music & social criticism in nigeria

8/18/2019 Music & Social Criticism in Nigeria

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Music & Social Criticism in Nigeria

Thompson Olusegun EWATA (Ph.D.)

General Studies Department

Federal Universit o! Te"hnologA#ure$ Ondo State

%&%'%&'* %&+,%'&&+

e-atthsahoo."om* thompsone-atagmail."om

Abstract

Fela Ani#ulapo/0uti used 1a2is$ his stle o! musi" and the Pidgin English to address the

politi"al$ e"onomi"$ and so"ial "onditions o! the "ommon man$ the 2la"# ra"e and the

-orld. To him$ musi" serves the multidimensional purposes o! entertaining as -ell as

edu"ating the masses on the short"omings in the so"iet* and healing the state 3

ultimatel$ the -orld. The song$ Beast of no nation (Ani#ulapo/0uti$ +4&4)$ analsed in

the paper$ des"ri2es a state o! 2etraal o! the inno"ent "iti5ens 2 o!!i"ers o! the state andgovernment o! the da. 6t also ta#es a s-ipe at the United 7ations. As a so"ial

"ommentator$ Fela emploed the medium o! satire through the means o! parod to

ridi"ule the 7igerian 8udi"ial sstem* the government and "omment on the vanit o! the

United 7ations. Using the dis"ourse analti"al tool o! "onversation analsis$ the paper

adopted the "on"epts o! ad8a"en" pairs$ turn ta#ing and turn s-it"h in analsing the

se9uen"ing o! turns in the Beast of no nation as an intera"tion and as a real language

element that "ommuni"ates meaning to the intended audien"e. The paper dis"overed the

song used di!!erent intera"tion devi"es$ among -hi"h are: dis"ourse mar#ers (,$ o! ;

tpes$ ' universal and lo"alised)$ silen"e or short pauses (+%)$ turns (+;%)$ ad8a"en"

pairs (;) as -ell as turn s-it"hes other transitional devi"es. The most signi!i"ant !inding

o! the paper is the e


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1. Introduction

7igerian Pidgin English (hen"e!orth pidgin) plas a prominent role in "ommuni"ation in

7igeria$ at the level o! interpersonal$ intrapersonal$ !ormal$ in!ormal$ so"ial$ intima"$ events and

programmes on radio$ television$ adverts$ entertainment$ so"ial media$ et". as everone$ in ever

so"ioe"onomi" group -ithin the "ountr understands and=or "ommuni"ates in pidgin (A#ande$ '%%&*

Fara"las$ +44,* Oso2a$ '%+;). Pidgin is spo#en 2 ever 7igerian$ and some non/7igerians. Apart

!rom pidgin 2een a lingua !ran"a and=or a home language$ in homes -here the parents are !rom

di!!erent ethni" groups or -here parents live a multi/ethni" group environment (>alogun$ '%+)$ in

7igeria$ it has no- 2e"ome the language o! solidarit as e


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@produ"tivit$ simpli"it$ a""epta2ilit and understanding (>alogun$ '%+) a2ove all$ "reativit. The

language has sin"e graduated !rom the in"idental "onta"t language situation in a multilingual setting

(>ellama$ 7#ele C 1udom$ '%%,$ p. ,* Ed-ards$ +44* Bosel$ +4?4) 2rought a2out 2 the English

imperialists "ommer"ial$ 2ureau"rati"$ and missionar a"tivities (Ed-ards$ '%+) in the 7igerian

territor to a mother tongue=home language$ se"ond language and a lingua !ran"a in the multilingual

7igerian so"iet. Pidgin has sin"e 2e"ome not onl a means o! "ommuni"ation !or 7igerians$ it no-

provides ps"hologi"al$ so"iologi"al$ so"ial and politi"al relie!s to them (Ed-ards$ '%+).

Though it might 2e di!!i"ult to give a de!inite time!rame o! the origin o! the pidgin in 7igeria$

as there are no !ossili5ed eviden"e to tell us this. o-ever$ one !orm o! pidgin or the other has al-as

2een on the 7igerian environment 2e"ause o! the nations multilingual "hara"teristi"s 3 @6n !a"t$

pidgini5ed ausa is still spo#en 2 non/native spea#ers o! ausa in the mar#ets around a#e had

-hile a pidgini5ed !orm o! 6g2o is used at present in some 7iger Delta mar#ets (Fara"las$ +44,$ p. ').

