GENERAL INTRODUCTION
LITERATURE, MUSIC AND SOCIETY
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Literature, being a fundamental discipline in the humanities, is a field of study with no univocal perception or definition which to various people can mean various things. However, a critic once mentioned that “in an attempt to define the term ‘literature’, one can distinguish between two general directions: a broad and a narrow definition.” In its broadest description, literature can be seen as works of art written or spoken which serves men as a means of creative or imaginative expression of their thoughts, feelings, anxieties, affections and the sum total of their activities. Proponents of this school of thought divide literature into two important strands: Oral Literature and Written Literature.
Moreover, stories, songs, rituals, festivals, ceremonies etc which are the ancient forms of oral expressions are not established on some unorganized or primitive customs but premised upon a systemic pattern concentrated towards a definite end and a concise objective. Therefore, ever before the advent of graphological representation of verbal act in alphabetical or pictographic medium, man has always given a concerted effort, through verbal means, to the evaluation of his society, explanation of natural complexities and interpretation of communal perception of moral acceptance which is adequately preserved in his oral tradition. This, therefore, informs the specificity of the type of cultural value passed down from one generation to another.
In The Defense of Canon (2014), Arthur Krystal expatiates thus:
Literary means not only what is written but what is voiced, what is expressed, what is invented in whatever form ___in which case maps, sermons, cosmic strips, cartoons, speeches, photographs, movies, war memorials, and music all huddle beneath the literary umbrella.
Merriam Webster Dictionary provides an analogous explication of literature by asserting that it is “the aggregate of a usually specified type of musical compositions.” Krystal (2014) hinted that the other definitional polemics of literature that attempts to discern literature along the line of every form of written materials creatively and aesthetically consolidated for a romantic end of human consumption which must necessarily be written and at same time canonized within such delimited category becomes infamous within the undertakings of critics in literary parlance at the dawn of the 19th century. Meanwhile, according to Newsweek, as observed by Krystal (2014), the most influential cultural figure now alive isn’t a novelist or historian but Bob Dylan, a man described by Christopher Rick as a “song and dance man.” He also mentioned that the index to A New Literary History contains more references to Dylan than to Stephen Crane and Hart Crane combined. This is a musician who has been nominated for the Nobel Prize in Literature every year since 1996. This, to a reckonable degree, establishes that literature and art in their broadest forms can be used interchangeably thereby bringing all forms of human expressions (written or spoken) subsumed under what we refer to as literature and these include: music, fiction, movies, paintings, plays, poetry, etc.
Music is another concept that is overtly controversial and complex to define. Its understanding varies from one community and individual to another and there seems to be no conventional harmony in what scholars say about this wonderful estate of human endeavor. Chapter two will examine the established authorities on this subject but a general statement will be made at this point to corroborate the interlacing relationship of music, literature and the society.
It was Henry David Thoreau, as quoted by the compilers of “Definition of Music”, who mentioned that music is “the sound of universal laws promulgated.” In “After Adorno, Rethinking Music Sociology”, Tia Donora (2003) reemphasized Henry David’s perspective thus:
Music has power …. Across culture and time it has been linked with persuasion, healing corruption, and many other transformational matters.
Music, therefore, being a complex amalgam of melody, harmony, rhythm and silence has been a crucial institution known in the history of human expression. It has served faithfully as observed by Plato in his Republic, as a powerful instrument of compelling obedience in the society. According to the Mozartian school of thought that centers around the influence made by Wolfgang Armdeus Mozart (1756-1791) the idea of musical virtuoso is that music has an effective force maintaining a kind of particular hold on the social and religious system of society. Music in reality reflects the political and ethical norms, the philosophical worldviews and the social acceptance of a group of people who live together in an organized way within a definite identifiable structure.
Society on its own means the aggregate of people living within a more or less ordered community. Cambridge Dictionary (2016) provides that society is “a large group of people who live together in an organized way, making decisions about how to do things and sharing the work that needs to be done. All the people in a country, or in similar countries, can be referred to as a society.” It is obvious that the term society can be used in a polysemic sense to imply several things in different context. However, the perception of this term that is more relevant within the scope of this study is that which has to do with social interaction of a group of individuals interdependently relating within an organized spatio-temporal setting. The contributors to the Online Encyclopedia wrote:
A society is a group of people involved in persistent interaction, or a large social grouping sharing the same geographical or social territory, typically subject to the same political authority and the dominant cultural expectations. Societies are characterized by patterns of relationships (social relations) between individuals who share distinctive culture and institutions; a given society may be described as the sum total of such relationships among its constituent members.
