Heart Of Arts

Descent from Humanism: Literature, Music, and the Media

 Descent from Humanism: Literature, Music, and the Media

Professor Olu Obafemi, FNAL, NNOM

This is an excerpt of the Convocation Lecture delivered during the 2021 Nigerian Academy of Letters Conference

 

Many would agree that when the core principles and values inherent in humanism–rationality, reason, compassion, human dignity, fellow-feeling, freedom, love, and kindness–are in deficit in society, a vacuum is created and all manner of dogmas, doctrines, superstitions, theories, and abstractions hold sway. Human values are required to be reassembled and restored as a result of these failings and pitfalls– which include war mongering, stoked by the availability of superior and sophisticated weaponry, moral bankruptcy such as corruption and the corruptibility of power, pride, greed, rapacious avarice, religious fanaticism, ethnic irredentism. They defray from humanism and all need to be eliminated for the re-affirmation of humanity. Among these pitfalls, also is the “robotization” and “thingification” of humanity, resulting from advanced technological innovation and artificial intelligence.

By electing to deploy literature, music, and the media among the diverse tools and fields of the humanities, to mediate its ideology, humanism, the thought of the choice of three, just three, rests on the three witches at the opening of William Shakespeare’s Macbeth. There is tempo-spatiality (time and space–of when and where); There is so much metaphorical witchcraft in the arts–all of them, literature, theatre, film, music, and the media. When you fold or scaffold time and ages into a few hours, “hold eternity in the air,” take on persons and characters into oneself, remove costumes and make-ups, and wake up instantly from death to active life without the miracle of Christ, confer immediacy upon news and news paces, record events into soundtracks and sound bites, and make them live in the real world, you confront the witchcraft and the magic of the arts–the humanities. So the idea of echoing the witches and their witchcraft is not too far-fetched; after all; it is not stretching the imagination too thin, as is done in our vocational engagement in the arts.

The Yoruba Nollywood talks of Idan, which is magic. Apidan, the magic-makers, the theatricians, the actors, the storytellers, and the whole process of their art of creation on stage, screen, studios, and so on. And timing (the duration) of the clap-trap of lightning–the age of cataclysm, violent eruptions in the streets, outright warfare, which is actually what the witches were referring to, plagues, epidemics and pandemics, tornadoes, massive flooding, ravaging fires, earthquakes; chaos, banditry, kidnapping, dystopia, and the likes. These do not make the echoes of witches, magic, and the cult of Iyas (mothers) too intriguing or too dissimilar to the world of the arts.

In all the ages, writers covet the news space for self-expression to say the things that must be said urgently and to test the waters of their creation as they form words from their thoughts–poetry, prose, drama sketches. In that sense, there is an intriguing love relationship between the media and literature. Throughout time, men of letters seek refuge in the media as they mould their blocks of expression that are later turned into books. The role of newspapers in the evolution of literature drew the writers into the waiting arms of the media, newspapers to be specific, in a relationship that has become permanent, as the newspapers, periodicals, and journals and their creators themselves became a new type of literature and literary artists. Therefore, from the 18th century on, the inventors of the periodical essays extended the tactic of the fictitious self into the new territory and became writers.

All over the world, including in Nigeria, overt and subtle control proved incapable of stemming the growth of the media industry. The creeping in of censorship to control the opinions and feelings expressed in rapidly popularizing media had begun to accommodate issues and topics on politics, the lives of public individuals and businesses. Its popularity generated the desire of governments to control what would come out in the newspaper the following morning. Patricians and politicians tried hard to control the press, to dictate its views, and to contain its criticisms, but in Britain (and I daresay everywhere, including in Nigeria), the media and literary realms and phenomena proved too large for such ‘arrant limitations.’

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Getting too hot and pinching the skin and the nerves, the government created “licensers of the press” to hunt down heretical and seditious publications and through strict licensing laws to limit the flow and narrow the range of newsprint, but whenever these laws lapsed, innovations in newspapers abounded before new forbidding laws are created. The bid to kill freedom of speech, arising from the gradual dehumanizing capacity and strategies of the powerful, had been there and it remains with us today. We must reach out to our society where the contribution of the media in those early days of independence struggle was valiantly resisted by the colonial authority. The politicians (civilian and military) inherited that strategy to control and censor the media. The draconic decrees to muzzle and snuff out freedom of the press and literature are evidence of the descent from humanism, derived from debased and depraved corruption of power in our country and continent.

Literature stands as a bridge-head between music and the media. Just as the media and literature are inextricably linked in a Siamese-twins relationship, so do literature and music bond in close affinity such that, many times, it became difficult to draw distinct lines between the two. Poets were considered as failed musicians and musicians as failed poets, and when those whom the world consider pop culture musicians began to win the Nobel Prize for literature (Bob Dylan, for instance), the separation line between the two blurs and melts into oblivion. Music became a friend of the media as literature, a friend of music, is the original friend of the media. So much for the justification of the meeting of three subfields of the humanities for mediating humanism!