The English/leritish did not -ant to learn the language(s) o! the natives (Fara"las$

+44,). The di!!erent nationalities that "ame together did not re9uire !luent spea#ers o! the di!!erent

languages$ 2ut a passa2le language to transa"t their 2usiness in (Thomason$ '%%+$ p. +). The le


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terms o! stru"ture 3 grammar$ morpholog and phonolog$ pidgin "om2ines the elements o! English

and the indigenous languages and @is tpi"all simpler than those native languages in so !ar as it has

!e-er -ords$ less morpholog$ and a more restri"ted range o! phonologi"al and snta"ti" options

(Ii"#!ord$ +4?&). With time$ pidgin has developed its o-n stru"tures and is the most -idel used

language in 7igeria. There are more spea#ers o! pidgin than the o!!i"ial (English) language and the

other indigenous languages put together (Oso2a$ '%+;) and it is graduall 2e"oming$ that is$ i! it has

2e"ome$ the most -idel spo#en language on the A!ri"an "ontinent (Fara"las$ +44,$ p. +).

Pidgin in 7igeria$ li#e in other parts o! the -orld is a rarel -ritten$ 2ut -idel spo#en medium

o! "ommuni"ation (olm$ '%%$ p. * S-aan$ '%+%$ p. ?') as there -as no need to -rite it do-n

2e"ause it -as a language o! ne"essit. 6t -as not taught in an s"hool and -as not used till no- in an

!ormal or o!!i"ial !orm o! "ommuni"ation. o-ever$ that has "hanged as the 7igerian pidgin is no-

-ritten though the standard orthograph has not et 2een agreed on. This ma 2e due to the !a"t that no

re"ognised authorit is responsi2le !or its orthograph. At the same time$ the orthograph -ould hardl

2e uni!orm 2e"ause o! the multilingual nature o! 7igeria. Ta#e !or e


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The spe"i!i" o28e"tive o! this stud$ there!ore$ is to sho- that pidgin li#e an other language is a

language that is used in "ommuni"ating meaning$ e


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onversation analsis (hen"e A)$ a distin"tivel so"iologi"al dis"ourse analti"al tool is related to

ethnomethodolog in its "on"ern !or details (eritage* PerL#lL$ Anta#i$ HehvilLinen C eudar). A is

the sstemati" analsis o! real/li!e Mre"orded$ naturall o""urring tal#/in/intera"tion as a so"ial a"tivit

so as to understand ho- human produ"e and interpret their tightl organised and "oherent intera"tions

in a"tual "onte


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The re8e"tion o! these data sour"es 2 A ma#es it uni9ue as the end produ"t it produ"es -ith the

original naturall o""urring data ma#es its !indings the most sophisti"ated and ro2ust a""ount o!

language in a"tion (Woo!!itt$ '%%;$ p. +%) as su"h !indings "ould not have 2een produ"ed 2 an

resear"hers imagination. The "ohesive relation that e


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pro"ess the 2e"ome Mmutual understandingsM "reated through a se9uential Mar"hite"ture o!

intersu28e"tivitM (eritage$ +4& "ited in eritage$ +44&).

Categorising Beast of no nation as a con$ersation%dialogue

>e"ause the song$ Beast of no nation$ and in !a"t most Felas songs have intera"tional elements

(dialogue)$ -e shall vie- it as a "onversation or tal#/in/intera"tion. Using the parameters o! Thorn2ur

C Slade$ the song ma 2e "onsidered a "onversation 2e"ause:

i. onversation is spo#en

ii. onversation happens in real time

iii. onversation ta#es pla"e in a shared "onte


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SongR

(Thorn2ur C Slade$ '%%,$ p. ',)

The last element (song)$ "arries a 9uestion mar# 2e"ause i! -e are to add it to this ta2le$ sin"e it is the

!o"us o! this paper -hat -ould it ield in the "ategorisation o! Thorn2ur C Slade. For the purpose o!

this stud it -ill ield the mar#ed !ields. A song is spo#en$ it is s"ripted (2e!ore 2een spontaneous)$ it is

dialogi"$ sn"hronous$ it per!orms interpesonal !un"tion and its smmetri"al.