(www.wikipedia.com/society)
More so, society is the world in which all the complexities and manifestations of everything known as humanity or existence finds expressions. These include arts, science, religion, government, education, economic activities among others. The society is ordered and structured by the various engagements of people occupying a space within a specific social or geographical boundary.
Besides, it has been shown that literature, music and society sustain a convoluted relationship and are intricately intertwined such that they are inseparable from each other. Any meaningful evaluation of music aimed at an absolute and reliable academic end must take into cognizance its literary relevance as well as its implications in the lives of the people in the society.
Therefore, this project sets out to principally examine music as a reflective tool for social and political criticism alongside the accuracy of its evaluation of the society. Through a sociological appraisal of three Nigerian artists: Bukola Elemide, Bisade Ologunde and Alexander Ajifolaji, and some of their songs which provide this researcher his data of analysis, the institution of music will not only be viewed as just representational of their aesthetic prowess but also as a vehement weapon of political advocacy with which the immediate society is critically evaluated. The songs that have been selected for this work include:
Pete-pete by Bukola Elemide (Asa) and Alexander Ajifolaji (9ice)
Iya by Asa
200 Million Mumu by Bisade Ologunde (Lagbaja)
Fire on the Mountain (Asa)
BACKGROUND OF THE STUDY
Nigeria has always been the home of cultural and traditional diversity from time immemorial. Our oral traditions have served us faithfully in the preservation of our antiquated past. We are richly in touch with the complexities of the ancient communities and the system that constitute various institutions of that period through the oral corpus being passed down chiefly through verbal means from one generation to another. Among the prized inheritance of invaluable worth conferred on our contemporary society by the primordial society is the rich form of art and an organized linguistic system. This is evident in the songs (especially the folk and traditional ones) of the country. Overtly, there is a considerable difference between the traditional music of the pre-colonial era and this post-colonial period due to socio-political globalization of the Nations across the planet. The musical activity seems to have undergone an obvious metamorphosis of sophisticated transubstantiation thereby possessing a rich blend with Westernization and civilization and still very much in touch with its rich cultural and traditional root adequately embedded in its “orality”. (Bode Ajuwon 1984: 306-318, Olu Obafemi 2010, Joel Adedeji 1971: 134, Jacob Mhando 2008, Peter Widdowson 1999, Lekan Oyegoke 2000: 34-35)
This interactive blend with the Western world has engendered myriads of musical genres across the continent. The globalization of the human race has been instrumental in the destruction of cultural hegemonies and societal limitations, hence redefining communal stereotypes through inter-racial and inter-community relationships, though not without its attendant ethical and religious consequences. Some types of musical genres like Apala, Fuji, Juju, Ijala, Rara, etc. popular among the Yoruba People few centuries ago have gradually given a spacious room for other strands of musical compositions introduced by Western imperial encroachment, colonialism, travels, polities, religion etc. Some of this types that have come to stay include hip hop, rocks, R&B, blues, reggae, jazz, etc. Africans, being such a productively endowed continent, have authoritatively re-invented many localized genres of their own. Prominent among these is the famous Afro-beat that was invented by late Fela (Anikulapo) Kuti.
Moreover, Africans do not sing for just the fun of it. Music, as an integral part of the African society, serves as the repository where histories are written, social sensibilities are addressed, political activities are evaluated, religious nuances are interpreted and remedial principles are sometimes proffered for the stabilization of every facet of the people existing within a cyclic continuum. Although it could serve as medium of refreshing one’s fatigued sinews, it could also serve the critic as a tool manipulated to satisfy his inclination for criticism. This is evident in the songs of African musical doyens like Fela Kuti, Ebenezer Obe, Lucky Dube, Beautiful Nubia, Sunny Ade etc. Discovering this recurring preoccupation and thematic commitment to socio-political happenings among Nigerian artists is therefore the motivation behind this work, hence the researcher intends to probe their devotion to overt social realities alongside their evaluation of varying challenges that mar the lives of a people within a spatio-temporal order as well as their proposed solutions to these challenges.
