female artistes asking if she could be a guest on my radio show to promote her
new album that is meant for release this month. I said, “Why not? It will be my
privilege to have you on my show.” As we talked on, I tried chipping in a
little advice that it might not be a good idea releasing an album in the middle
of an ebola crisis; suggesting that right now people might be too worried and
preoccupied with the ebola scare to care about a new album. I told her she
would stand the risk of being branded insensitive for dropping her album at a
time the country is having a crisis of some sort.
I went on thinking I could
convince her to postpone the album release to a time when she can easily get
people’s attention. But she wouldn’t hear of it. She said “Bros forget dat tin
abeg, Naija no dey send tins like dat. After all, Dorobucci was released on the
day of the second Nyanya bomb blast and just after three weeks of the first
blast? Why didn’t they call it insensitive or irresponsible?”
She got me
chewing on that for a minute as I couldn’t think of anything further to say
than, ‘Ok dear, you are on for 7pm this Thursday.’ Isn’t it wonderful how the
peculiarities of this country knows no limit? Even in entertainment, we are of
a different cloth. It’s a party with no checks. How possible is it that
Dorobucci’s release on the same day of a major disaster could go unnoticed even
by the legion of entertainment journalists in Naija?
Little details as the
timing of a song release has never been an issue here as much as it is in other
climes. In the US for instance, a simple thing as that can make or kill a song.
But how lucky it is for the musicians and music stakeholders in Nigeria that
nobody bothers with such. The social irresponsibility of the artist has never
been an issue. As a celeb you can slap a police officer on your way to an
interview, brag about it live on air and get endorsed by a multinational brand
that same day. We are indeed a unique people. Maybe that explains the bulk of
unnecessary issues we face as a nation.
Etcetera has started again, with his exaggerations. I am already having
akpatoyi (goose pimples) with the thought that some have already called for my
excommunication from entertainment’s holy of holies for daring to defecate on
the alter of Naija entertainment’s ecclesiastical sanctimonium . Please forgive
me Father for I have sinned against the Cherubims and Seraphins. Inomine patri
et fili et spiritus sancti amen.
about the responsibility of a musician when he receives money for his studio
upgrade, or the responsibility he owes the arts when creating his music note by
note or chord by chord. The responsibility I am referring to here is the
personal responsibility that he owes to the society, his obligation to his
fellow human beings.
Some have attributed the nonchalant nature of the Nigerian
artist to a deeper societal moral decay that has developed into our
entertainment tradition. But it can also be traced to the separation of the
artist as an individual from the message of his art. Very little connection is
seen between the evaluation of the artist as a person and the evaluation of his
works and its messages. You don’t have to look very far for evidence of this
separationist attitude in the industry. You only just have to look at the
artist whose songs about humanity, equal rights and justice touched millions,
while he goes to concerts in his Bentley protected by vicious bouncers flogging
his fans away; or the ones who preach against corruption but always disobey
traffic regulations.
In some other countries, the aesthetic judgement of an
artist is intrinsically linked to how the artist lives. The concept of an
artist’s craftsmanship that is not connected strongly to other aspects of the
artist’s life is unacceptable. As a matter of fact, the ideals of the religious
songs that formed the basics of our beliefs in these parts should be integrated
into the devotional life of the artist.
Why has this hypocrisy flourished in
our society? It has become a standard operating procedure for the social
interface used by creative artists today. And by accepting this status quo, we
ensure its survival. Now more than ever, it is extremely important that people
realise that they are personally responsible for their actions. When an artist
is able to isolate himself or herself from the messages in their songs, they
come chillingly close to the “I’m just doing my job” mentality of a suicide
bomber. If you preach nudity and alcoholism in our music, how do you correct an
indecently dressed child? In fact, it is through the role models that we hold
forth for the rest of society that we can work to change the society.
I am
certain you can list some artists who are active in trying to shift our culture
towards more humane approaches to living. But my emphasis here is not the
rhetorical espoused in an artist’s song, but the way in which the artist leads
his or her life; the practice-what-you-preach idea. But in my opinion, the
practising is far more important than the preaching. As creative artists, we
are in the business of manufacturing culture.
works, and more importantly the way we work, we can demonstrate to the rest of
the society more desirable and appropriate ways of being human. Why not use
your fame and visibility for the betterment of humanity? Some of you might read
into what I am saying as a call for some sort of police to crack down on social
violators within the entertainment industry. But I am only just insinuating
that the methods some of us use to achieve our goals say a lot about the goal
itself. Of course I am not advocating for music designed to show off some
imaginary golden world that artists live in because I believe that the
traditional picture of the artist as the quintessential bohemian existing
outside of society, marching to the beat of a different drummer, is tempting,
but also false. The very act of we artists placing ourselves outside of society
is a profound statement about the society we live in.
a list of “Thou Shal Nots” or see it as trying to establish a moral yardstick
by which arts should be measured. I just want to appeal to our inner sense of
right and wrong. We shouldn’t model our arts in conformity with some set of
political and social preconceptions (unless that’s what you want to do). And as
you go ahead and create whatever you are inspired to create, you should also
think about the model of the society that you are putting forward. Would you
want to live there?
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