+. !he Concet o* Ad,acency -airs and !urn !a#ing

As mentioned earlier$ se9uen"ing plas a prominent role in meaning ma#ing o! human a"tions$ as

ee!ore the provision o! the e


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ad8a"en" pairs$ during -hi"h matters relevant to the !irst part are addressed 2e!ore the se"ond

part is produ"ed.

ene: 6s Baggie there. +

/ana: hh Uh -ho is "alling$ '

ene: Uh$ thiss Gene:. 7ova#i. A'

/ana: Uh 8ust a momnt A+

(Ta#en !rom Sa"#s$ +44'$ Hol 66: ;,3?* start o! telephone "onversation$ "ited in (Woo!!itt$ p.

+?;))

We see in 9uestion + that ene (the "aller) -anted to #no- i! Baggie -as there 2ut /ana did not

ans-er right. e as#ed another 9uestion$ see#ing "lari!i"ation to #no- -ho the "aller -as 6n turn

-hen ene identi!ied -ho the "aller -as and /ana -as read to divulge the -herea2outs o! Baggie.

This is the @em2edded and nested 9uestion that is 2een tal#ed a2out a2ove. This tells us the -hole

"on"ept o! ad8a"en" pairs does not mean that it should 2e stri"tl adhere to. 6t onl sho-s that there

are some utteran"es that "onventionall paired su"h that @on the produ"tion o! a !irst pair part$ the

se"ond part 2e"omes relevant and remains so even i! it is not produ"ed in the ne


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in"luding the desire that this sel!/image 2e appre"iated and approved o!) "laimed 2 intera"tants

(>ro-n C evinson$ +4&?$ p. ,+). A""ording to Sa"#s$ S"heglo!!C Ne!!erson (p. ,4,)$ turn presupposes

e"onom -hi"h in turn a!!e"ts ho- the are 2een distri2uted the relative value asso"iated -ith it. 6t is

this orderl manner that the turns shi!ts !rom one person to another it is this order !orm that is o!

importan"e to use in the analsis o! this paper.

. !he use o* idgin in Nigeria

For -ider "overage$ a""essi2ilit and a""epta2ilit o! programmes and poli"ies$ that a!!e"t or

pertain to the masses$ in the "ountr$ the language o! ee!ore the "urrent attention on the language$ it has

plaed a signi!i"ant role in the shaping o! 7igerian literar -or#s. iterar i"ons li#e 0en Saro Wi-a$

Wole Soin#a$ hinua A"he2e$ Festus 6ai$ >u"hi Eme"hita$ >en O#ri$ and the other 7igerian -riters

have all used pidgin one time or the other in their -or#s to sho- the so"ial "lass or edu"ational status$

++

https://unic.un.org/aroundworld/unics/common/documents/publications/mdg/lagos_mdg_pidgin_english.pdfhttps://unic.un.org/aroundworld/unics/common/documents/publications/mdg/lagos_mdg_pidgin_english.pdfhttp://www.ohchr.org/EN/UDHR/Pages/Language.aspx?LangID=pcmhttp://www.mercy-christian-ministry.org/nigerian-pidgin-language-bible.htmlhttp://www.mercy-christian-ministry.org/nigerian-pidgin-language-bible.htmlhttps://unic.un.org/aroundworld/unics/common/documents/publications/mdg/lagos_mdg_pidgin_english.pdfhttps://unic.un.org/aroundworld/unics/common/documents/publications/mdg/lagos_mdg_pidgin_english.pdfhttp://www.ohchr.org/EN/UDHR/Pages/Language.aspx?LangID=pcmhttp://www.mercy-christian-ministry.org/nigerian-pidgin-language-bible.htmlhttp://www.mercy-christian-ministry.org/nigerian-pidgin-language-bible.html


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relation o! the "hara"ters (tenor o! dis"ourse) or !or "omi" e!!e"ts$ in "ontri2uting to the overall

MmeaningM o! the "ommuni"ation (Oso2a$ '%+;$ p. +4) and as representations o! spee"hes o! real

7igerian people (0ersten$ '%%,). Apart !rom literar usages$ pidgin has 2een used in other !ield in

7igeria. As mentioned earlier$ it used in advertisements and other 8ingles on radio$ television$ 2ill2oard$

ne-spapers and on the internet. 6t is even the main medium o! eaelsa and ross Iiver (Ugot C Ogundipe$ '%++). 6t is the lingua !ran"a o!

the militar (arm$ nav and the air !or"e) the paramilitar (poli"e$ "ustoms$ immigration et".) 2arra"#s.

