The entrepreneurial spirit of an Igbo person is next to none. They are known for leaving their enclaves in the South East, Nigeria, migrating to Lagos, different parts of Nigeria and all over the world in search of greener pastures and returning to their villages in ONE YEAR with automobiles and wealth. I am not exaggerating; most actually make it in such very short interval. Sui generis to the Igbo people, it is the dream of every one of them who leaves their ancestral homes in the South East to go abroad.
James S. Coleman in his book, ‘Nigeria: Background To Nationalism’ (1963) aptly captured the nature of the Igbo person. He noted that the average Igbo person was more interested in educational development. That “characteristic personality and behavioural traits” of the Igbos as a group makes the “go-getter” admired. The man who has money is recognised and the man “who just sits quiet is not respected”. Life in Igbo societies is highly competitive and there is great emphasis on achieved status, which is captured in Trompenaars’ dimensions of culture as ‘ascription’, Coleman elucidated.
In recent times, an American journalist cum author, Robert Neuwirth noted that the Igbo apprenticeship system is the largest business incubator system in the world. He eulogised the business system in a TED talk about the age-old sharing economies of Africa. Most Igbos who migrate from their village are taken in by masters where they will intern and learn a trade and/or skill after which they will be freed and empowered with venture capital given by the master.
After the war and subsequent alienation from frontline roles in Nigerian politics, Igbos took to politics of escapism with their businesses as the succour to feel less tyrannized by the unfavourable political events of the past five decades. The last time an Igbo man got to the highest echelon of power after the war was during the Shagari administration when Chief Alex Ekwueme was vice-president. The coup, which removed that administration, reinforced the claim that there remains a grand conspiracy to keep Igbo people who are inured to such treatment out of Nigeria’s top political jobs deepening the schism between the major ethnic nationalities.
Igbo presidency has become an inescapable question much more in the fourth republic where the South West, South South and Northern Region have all had the top position in the spirit of North/South rotation of the presidency in political parties. More so in a time of dissent by Igbo youths who have taken to secessionist agitations. There is a general feeling that the Igbo ethnic group as one of the triads of power in Nigeria deserve the top job. Secessionist tendencies are borne out of lack of equity stemming mainly from this exclusion. Many Igbos either take solace in running their business and/or seeking restructuring or outright division of Nigeria since it seems the other ethnic groups are not ready to accommodate them in politics, especially the north.
However, Igbos need to withdraw from abstinence from national politics which is one of the major bane of the exclusion so long as the South East remains in Nigeria. Before the war, Igbos were at the forefront of national politics. For those who earnestly seek restructuring, if their representatives aren’t at the table to discuss restructuring, how will it happen? By fiat? As much as the entrepreneurial spirit of Igbos abounds, it’s necessary to begin to care about Nigerian politics because that politics affects the lives and businesses of every Igbo person. Igbos have outsourced Nigeria’s leadership for many years to other ethnic groups and it has negatively impacted their lives.
Dr. Joe Abah made some comments in regards to Igbos building bridges but his submission was greeted with a barrage of opprobrium because he whittled down the discussion to Igbos desisting from abuses and vituperations on other ethnic groups. As the idiom goes, “don’t shoot the messenger”; Igbos must learn to take the message regardless of the person or medium or mode of delivery. Dr. Joe raised salient issues. Though his framing is argumentum non sequitur, for instance the use of derogatory terms for other ethnic groups is a thing in Nigeria, but it is high time Igbos begin to play strategic politics. Igbo presidency in 2023 is possible but Igbos must champion it. We must begin to caution our youths in secessionist groups who are wont to abusing other ethnic groups and taking extremist positions and expect others to be of good behaviour too.
