Literature In Upward Trajectory
There is no denying the fact that Nigerian literature is one of the most respected on the continent and the world over. With a Nobel Prize in 1986, through the venerable writer, Wole Soyinka, the literary journey of Nigeria has continued in its upward trajectory.
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Nigeria remains the country with highest number of Caine Prize on the continent. No doubt, there has been a dynamic interplay of oral traditions and written word. From the rhythmic cadence of poetry, song, and fable, the transition to written expression has marked a pivotal shift.
Legends like Daniel Olorunfemi (D.O.) Fagunwa, Amos Tutuola, Cyprian Ekwensi and Gabriel Okara made the literary space to glow with flowery prose and lucid narrative. Fagunwa, from Oke Igbo, Ondo State, laid the groundwork with his Yoruba language novels. The poet and Professor extraordinaire, Niyi Osundare adduces convincingly that the English language lacks the expressive capacity to bear the accurate imports of many of Fagunwa’s signs. His works paved way for literary giants who took over from his illustrious precedence.
Tutuola’s iconic ‘The Palmwine Drinkard’ (1952), a masterpiece in African-coloured English, transcends cultural boundaries, and embodies the richness of the Nigerian narrative. Ekwensi’s ‘People of the City’ (1954) adds a layer of respectability to the Igor novel, with literary hubs such as, the Mbari Club and publication like Black Orpheus shaping the discourse.
The political crisis of the First Republic and Nigerian Civil War provides a focal point for the direction of Post Colonial Nigerian literature, prompting Nigerian authors to delve into existential discourse like the complexities of war, its origins, and aftermath. This literary exploration features some of the best that the country has produced in the literary space like Chinua Achebe, Wole Soyinka, John Pepper Clark-Bekederemo and Flora Nwapa, forming a foundational first generation.
A second wave, including Femi Osofisan, Kole Omotoso, Buchi Emecheta, Osundare and Ken Saro-Wiwa continued to chart the course of Nigerian literature. While Odia Ofeimun, Ben Tomoloju, Harry Garuba, Isidore Okpewho and Tanure Ojaide tagged along with issues of the Nigerian State.
In contemporary times, a new wave of writers, such as Chimamanda Ngozi Adichie, Chris Abani, Helon Habila, Sefi Atta, Biyi Bandele, and many of the brightest of the generation have added fresh perspectives to the contemporariness of the country’s literature.
Music Diversity
Nigeria’s music scene reflects a rich tapestry of cultural diversity, with distinct zones showcasing unique musical traditions. Divided into three regions – the northern region, the middle belt, and the coastal region – each zone boasts its own vibrant musical landscape.
In the northern region, Hausa music is the central focus, supported by skilled musicians specialising in ceremonial, tribute, crew, entertainment, and hoof music genres. External influences, such as sanghais trumpets (khaki) and hourglass drums (kalangu), shalmeja (alghaita), and fiddle (gogué) from North Africa, seamlessly integrate into the Hausa musical fabric.
The middle belt, home to various ethnic groups, presents a diverse array of musical traditions. Iron bells, rattles, flutes, xylophones, lutes, loud harps, and drums paint a vivid picture of the musical richness within this region.
In the eastern coastal Igbo enclave, music isn’t seen as a profession, yet the ensemble boasts a plethora of instruments, including drums, slot drums, watches, rales, trumpets, flutes, xylophones, lamellophones, and musical arcs.
Moving southwest to the Yoruba heartland, traditional Yoruba musicians specialise in singing or mastering central instruments. Their identity differs from contemporary urban music styles, and Yoruba Christian church music serves as a foundational point for serious composers such as Fela Sowande, Akin Euba, Ayo Bankole and Lazarus Ekwueme.
Traditional roots deeply influence Nigeria’s popular music. Apala, a form of traditional pop music accompanied by drums and percussion, finds expression in the works of genre stars like Haruna Ishola. Fuji, with representatives like Kollington Ayinla and Sikiru Ayinde Barrister, retains traditional features, as does juju, a genre embraced by renowned musicians like Tunde Nightingale, IK Dairo, Ebenezer Obey and King Sunny Adé.
The 1950s introduced dance music highlife, impressing both Ghanaians and American jazz enthusiasts. The rise of the electric guitar in the 1960s, championed by artists like Chief Stephen Osita Osadebe, further diversified the highlife genre.
However, the pinnacle of Nigerian music belongs to Fela Anikulapo Kuti, the revolutionary figure who pioneered afrobeat. A fusion of traditional African sounds, big band jazz, and funk, afrobeat became a powerful voice against political oppression. Fela’s legacy lives on through his sons, Femi Kuti and Seun Kuti, the current leader of Egypt 80.
Nigeria’s musical landscape also embraces foreign genres, with reggae and hip hop gaining popularity. Majek Fashek and Daddy Showkey, blending reggae, hip hop, and highlife, achieved international acclaim. Lágbájá, a masked artist, creatively merges African and American styles, becoming a prominent figure in Nigerian music since the 1990s.
Nollywood
The cinematic landscape, embodied by Nollywood, has equally thrust Nigeria onto the global stage. Filmmakers like Hubert Ogunde and Ola Balogun lay the foundations, but it is the 1990s that witness an explosion in film production, giving rise to the phenomenon of Nollywood. This cinematic movement not only captivates local audiences but also garners international acclaim, solidifying Nigeria’s presence in the global film arena.
Artistic expression in Nigeria transcends literature and film, finding resonance in the intricate bronze works dating back to the 12th century. Traditional architecture, exemplified in cities like Kaduna and Kano, seamlessly blends indigenous aesthetics with Western influences.
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