6n !a"t$ it is the uno!!i"ial @o!!i"ial language o! the poli"e stations (!or"e) in the "ountr. We have

mention !rom in"eption o! the paper that the pidgin is the language o! "ommuni"ation !or mutual

intelligi2ilit among 7igerians irrespe"tive o! age$ "reed$ gender or status. 6t is the language o!

"ommer"e -hi"h -as the main reason that resulted in its e


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. "ela Ani#ulao Kuti and 3abis Music

>orn Olu!ela Olusegun Oludotun Iansome/0uti (+4&/4?). Fela -as the most popular$ most

"ontroversial and the most !ollo-ed A!ri"an musi"ian outside the shores o! A!ri"a (Olanian$ '%%+).

is !ollo-ership in"lude: @the radi"al 7igerian intelligentsia$ the street/smart ouths o! agos$

mem2ers o! the ur2an -or#ing "lass$ and$ in Europe and the U.S.$ a "on"atenation o! 2la"# nationalists

and -hite "ollege students e -as not onl a musi"ian$ 2ut a "omposer$ and 2andleader$

ideologi"al 2ri"oleur$ politi"al gad!l$ "hild o! "olonialism and !ather o! A!ro/2eat (sn"opated !usion

o! 8a55$ !un#$ and A!ri"an 2eats (Shone#an$ '%%4)* a mi


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and A!ri"ans -ho he intended to a-a#en to the star# realit on the ground. Deviating !rom singing$ the

mundane issues o! love$ men$ -omen$ mone and li!e in a musi" that is a !usion o! di!!erent genres and

"ultures he needed to 2rea# it do-n to the people to ma#e it understanda2le to them. Thus$ pidgin "ame

to the res"ue. Pidgin there!ore helped him sell his message and musi" to 7igerians -ho are

multi"ultural and multilingual. With pidgin$ his musi" is not domi"iled in an region or tri2e and this

-ould ma#e it appealing to the ordinar man on the street. At the same time$ it -ill trans"end national

!rontiers as pidgin is present in most (West) A!ri"an "ountries. Through pidgin$ Fela introdu"es a

measure o! !reshness$ originalit and liveliness (Nesse$ '%%+) to his musi" (a!ro2eat / a2is) and the

message o! pan/A!ri"anism he needed to propagate in it. The pidgin he used -as not$ under a"ademi"

"onstraint$ 2ut out o! "hoi"e (E5en-a3Ohaeto "ited in (Ja2us$ '%%,))* it goes -ell -ith everone (as

the spo#en to and the spo#en a2out all) amuses themselves in the simpli"it o! the language (Nesse$

'%%+). The use o! pidgin 2 Fela also 2rings up a ver important !un"tion o! the language as it has !rom

the eve o! independen"e 2een "on"eived as a language o! de!ian"e o! the literar esta2lishment. At the

same time$ pidgin is seen as a language o! stage per!orman"e or entertainment (Ja2us$ p$ ++4). Thus$

through A!ro2eat / the musi" and the message and a2is$ his stle o! musi" narrative: the songs do

not e


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o! "orre"ting an atro"it$ a misdemeanour or sa"rilege "ommitted 2 either an individual or a "orporate

2od -ithin a parti"ular so"iet (Olatun8i$ '%%4) in the pro"ess ma#ing his audien"e$ listeners or !ans

generate to-ards his o28e"ts o! "riti"ism @attitudes o! amusement$ "ontempt$ s"orn$ or indignation