SIGNIFICANCE OF THE STUDY
It is an unequivocal fact that many authorities in sociology, literature, anthropology and linguistics have done extensive study of the sociological relevance of music and the way it has been a very strong tool usually monopolized for the purpose of entertainment and education. History has always found its voice in various forms of human expression and to sufficiently understand the complexities of certain people, you must have an adequate grasp of all their social, religious, political and economic activities. However, music is not just a part of human life that contains in details these realities, but also an organized form of art that provides a wide insight to how people perceive their present situations and their presages and expectations about the future. This established importance of music has therefore drawn notable thinkers and scholars across different ages ranging from the Greco-Roman philosophers like Aristotle, Horace and Plato to twenty-first century academics and critics like Rene Warren and Ferdinand de Saussure.
Moreover, there has been a school of thought which attempts to romanticize the art of music with a reverberating echo on its entertainment usefulness abnegating its didactic significance. To scholars that uphold this school of thought, music is meant to be enjoyed and to serve men as palliatives or pleasure in the hours of discomfort. Nevertheless, by maintaining an opposing argument against such polemics which attempts to pigeonhole this much patronized artistry to such romantic ideology, this study will emphasize, evaluate, analyze, and interpret musical documents of selected musicians with the aim of bringing their sociopolitical and anthropological relevance to the fore.
The selected musicians, though have enjoyed public attention for a considerable period of time in the mainstream and social life of their African and non-African fans, pocket-sized attention has however been paid to the componential relevance in the literary parlance of criticism. The songs specifically chosen are representational of the thematic commitments of these individual artists and therefore, an evaluation of their socio-political essence which is the primary preoccupation of this work is motivated towards been an intellectual and resourceful contribution to scholarship.
THEORETICAL FRAMEWORK
This work draws heavily from the theoretical principles of sociological approach of Sociology and social theory of Literature.
Sociological approach is an ideological principle aimed at understanding the social world by situating social events in their corresponding environment (i.e. social structure, culture, history) and evaluating social phenomena by collecting and analyzing empirical data. Kenneth Allen (2006) mentioned that sociological theory consists of abstract and testable propositions about society. Sociological approach goes beyond the application of everyday common sense and conventions but engages in a systematic process of understanding the social world. This field of scholastic activity is relatively new and can easily date back to the 18th and 19th century. These periods are the height of drastic social changes (usually called the age of enlightenment) such as industrialization, urbanization, and rise of democratic states consequently triggering particularly Western thinkers to become aware of the society.
Famous names whose works have become authorities in the sociological school of thought include: Talcott Parson, Robert K. Merton, Randall Collins, James Samuel Coleman, Peter Blau, Marshal Mcluhan, Immanuel Wallerstein, George Homans, Harrison White, Theda Scocpol, Gerhard Lenski, Pierre van den Berghe and Jonathan H. Turner.
Social theory as a distinct discipline which emerges in the 20th century and has largely equaled the attitude of critical thinking, based on rationality, logic and objectivity. Allen (2006) mentioned that the theory focuses on commentary and critique of modern society rather than explanation. Social theory is often closer to continental (conventional) philosophy, thus it is less concerned with objectivity and derivation of testable propositions like the sociologists’ tenets, and more likely to pass normative judgments.
Prominent social theorists include Jurgen Habermas, Anthony Giddens, Michel Foucault, Dorothy Smith, Afred Schutz, Jeffery Alexander and Jacques Derrida.
RESEARCH METHODOLOGY
This project is predicated upon the accessible library and online materials available in the thematic direction of this work. These academic materials are consulted to substantiate some basic positions relevant to the subject of my focus. Other works that serve the researcher’s interest amply are musical interviews, journals, soundtracks, biographies, and political documents. More so, an extensive appraisal will be done on the selected songs to establish their sociopolitical, cultural and anthropological applicability.
SCOPE OF THE STUDY
Overtly, the subject of music is a profound one especially in the academic context. Music can be studied along the canonized or politicized axis. Its social functions as well as its religious significance are another endearing road that has been much travelled by noble minds across different ages. Without any attempt to compress this critical subject, the geographical scope of the musical productions in this project is delimited to the contributions of three artists (Bukola Elemide, Bisade Ologunde and Alexander Ajifolaji) from the Western part of Nigeria. Similarly, though there voluminous premises that should attract researchers’ minds especially with such a complex idea as music, the sociopolitical implication of their songs will be the primary thematic focus of this research work.
