Chidinma
By Yinka Olatunbosun
Male artistes have always ruled the Nigerian music scene. Indeed, a great fraction of these have enjoyed juicy endorsement deals, high performance patronage and the benevolence of the fans. Sorry, this is not a gender debate. Call it a social indicator of the disposition of Nigerians. Or, more specifically, of the female gender towards music as a profession...
Isn’t it ironical, though, that most Nigerian music videos would not have won the hearts of the viewers if not for the input of the attractive women? They – as sing-along or dancers – helped make some of Nigeria’s great hits like “Bottom Belle”, “Konko Bilo”, “Never Far Away” and “Do Me” amongst others.
Of course, female artistes have paid their dues in the industry. Think of Veno Marioghae, Stella Monye, Onyeka Onwenu, Tina Onwudiwe, Christie Essien Igbokwe, Evi Edna Ogoli, Mandy Ojugbana, Esse Agesse, Funmi Adams, Salawa Abeni, Bunmi Olajubu, Lorine Okotie, Funmi Aragbaiye, ChiChi of Africa, Tosin Jegede and a host of others.
These musical amazons had left behind a legacy that the new generation of female artistes has for the most part ignored. This was even when they had a lot to contend with. For instance, there was the prejudice against their chosen profession. They chose music at a time when the female entertainers were seen as prostitutes. Some even suffered verbal abuse from their male counterparts who used the music as a tool to vent personal grievances against them. Still, they stood tall and many of them today are holders of national honours in recognition of their contribution to national development without the guise of material gain.
Then, those women sold their skills instead of “their body”. They seemed uninfluenced by the then trends in the Western world where the women had discovered the magic of baring some flesh. This was embodied by the likes of Madonna.
Nowadays, the Madonna phenomenon had been replicated by Nikki Minaj, Beyonce and especially Lady Gaga. This copy-cat syndrome has fast crept into the temperament of female artistes in Nigeria and one wonders if their male counterparts betray the same. There are very successful male artistes who have African role models. For instance, D’Banj had been benchmarked by the legendary Fela on several platforms. Still, and to a very large extent, the male artistes remain original and sing with distinctive voices. It is hard to say which artistes Tuface and 9ice sound like.
Back to our female artistes, they are relatively fewer in number. When women are put against men, it is often ratio 2: 10 when a roll call of artistes at a concert is rolled out. It seems that the female artistes are lacking the same influence that the former generation had on their audience. The present generation of artistes has managed to position its members as sex symbols at the expense of their requisite music skills. They have turned the screen to a colourful playground, inadvertently creating the impression that they are playthings. They are often taken for granted. Few endorsement deals, little international recognition and cannot compete with international stars. Perhaps, the modern-day Nigerian female artistes need to learn a thing or two from the likes of the Grammy Award-winning Mariam Makeba, Brenda Fassie and Yvonne ChakaChaka.
There are others who are applauded for their dexterity with musical instruments. The world applauds Alicia Keys on the Piano, India Arie and Nigeria’s own Asa on their guitar, Beyonce on the stage and Cher on the microphone.
This, of course, is not to cheapen the collective effort of new Nigerian music artistes such as TY Bello, Omawunmi, Kodie, Kefee, Olufunmi and others in that category. Chidimma, whose brilliance shone at the 2012 KORA Awards as the Best Female West African Act, repositioned Nigeria in the field of international recognition in music by showing off her vocal skills instead of the feminine features that have gained popularity in the class of her contemporaries where the music essence is lost. While playing to the gallery with “Emi ni Baller”, Chidimma did not forget to use her vocal skills nor was her persona swept off in the glitz of the cinematography.
This is a wake-up call on the other artistes who are busy aping their foreign music idols. The voice is not special until it stands out. The women in Nigerian rap music have stepped up their game but the so-called singers have seemingly replaced the microphone with lingerie, nudity and have begun to work the poles. Let them leave stripping for strippers and songs for singers.
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