As succinctly captured above, humanism, which I consider the ideological plank of humanity, reclines on the principles of reason and rationality. To attain a better society where love, humane value, and freedom reign, away from excessive religiosity (not religion), the human agency places the power for individual action in some other forces outside of the self and has brought so much human destruction since many centuries ago. There abound myriad theories of humanism since the age of the Renaissance. For instance, humanistic psychology emerged in the mid-20th century as a rebuttal to the limiting cynicisms of Sigmund Freud’s psychoanalytic theory, and B. F. Skinner’s behaviorism provides “a perspective that emphasizes’’ and ‘stresses concepts such as free will and self-efficacy.” In line with my offering above, humanism has been rendered as a “philosophy that stresses the importance of human factors rather than looking at religious, divine, or spiritual matters.” It is perceived as being “rooted in the idea that people have an ethical responsibility to lead lives that are personally fulfilling while at the same breath, contributing to the greater good for all people.”

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The essence of humanism is its advancement of the significance of human values and dignity. People possess the capacity to solve their problems through rational and scientific means to attain the fulfillment of individual and communal ideals and to transform the world into a better livable place for all people. For many centuries, the tragic emotions and irrationality that dominate religious dogmas and fanaticism, leading to extreme violent movements on intra-religious bases, have had lethal and mortal outcomes on humanity. To the media, the question is, how much information have they rendered to us in recent times, and in our search for truth which ought to promote peace but have provoked wars and battlements?

I will like to write on the passionate assessment of the descent to the barbarism of the media–traditional and social–in Nigeria and elsewhere to get a perspective of the state of our and the world’s media. On February 21, a prominent Nigerian female journalist, Kadaria Ahmed, gave a very passionate, captivating, and no holds barred address titled “My Message to the Nigeria Media,” whose altruism has been challenged by other prominent journalists. Kadaria Ahmed’s address would have simply gone down as a classic on the need and essence of media practitioners to shun ethnic profiling and return to the traditional, noble profession of truth-telling and leading the nation aright in times of national crisis. Kadaria wrote thus;

It is with a heavy heart, worried of Nigeria and a sense of impending doom

That I am sending this to you, my colleagues,

Let me begin with a question;

What exactly will we gain if Nigeria descends into war?

How does it advance us if our fellow citizens turn on each other

And begin large scale ethnic killings against each other…

How does enabling ethnic strife help achieve this objective?

For some time now, a lot of us has thrown away the book on ethical reporting

Propelled by emotion, we have betrayed every moral consideration

That assigns our noble profession

But the critical probing to the other side of the coin happily carried out by Tayo Olu in The Whistler of February 15, 2021, titled “Attack on Nigerian Media,” has helped to put the “attack” by Kadaria in context without necessarily defraying from the value of her address.

Tayo Olu shed light on the reaction of Kadaria’s colleagues’ overt “scathing criticism of journalists’ reportage of the herdsmen crisis in the country” and for “fanning the flames of ethnic hate through their coverage of the crisis involving mainly the Fulani ethnic group.” Reactions came first from the Chairman of the Nigerian Union of Journalists (NUJ) FCT Chapter, Emmanuel Ogbeche, Ibanga Isine of Next Edition, and Ekhator Ehi, among others. The rationale of these accusations and counter-accusations among media practitioners is the reality of crass partisanship in the media at a time when they should be the true watchdog of the common folks on whose behalf they ought to speak truth to power and denounce agents of violence and crime. At a time when our humanity is badly assailed on all fronts, the media should be a rallying point and not a house of raucous voices.

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The Social media, on its part, has nearly swamped the traditional media in this digital age. Facebook, Twitter, Instagram, WhatsApp, LinkedIn, and the likes have become dominant tools of engagement all over the world, and our country has embraced it irreversibly. Whereas it has increased the democratic space and has been deployed by both government and the citizens, it is radically redefining the nature of engagement (especially political) between the citizens and the state all over the world. It has also generated a lot of conflict and tension because of its massive usage and has brought the two into more direct interaction, and the government can no longer monopolize free speech. Its power (the power of technology that it uses) lies in its immediacy, speed, political reach, and its uncontrollability.

It is projected that in the next few years in Nigeria, the deployment of social media will increase “by more than 80 percent with more than 44 million people accessing online forms in a demography of about 200 million.” The state worries about the potential of social media abuses to undermine the state and ‘threaten the corporate existence’ of the nation. Yet, apart from its capacity to widen dialogue space, its economic development/utility reality, put at about 10 percent of the nation’s gross domestic product and used by nearly 25 million people, makes it unstoppable in Nigeria. There is the debate of the mutual advantage of communication technology (in which Twitter is critical) to both government and the citizens and, thus, the increasing local, national, and international criticism of Twitter’s censor as impeding the nation’s humanity and freedom of expression. As this debate rages, the state must tread softly in its drive to hammer social media, recognize its universal nature, its mutual advantage in a democracy, and its humanizing power.