Overtly, musical production in Nigeria is an open-ended enterprise with the impossibility of been catalogued. Therefore, this study attempts to interrogate a limited fragment of Nigerian Music by selecting representational songs of Asa, 9ice, and Lagbaja. The following songs have been selected in this study:
Pete-pete by Bukola Elemide (Asa) and Alexander Ajifolaji (9ice)
Iya Ni by Asa
200 Million Mumu: the Bitter Truth (part 1 and 3) by Bisade Ologunde (Lagbaja)
Fire on the Mountain (Asa)
This study will however, evaluate them in relation to the social sensibilities, political instabilities, economic uncertainties and religious crisis, of the contemporary Nigeria society. However, the spatio-temporal evaluation of these songs is geographically limited to the social and political activities of Nigeria.
BIOGRAPHICAL NOTE
BUKOLA ELEMIDE
Bukola Elemide, famously known by her stage name “Asa” is a talented Nigerian musician born on the 17th of September, 1982 to her Nigerian parents in Paris, France. She returned to Nigeria at the age of two and spent the next 18years at Alagbole, a border town in Ogun State at the suburb of Lagos. “Asa” is the Yoruba word for “Hawk”, a powerful carnivorous bird known for its strength, speed and adroit vision. This is representational of her thematic deportments and symphonic style.
She was influenced in her growing years by musicians like Erykah Badu, Raphael Saadiq, Lauryn Hill, Femi Kuti and Angelique. As the only female child in the family, she has been saddled with the responsibilities of house chores at a very tender age. It was during these solitary moments that her talent as a potential musician began to emerge. She grew with rich access to the works of musical doyens like Marvin Gaye, Erykah Badu, D’Angelo, Raphael Sadiq, Lauryn Hill, Angeliqu Kidjo, Femi Kuti, Bob Marley, Aretha Ranklin, Sunny Ade and Ebenezer Obey from which she eventually draws obvious inspiration. Most of these musicians are the popular artists with her father as they dominate his musical collections.
Asa grew up in perpetual loneliness, though surrounded by her family and her loved ones, she could not fit appropriately into the usual cliques and was often sad, feeling out of place in her childhood. This feeling also followed her into adolescence. She was an unusual kid and music was her active palliative against solitude and loneliness. Asa sometimes will go to the park with her brothers to sing and dance at this tender age. However, she does more of her singing and dreaming in an imaginary universe of hers alone.
In an interview with Tope Olukunle, (February 20, 2010), she hinted about these specific years of her life thus:
I was a tomboy and when I was a teenager I became very shy because people made fun of me…in my own way, I was already attracting attention! I got into the habit of never doing anything like everyone else. People didn’t understand my low-pitched deep voice; the choirs didn’t want anything to do with me. I had to get to the church first if I was to have any chance of getting near the microphone!
(www.odili.net/news/source/2010/feb/20/tribune/images/2)
In her desperate pursuit of what is called happiness, she fought against rejection, against disappointments, and intimidations to achieve her dreams. She sacrificed and invested everything into the only path of joy she has found.
At 18, Asa was acquainted with frustration. The university was on strike, the choirs were snubbing her. Nevertheless, she managed to get her voice heard on a few radio talent shows and her first applause brought her boundless pleasure. That was when she signed up in secret, for the Peter King’s School of Music and learnt to play the guitar in 6 months.
MUSICAL CAREER
2004 was a defining moment in her life when she met her manager, Janet through whom she became connected with the likes of Cobhams Emmanuel Asuquo and Christopher Dupony. Cobhams eventually turned out to be her musical partner and producer. When she returned to Paris at the age of twenty, she was confronted with the chance to test out her talent on the French musical scene, performing with artists such as the Nubians, Manu Dibango, and Tony Allen. Meanwhile, back in Nigeria, her first singles, Eye Adaba, then Jailer, were beginning to get airtime. She was chosen by MTV as the ambassador for South Africa, and her popularity was growing so fast. It was at this time that she also met other famous artists like Akon, John Legend, Beyonce and Snoop Dog among others.