(A2rams$ +444$ p. '?;). Without 2eing serious$ Fela uses the medium o! a2is to


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Sin"e the introdu"tion o! the pidgin through a2is into Felas musi"$ Olatun8i "laims it stimulates or

motivates the people (the masses and do-n trodden 3 this in"ludes the la2our !or"e$ artisans$ students

and most times too$ even pro!essionals) to a"tion against oppression and 2ad governan"e. Thus$

through a2is musi"$ Fela in!ormed his audien"e -ho "ould 2e the students$ pro!essions$ artisans$

mar#et men and -omen$ mem2ers o! the intelligential and all others o! their roles as mem2ers o! the

vanguard against oppression and trann$ reminding them o! their "ultural heritage and dignit o!

human e


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multi/laered spee"h itsel! (E#ram$ n.d.). The dramati" dialogue in the song 2rings to light the issue o!

oral poetr or narration in the 7igerian (A!ri"an) "ontea

6n the !irst t-o turns$ Fela$ as the lead singer$ prepares the ground !or the tone o! the -hole song. e

starts 2 ma#ing the audien"e realise it is a 8oint e!!ort or something that does not revolve around him

alone. The "onversational nature o! the !irst turn sets the -hole game rolling as he 2egins -ith a

dis"ourse mar#er or -hat "onversation analsts re!er to as @intera"tional signal. The elements are

@are used to mar# shi!ts in the dire"tion o! the tal#$ and to manage the intera"tion. The are elements

li#e yes$ yeah$ yes all right $ no$ oh$ well $ so$ but $ et". (Thorn2ur C Slade$p. +,* S"hi!!rin$ '%%+$ p. ;).

The intera"tional signal o! the turn +$ @Ah tells us the song is a spo#en dis"ourse. @ah is a dis"ourse

signal o! preparedness. it is repli"ated at the end o! turn '$ -ith @oh a -hi"h is also a dis"ourse

transitional devi"e that indi"ates to the pidgin dis"ourse mar#er. The @Oh a in turn ' is a transitional

devi"e indi"ating to the ne


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!or "ommuni"ation 2 a group o! people and this is -hat the users use in portraing their -orldvie-s.

aving prepared the ground in turns +$ ' C that the others are e


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+&. >AS0ET BOUT WA7 OPE7 BOUT AGA67$ O

+4. A2iXX ou don !orget 6 sa 6 sing$ ee/oh XX(is it not)

'%. >AS0ET BOUT WA7 OPE7 BOUT AGA67$ O

'+. Oh$ 6 sing$ 6 sa$ 6 go m mouth li#e 2as#et$ ee/oh$ Balanu >ia/g2e/re('AS0ET BOUT WA7 OPE7 BOUT AGA67$ O is the

"omplementar !un"tional part o! the !irst part in +?. The last element in ' apart !rom it 2eing a

stru"tural part o! the song$ is also an intera"tional (transitional) devi"e signi!ing a turn s-it"h.

'. Fela$ -etin ou go sing a2outR';. DEB GO WOII1 BE... X(a!ter ea"h line) (


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6n '$ he 2egins another dis"ourse 3 that o! people as#ing him -hat he -as going to sing a2out a!ter his

release !rom prison. 6n ';$ the "horus e"hoes the argument that people -anted to #no- his ne


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paused and the "horus ta#es over. The pause s-it"h=ield devi"e is applied again as Fela ta#es over the

!loor to ma#e his ne


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the oppressed o! the -orld 3 Fela -as sent to prison 2 a 8udge -ho is supposed to un2iasedl interpret

and uphold the la-$ the government o! the "ountr has no regard !or the dignit o! the governed and the

-orld state is no 2etter as the leaders do their o-n things -ithout "onsideration !or the rest o! the -orld

3 the head o! the apartheid regime in South A!ri"a$ >otha is !riend to the supposed de!enders o! the

-orld$ Ieagan and That"her$ 6ran !ight 6ra9$ >ritain -ent to -ar -ith Argentina$ there is polarisation o!

the -orld in West 2lo" and East 2lo" et". The use o! the pidgin so"iall pla"es Fela and the rest o! his

audien"e in the same so"ial "lass 3 the oppressed o! the -orld. The song also uses several instan"es o!

transitional devi"es to sho- it "onversational nature$ that the Beast of no nation is a song 9uali!ies and

that it is "onversation in other mode.

