedback and staying updated on industry trends. Authenticity is the anchor that keeps artistes grounded in their unique voice, style, and vision.”

Despite the attraction to Nollywood, this cultural advocate stuck with theatre where she has found fulfillment.

“While I appreciate the opportunities that Nollywood offers, I have chosen to focus on my stage productions and cultural advocacy,” she explained. “The stage is where I find the most creative fulfillment and connection with my audience.

“The stage allows for a more immersive and interactive experience, enabling me to connect with audiences on a deeper level.

“Secondly, stage productions offer more creative control, allowing me to bring my unique vision and perspective to life.”

It’s no brainer that she would embrace cultural advocacy being something she had been very passionate about all her life.

But even passion comes with challenges. She found her own share in the demand of delivery on multiple roles.

“Juggling multiple roles and responsibilities can be overwhelming at times,” she admitted. “The physical demands of dancing and performing take a toll on my body, while the emotional demands of portraying characters and managing stress can be exhausting.

“Staying creative and innovative in a competitive industry requires constant learning and adaptation. Managing teams and collaborations can be a delicate balancing act, and marketing and promoting productions is a never-ending task.”

Through Bi-Okoto, she has been involved in several exciting projects including mentorship, community engagement and collaborations.

“Okoto Kekere, our pre-professional performance group, has been busy preparing for performances as they come. On mentorship, I’ve been guiding a new cohort of young artists, helping them develop their skills and find their unique voices.

“Also, Bi-Okoto has been collaborating with international artists on a cultural exchange program, fostering global understanding and creativity.

In spite of her initial uncertainty and self-doubt,
she persevered even where there were limited resources and high cultural expectations.

“Today, I’m proud of the artist I’ve become. I continue to evolve and grow, embracing new challenges and opportunities with an open heart and mind,” she said.

“Personally, I’ve been fortunate to have received nothing but encouragement and support for my passion for drumming, particularly from our founder, Baba Adebola. His guidance and motivation have been instrumental in my journey, and I’m grateful to have had a positive experience. It’s heartening to know that there are men who recognise and celebrate women’s contributions to the arts.

“Just recently, I was honoured to receive an award from the Guild of Theatre Arts Drummers, recognising my contributions to the field. I’m also proud to serve as the Director of Youth and Women Empowerment, where I can channel my passion for empowering others.”

If there’s anything she wouldn’t do, then it is to steer clear of sacred drums that are reserved for men.
“I would never approach or play those drums, as I believe in honoring the cultural protocols and traditions that surround them.”

“On the other hand, I’m also aware of drums that are specifically played by women, such as those in the King’s palace in Lagos, where women drummers belong to the traditional sect of drummers. These women are not just anyone but are specially trained and designated to play these drums. I appreciate and celebrate these unique traditions and the important roles that women play in them.”

For her, advocating African arts in the United States required intentionality, creativity, and dedication. She sought out like-minded individuals and organizations, learned about local culture and artistic traditions, and fused African arts through collaborations, workshops, and performances. By emphasizing universal themes and emotions, she bridged cultural gaps and fostered appreciation for African arts, addressing misconceptions and stereotypes through education and cultural immersion.

When she first arrived in the United States, she encountered myriad of challenges and cultural shocks that tested her resilience.

“The language barrier was daunting, as I struggled to adjust to a new language and accent. Adapting to American customs, norms, and values was also a significant hurdle, as I navigated unfamiliar cultural terrain.”

Still, homesickness and loneliness also weighed heavily on her, as she missed the familiarity of family and friends. Furthermore, she had to contend with stereotypes and misconceptions about Africa and its cultures, working to overcome preconceived notions and forge a new understanding.

“Perhaps most importantly, I had to balance my cultural identity, carefully maintaining my African heritage while embracing American culture. Despite these formidable challenges, I persevered, learned, and grew from these experiences, emerging stronger and more resilient as a result.”