After she signed in partner with Cobhams to the Naive label, with the involvement of Christopher Dupouy, she produced a magnificent eponymous album with untrammeled melodies and emotions. Her voice and energy was a huge testimony to her enormous talent. The flautist Magic Malik who is also featured enlightens that the richness of the arrangements: the elegant strings, perfectly placed drums and percussion, guitar (her favorite instrument), along with the Hammond organ playing the field between fuck and soul are the magical simplicities through which the songs permeate the soul of her audience. For example, There is Fire on the Mountain, which is the first track released in the album, combines the rich elements of R&B, pop and Reggae to metaphorically depict the social and political decadence the modern society is plunged into.
Asa uses songs to express specific though sometimes, hurtful truth aimed at transmitting positive values and also to put words to the things that hurt. Jailer another track in the album is representational of the proverbial saying that says “you reap what you sow” Other sound track in her first release include: Eye Adaba, 360, Peace, No One Knows Tomorrow, So Beautiful, Subway, and Bi’ Banke. The release of this album saw her win the prestigious French Constantin Award in 2008, where she was voted best fresh talent of 10 singers or groups by a jury of 19 music-industry specialists in Paris. Her second album, Beautiful Imperfections, was released on 25 October, 2010.
She spends more time in Paris than she does in Nigeria. In 2012, she was accused of being gay and was charged to court for lesbianism. Though, she later denied being a lesbian, the controversy began when she said she has nothing against it.
Her latest album, Bed of Stone, was released in 2014. Though this is not as popular as her former productions, it was however, a significant contribution to the Music Industry. She also mentioned that she has found the love of her life and she also did not reveal if it is a male or female.
Bukola Elemide is a recipient of some prestigious awards. Among which include: Prix Constantin (2008), French Music Award Victoires de la Musique nomination for ‘Female Artist of the Year (2011), Recording of the Year – Bi banke by Asa Headies (2008), Headies Awards Album of the Year award (2008), Won Headies Next Rated Award- Asa (2006) among others. All these are testimonials to her artistic prowess and momentum talent.
BISADE OLOGUNDE
Bisade Ologunde popularly known by the pseudonym “Lagbaja” is a Nigeria afrobeat musician, instrumentalist and song-writer. He was born in 1960 in the Odogun Compound, Ijagbo Community in Oyun Local Government Area of Kwara State.
Semantically, the word Lagbaja in the Yoruba context means “somebody” or “someone” whose identity is not known. He justifies the adoption of this name and his marked style by asserting that it is in the bid to identify with faceless, voiceless, unknown and the common men occupying the lowest strata of the contemporary social structure. He is also famous as “Omo baba Muko Muko” which can be literarily translated as “the son of the porridge drinker”. This is another indication that he seeks to be perceived in the light of the impoverished majority downtrodden by the kleptomaniac excesses of the privileged minority. No wonder his first album is titled “Lagbaja” from which is famous stage name is eventually adopted.
Anywhere Lagbaja is mentioned, some basic things about his aesthetic individualities which are testimonials of his exclusive relevance become immediately foremost in the mind. Among these include his marked style which has similitude with the masquerade tradition among the Yoruba people. Masquerades in the Yoruba traditional system are believed to be the evident reincarnation of the ancestors who return to the land of the living to not only reunite with their loved ones but also to establish retributive justice on anyone or thing that strains the communal harmony of social relations. In similar way, Ologunde’s marked style epitomizes this truth and the evenhandedness that is wanting in the society. It is also intriguing to know that his real picture is not available in the media mainstream or public domain. This means Lagbaja can be anybody or nobody.
MUSICAL CARRIER
As an artist, Lagbaja thrived in the musical industry with substantial contributions which serves as fundamental embellishment to its sociological dimension. In March, 1997, he established his club, “Motherlan” in the heart of Ikeja in Lagos. Motherlan’s design is influenced by the tradition of the African town or market square, where people gather under the moonlight for ceremonies and activities like dance contests, storytelling, wrestling, singing etc.
Fela Kuti, the doyen of African Music and the inventor of the popular Afrobeat tradition, has a great influence on his melodious tradition and thematic commitments. He however mentioned that though Fela maintains an immense effect on the musical genre he has come to devote his carrier to, he has his discrete style and uniqueness identifiable by his custom and instrumental blends.