And to music, I find the danger of the descent of humanism pointedly depicted in the music of I. K. Dairo, as far back as the early sixties, and which still rings screamingly prophetic today. His album Ise Ori Ran mi ni mo se (loosely translated as “I do the job assigned to me by destiny”) ramifies this message of the need to restore humanism in society. Every line of this album warns against the dehumanizing power of greed and self-debasement in the search for sudden and filthy wealth. The inordinate search for crass materialism demeans and dehumanizes the world and sets it on the path of descending humanism. Many of our musicians; Fela, Idreez, and so on, make this frantic call on all us, especially the state, to pursue the path of humanizing society

As we all know, literature is a reflection of society, in the manner of a mirror. Beyond mere reflection, it refracts society in the way that the soul breathes life into the body. Literature, therefore, as an arm of the creative industry, endows, ennobles, and enriches a nation’s humanity. It advertises and tells its story. Politics and matters of an imperatively political nature have, for instance, in the African experience, preoccupied the literary establishment. Since the colonial aegis, our writers have put their songs and stories in the service of humanizing our society, committed to the fact that “the poet speaks not for himself only but also for his fellowmen. His cry is their cry, which only he can utter.” All this is in the project of reconstructing society in the moment of declining, degenerating humanity, and the pursuit of viable nationhood and the world order.

Generally speaking, Nigeria’s literature predating the fratricidal war of 1967 to 1970 was essentially in search of a certain socio-spiritual and cultural stability. This is especially so during the cultural nationalism phase, which set the tone for political independence from the hegemonic clutch of colonialism and imperialism. But the war, with all its absurdity and catastrophic devastation of the individual writers, due to suffering and considerable loss of lives at very close and personal levels, compel the literary characterization of the decline or indeed descent of our nation’s humanism.

Even though I had described in a previous study on the Civil War, that the war wrought a serious body of national literature, its blight compelled a certain kind of dark pessimism and cynicism in the emerging visions. This may have been caused by the deep sense of loss, personal and collective, which the war generated. Okigbo died in the war, Soyinka suffered protracted solitary confinement, and Achebe and Clark, on different sides of the nation’s pole, carried huge emotional and psychological burdens. The sowing of regenerative seeds in the flesh of the country carried tragic overtones, as we found in some of the war and post-war writings. Additionally, the Nigerian Civil War is used as a background against which the human condition is examined in its perverseness. War is absurd and irrational. The regime of bestiality characterized by war–pogroms and genocides–which tend toward the deployment of technology and war weaponry can lead to ultimate human extinction. Through war, wanton killing of one’s kind is the expression of the philosophy of the absurd and the descent from humanism.

With the ravaging impact and the trauma inflicted by the COVID-19 pandemic, the arts of creation and creativity, with a positive, cathartic sensibility, have moved on, as we find in Of Shadows and Rainbows: Musings in Times of Covid (2021), a COVID-19, PEN Nigerian publication of poems, short stories, playlets, and essays edited by Olu Obafemi and Folu Agoi. Leaping out of the pages of this publication are lines from the authors “gripped by emotions, paroxysms, compassion, searching for startling enlightenment, illumination and, in many cases, reconstructive tropes” as an affirmation of humanism. Other evolving creative works include the Platform, All Poets Network (APNET), created to promote poetry in English and native languages in this pestilent era and administered by Dzukogi, Khalid Imam, Ola Ifatimehin, and Ismael Baba to “give voice to young and established poets from all continents of the world,” and many more.

The Nigerian society is going through a transition of bleakness and blight, which has raged since the war and truly never ended, reaching very precipitous climaxes even under civil democracy. I have called it the descent from humanism which I have chosen to illustrate with music, the media, and literature. Unorthodox warfare through insurgency, insurrection, frightening banditry, armed herdsmen, lethal violence, dystopia, and wild social incoherence manifests our nation’s descent from humanism. The mediatory and recuperative essence and power have been explored here somewhat. Part of my recommendations is that the media, music, and literature should become more prophetic and politically more engaged in raising mass awareness to restore, rekindle, and promote humanism and humanity. Also, the essentialist principle of humanism, which deals with identity retrieval and identity marking, should be more robustly engaged by the media through investigative and development journalism in tracking the concrete character and identity of the bandits, herdsmen, and other agencies of insurrection and insurgency on our land.

Taking due cognizance of the present realities in the country as imposed by the pandemic, we must wake to the need for science, technology, and the humanities to focus conversations on humanistic issues, and human and social welfare. We must also concentrate our efforts on the centrality of the human race rather than building knowledge that will lead to its destruction and extinction. Innovations should focus on the discovery of the human inner strength and capacities through critical and constructive reasoning to sustain humanity and the security of the coming generations. To conclude, in order to establish an inclusive democratic society for everyone, the nation, the states, in particular, should work in collaboration with agencies of humanism, as extolled in this essay, rather than foster mutual distrust and resentment.

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