8e*erences

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A-ung$ F. ('%+). The pidgin alternative in the English medium edu"ational sstem o! ameroon. Asian Journal

of esearch in Social Science ! "umanities$ #()$ 4 3 +?.

>alogun$ T. A. ('%+). 6n de!ense o! 7igerian pidgin. Journal of $anguages and %ulture$ &(;)$ 4%34&.

>ea"h$ W. A. (+44;). onversation analsis: @O#aas a "lue !or understanding "onse9uentialit. 6n S. S.N. (Ed.)$

The conse'uentiality of communication (pp. +'+3+,+). illsdale$ 7N: a-ren"e Erl2aum Asso"iates.

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''


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$anguage$ +,$ ,%+3,.

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Oso2a$ N. >. ('%+;a). Analsis o! Dis"ourse in 7igerian Pidgin. Journal of 8niversal $anguage$ 4/ (+)$ ++ 3

+;4.

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1or#: am2ridge Universit Press.

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"onversation. $anguage$ ,9$ ,4,3?;.

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Universit Press.

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Ugot$ B. C Ogundipe$ A. ('%++). Iedupli"ation in 7igerian Pidgin: A versatile "ommuni"ation toolR Pa*istan

Journal of Social Sciences$ ;()$ ''?3'. http:==doi.org=+%.4'=p8ss"i.'%++.''?.'

Hersteegh$ 0. (+4&). Pidginiation and creoliation: The case of Arabic. Amsterdam=Philadelphia: Nohn

>en8amins Pu2lishing.

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Woo!!itt$ I. ('%%;). %onversation analysis and discourse analysis: A comparative and critical introduction.

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Ia8i3Oelade$ A. C Davis (Ed.)$


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Ani#ulapo/0uti$ F. (+4&4). Beast of no nation. On >east o! no nation PQ. Euro2ond Ie"ords: Fran"e.

Ietrieved Nul +'$ '%+; !rom

http:==---.nitrolri"s."om=!ela/#utiK2east/o!/no/nation/lri"s.html

+. Ah/ etMs get no- into another$ underground spiritual

game

'. Nust go to help me the ans-er$ go to sa$ Aia/#ata/Oh a

. OM!eshe/u

. A61A/0ATA X(a!ter ea"h line);. OM!eshe/ gM>a

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'. >AS0ET BOUT WA7 OPE7 BOUT AGA67$O

'. Oh$ 6 sing$ 6 sa$ 6 go m mouth li#e 2as#et$ ee/oh$

Balan >ia/g2e/re+ ('as#et mouth -an start to lea# again$ oh/+

'?. >AS0ET BOUT WA7 OPE7 BOUT AGA67$

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,+. Animal in "ra5e/man s#in/i

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,. 7a 2e outside/ dem 8ail me !ive ears,;. //////////////////6 no do nothing

,,. 7a 2e outside/dem 8udge de 2eg ee/o

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,4. So-eto$ Jaria$ and 6!e

?%. 7a "ra5e -orld 2e dat$ ee/oh?+. 7a "ra5e -orld 2e dat$

?'. 7a 2e outside/ all dis de happen

?. 7a "ra5e -orld 2e dat$ ee/oh?. 7a "ra5e -orld 2e dat$ ee/oh

?;. 7a "ra5e -orld 2e dat$ ee/oh

?,. 7a "ra5e -orld 2e dat$ ee/oh??. 7a "ra5e -orld 2e dat$ ee/oh.....

?&.?4. Ba#e ou hear this one

&%. War against indis"ipline$ ee/oh

&+. 7a 7igerian government$ ee/oh&'. Dem de tal# ee/oh

&. B people are us/e/less$ B people are sens/i/less$

B people are indis"ipline&. 7a 7igerian government$ ee/oh

&;. Dem de tal# 2e dat

&,. B people are us/e/less$ B people are sens/i/less$B people are indis"ipline

&?. 6 never hear dat 2e!ore/ oh&&. Ba#e Government tal#$ ee/oh

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26/26

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4,.

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+;%. (repeat stan5a ADA+,. A76BA/6 PUT/U SU6T/U

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