Well before the Yorùbá people and their leaders sprang the surprise of their Western Nigeria Security Network codenamed Àmòtékùn, one has been living with it in several facets of the bedroom.
There are two windows in the bedroom draped in Àmòtékùn apparels. The closet, which had mirror doors, has scalloping on top of it, sewn in a manner to not inhibit the opening and closing. It is about nine inches in width.
Needless to say that the bedsheets and covers are emblazoned in Àmòtékùn insignia. There are seven pillows of various sizes around on the bed. All of them are sewn in Àmòtékùn apparels.
At the foot of the bed, to the left, rests a chair shaped like a woman’s high heeled shoe. It is a favourite because of the comfort it generously avails. It has selfishly taken one away from the yawning bed on several occasions. Its cover is unambiguously Àmòtékùn.
At the top of the bed, are hung two pictures of Àmòtékùn in 18′ x 18′ sized wooden frames. Lining the internal edges of the wooden frames are dried leathers cut off of Àmòtékùn. It is an added beauty.
In one of the pictures, the Àmòtékùn sprawls patiently but obviously, anxiously on the ground like a desperate hunter, hungry for a prey. Its countenance, flat, flush and supine. Deciphering its thoughts could be a yeoman’s task, but its body language is very instructive.
In the other picture, the Àmòtékùn is standing, but not merely. It gives an image akin to that of Usain Bolt about to start a one hundred meter dash. Gangly. Focused. Robust in its gawkiness.
It wears a ravenous look. Its manner of positioning purveys frantic and frenzied predatory instinct with conspicuous fulminating fury in its imminence. Its concentration, laser guided in its deadliness, it seems.
On one side of the wall is a picture of a shoe covered in the paraphernalia of Àmòtékùn. The shoe’s vamp looks like the frontage of one of The Young Shall Grow buses. Square shaped, shining and intimidating like a weapon.
Its welt, formatted like the hind legs of an Àmòtékùn, is as fanciful as it is clinical, but unambiguous in its message. The Architects of the design seemed intent on sending a message, with the inserted eyelet.
The brogue lamina seems deliberate on the shoe to ensure perfect Àmòtékùnisation of the entire concept. It seems a deliberate act meant to align the physiological features of the shoe to a real Àmòtékùn.
There are six candle holders strategically placed all over the room. All of them attired in the tapestry of Àmòtékùn. There were jewellery boxes, lampshades, mugs and calabash draped in the trappings of Àmòtékùn.
Thus, as the appeal of Àmòtékùn spread all over the world as a result of the determination of a people to refuse to be victims in their homesteads, living in this kind of room has to rub on one’s evaluation.
We have had Àmòtékùn medicine men. We have had Àmòtékùn Airlines. We have had Àmòtékùn Nursery and Primary Schools. We have had Àmòtékùn drones. We have had Àmòtékùn ladies. Àmòtékùn champagne. Àmòtékùn ships.
Without any scintilla of doubt, Àmòtékùn has become everyone and everyone has become Àmòtékùn. Àmòtékùn has been epithetised by many as a way to show solidarity with the efforts to provide security for the Oòduà Nation.
It was an unrestrained expression of inner desires of a people bewildered and befuddled by not just incompetence of unquantified proportions, but a putrid and parlous genre of it. Even, eni kò dùn mó, kò lè so; those who did not like it, had not the temerity to say it.
Thus, inadvertently and unwittingly, Àmòtékùn became the cognomen of the Yorùbá nation.