Notably, Igbos have been loyal to PDP since 1999 because the ideals of the party aligns to the capitalist-business-oriented philosophy of the average Igbo person. Whether the PDP will appreciate this loyalty and field an Igbo person in 2023 is still indeterminate as there are talks of keeping the rotation of power in the north to wrestle power from APC. APC needs to begin to broaden its party philosophy and platform to accommodate Igbo people. It has to truly become a national party not only one that appeals to North and South West regions. The party gained some grounds in the last election in the South East adding senators and House of Representatives members to its ranks.
Igbos must begin to embrace Nigeria. Abdication hurts our businesses. We cannot achieve restructuring if we continue to stay away. According to Keith O’Regan escapism is “inadequate response to the magnitude of the crisis. Escapism is defined simultaneously and paradoxically by both a lack, and superfluity of imagination; both are counter-posed to a rationalist, realist, appropriate response of confronting and coming to terms with the problem directly.”
It is imperative for Ndi Igbo in various socio-political and umbrella groups like Ohanaeze Ndigbo to begin to broaden our participation in national politics. People like Senator Ifeanyi Ubah (YPP) and Senator Orji Uzor Kalu (APC) who have begun to seek for inclusion of Igbos in APC need to be encouraged. This falls under a regional strategy. South East should begin to view national parties (especially APC, PDP) beyond the presidential candidates but with a focus on 2023. Indubitably broad participation is an ingredient for national integration, inclusive governance, equity, justice, peace and unity.
Friday, July 12, 2019
Thursday, June 27, 2019
Afrohighlife: A Review of "Culture" by Umu Obiligbo featuring Flavour and Phyno
It is the biggest song in South East Nigeria and a big hit in the Nigerian music industry. Highlife music stars Umu Obiligbo's (Akunwafor jnr and Okpuozor) latest single "Culture" featuring industry giants Phyno and Flavour (A-list artistes in the Nigerian music industry) is an infusion of highlife, Igbo rap and afrobeat. Despite the rendition of the song in Igbo language, it has the trappings of a song, which brings highlife music to the mainstream.
Big time Nigerian music producer Masterkraft conjured what is the best tune from the east of the River Niger so far in 2019. Take a listen and you will be enthralled in the combination of esoteric and eclectic sound of drums, ogene instrument, plosive aerophone and slit drum; a mix of urbane and modern Afrobeat blended with African high life music. Acoustic sounds of guitar and flutes gives off euphoric feelings which sends downs chills down the spine; eclectic, facile and danceable. That song reflects the true meaning of native Nigerian music. The song is so smooth in the ears that it echos suavity.
Non-Igbos speakers may have a hard time recognising or paying attention to Umu Obiligbo. Afrobeat enthusiasts may not be interested in their highlife music, which is rendered in Igbo language. However featuring Phyno and Flavour and the inculcation of other genres gave it the singe some traction to appeal to a wider audience. Music aficionados would liken this collaboration to that of Lil Nas X featuring Billy Cyrus in "Old Town Road", where country music and hip hop came together to deliver a song which has broken streaming records and reduced the chasm between traditional American genres and mainstream music genres.
Between, there has been a rise of Afrobeat and rap music, which is the dominant tune in Nigeria in the South East which are rendered in Igbo language. Phyno is an Igbo rapper and a hip-hop artist. One of his latest hit, "Obiagu" a soundtrack used in Lionheart movie brings to fore the rising dominance of Nigerian languages in mainstream genres. In the South West, the Yoruba language is the default medium for delivering Afrobeat by the likes of Olamide and Burna Boy. Afrobeat in Igbo language has been gaining popularity with artistes like Phyno, Flavour, Zoro and Tekno among others preferring their mother tongue to English.
This evolution were the foundations on which highlife artistes like Umu Obiligbo utilized to mesmerize fans with their eclectic and danceable song. Previously, they were featured by Flavour in the song, "Awele" in which Flavour's Igbo highlife isn't as deep rooted as the duo who are the progeny to popular highlife musicians like Sir Osita Osadebe, Oliver De Coque, Rex Lawson et cetera, a brand of music that seem to be fading away.