Some of his collections include “Ikira” (1993), “Lagbaja” (1993), Lest Un African thing, (1996), “Abami” (2000), ‘The mother of the Groove’ (2005), ‘Paradise’ (2009), ‘Sharp Sharp’ (2009) Me (2010), “We” (2010), 200 Million Mumu (2012).
ALEXANDER AJIFOLAJI
Alexander Ajifolaji also known as 9ice, Adigun, Ibile, Bashorun Gaa, Hit maker etc,. is a Nigerian musician born on 17th of January, 1980 in the South Western part of the country in Ogbomosho, Oyo State. However, he grew up in the district of Bariga in Lagos.
Oyo Empire is believed to be an important centre of Yoruba cultural civilization and the ancient cradle of her artistry. Oyo enjoyed the reputation of being a vital kingdom as far as the traditional peculiarity of the Yoruba nation is concern. This is noticeable in their unique linguistic system and cultural vitality. This background is overtly fundamental to his (9ice’s) musical specificities represented in his great mastery of Yoruba proverbs and epigrammatic expressions which has gone a long way in establishing him as a strong voice in socio-political activities of his country.
His musical exploit was temporarily truncated in 2014 when he showed interest in contesting for a political office in his native city, Ogbomosho in Oyo State. Pushing his political carrier to the limelight, he joined the All Progressive Congress (APC) and declared his interest to run for a seat at the Federal House of Representatives. Though he lost in the primaries, his political ambition was not without some dividends as he was soon named as the Special Adviser to the then Oyo State Governor, Senator Abiola Ajimobi.
His primary and secondary education was at Abule Olokuta Primary School and CMS Grammar School respectively. Though he furthered to study law in Lagos State University, he dropped out of school to concentrate on his musical carrier. He was born into a polygamous family of five wives and nine children. According to him, his first composition was at the age of 14 in a “Fuji” style being a vibrant fan of the likes of ‘Pasuma’. The likes of Ebenezer Obey, King Sunny Ade, Tatalo Alamu, Late Alhaji Ayinla Omonura, Late Alhaji Haruna Ishola etc. were strong sources of inspiration that have informed his musical uniqueness. Some of his Albums include Certificate (2007), Gongo Aso (2008), Tradition (2009), Versus (2011), Bashorun Gaa (2011), Pace Setter (2015) etc. He is a recipient of many awards among which include MOBO Best African Act (2008) and Hip hop Awards Best Vocal Performance Male (2005).
CONCLUSION
It has been shown that music is an integral part of human society which serves both aesthetic and didactic functions. A brief attention has been paid to the general life story of the selected musicians in this chapter and it has been established that their works will provide the basic material upon which various positions will be taken.
TABLE OF CONTENTS
Title Page I-II
Certification III
Dedication IV
Acknowledgements V
Abstract VI
Table of Contents VII-XI
Music, Literature and Society 1-4
CHAPTER TWO
SECTION ONE
Music as A Means of Entertainment 16
Music as A Means of Education 17
Music as an Instrument of Socio-Political Criticism 18-19
SECTION TWO
SECTION THREE
CHAPTER THREE: THE THEMATIC APPRAISAL OF 9ICE’S AND ASA’S SONGS
A Critical Appraisal Of 9ice’s Musical Style 32-34
PETEPETE
Post-Colonial Disillusionment 35-36
Social Recklessness and Its Effects 37-38
THERE IS FIRE ON THE MOUNTAIN
Political Instability and Insecurity 43-45
Cultural and Moral Decadence 47-48
IYA NI
Sociopolitical Servitude 51-52
CHAPTER FOUR: A CRITICAL ANALYSIS OF LAGBAJA’S SONGS
An Appraisal of Lagbaja Musical Style 53-54
The Roles of the Citizens in a System of Corruption 55-57
Relevance of His Masked Tradition 57-58
Criticism of the Social Culture of Scapegoatism 58-60
Restoration of Moral Values as the Way Forward 60-61
200 MILLION MUMU (PART THREE)
Political Avariciousness 62-63
CHAPTER FIVE
Conclusion 69-70
Recommendations 71
Works Cited 71-74
Appendices 75-83
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