The innovation of Umu Obiligbo in producing a tune, which criss-crosses many genres - highlife, Igbo rap, Afrobeat, hip-hop - is a genius feat. Everyone involved in the production of the song should be applauded, from the writer(s) to the producer. Phyno delivered a grade one Igbo rap. Flavour's beautiful high life voice blessed the track with his brilliance. A critic of the lyrics did not reveal explicit use of words because highlife music teaches people about life matters. An avenue to deliver wise sayings to listeners and this is what makes songs in the genre loved by mature audiences. However, the infusion of various genres in "Culture" cuts across all age brackets and gives the song an allure that is hard to resist.
The success of the song, which has racked over one million views on their combined on Youtube Vevo and over 7m combined (when you include views on Flavour's and other page, is a pointer to the brilliance of Nigerian artistes who are reinventing themselves and asserting the Nigerian music industry as the numero uno in Africa.
ThankGod Ukachukwu, @kcnaija
Big time Nigerian music producer Masterkraft conjured what is the best tune from the east of the River Niger so far in 2019. Take a listen and you will be enthralled in the combination of esoteric and eclectic sound of drums, ogene instrument, plosive aerophone and slit drum; a mix of urbane and modern Afrobeat blended with African high life music. Acoustic sounds of guitar and flutes gives off euphoric feelings which sends downs chills down the spine; eclectic, facile and danceable. That song reflects the true meaning of native Nigerian music. The song is so smooth in the ears that it echos suavity.
Non-Igbos speakers may have a hard time recognising or paying attention to Umu Obiligbo. Afrobeat enthusiasts may not be interested in their highlife music, which is rendered in Igbo language. However featuring Phyno and Flavour and the inculcation of other genres gave it the singe some traction to appeal to a wider audience. Music aficionados would liken this collaboration to that of Lil Nas X featuring Billy Cyrus in "Old Town Road", where country music and hip hop came together to deliver a song which has broken streaming records and reduced the chasm between traditional American genres and mainstream music genres.
Between, there has been a rise of Afrobeat and rap music, which is the dominant tune in Nigeria in the South East which are rendered in Igbo language. Phyno is an Igbo rapper and a hip-hop artist. One of his latest hit, "Obiagu" a soundtrack used in Lionheart movie brings to fore the rising dominance of Nigerian languages in mainstream genres. In the South West, the Yoruba language is the default medium for delivering Afrobeat by the likes of Olamide and Burna Boy. Afrobeat in Igbo language has been gaining popularity with artistes like Phyno, Flavour, Zoro and Tekno among others preferring their mother tongue to English.
This evolution were the foundations on which highlife artistes like Umu Obiligbo utilized to mesmerize fans with their eclectic and danceable song. Previously, they were featured by Flavour in the song, "Awele" in which Flavour's Igbo highlife isn't as deep rooted as the duo who are the progeny to popular highlife musicians like Sir Osita Osadebe, Oliver De Coque, Rex Lawson et cetera, a brand of music that seem to be fading away.
The innovation of Umu Obiligbo in producing a tune, which criss-crosses many genres - highlife, Igbo rap, Afrobeat, hip-hop - is a genius feat. Everyone involved in the production of the song should be applauded, from the writer(s) to the producer. Phyno delivered a grade one Igbo rap. Flavour's beautiful high life voice blessed the track with his brilliance. A critic of the lyrics did not reveal explicit use of words because highlife music teaches people about life matters. An avenue to deliver wise sayings to listeners and this is what makes songs in the genre loved by mature audiences. However, the infusion of various genres in "Culture" cuts across all age brackets and gives the song an allure that is hard to resist.
The success of the song, which has racked over one million views on their combined on Youtube Vevo and over 7m combined (when you include views on Flavour's and other page, is a pointer to the brilliance of Nigerian artistes who are reinventing themselves and asserting the Nigerian music industry as the numero uno in Africa.
ThankGod Ukachukwu, @kcnaija
Subscribe to:
Posts (Atom)