Rape and the Nigerian society

I encountered rape very early in life. I was perhaps 14 when a random visit to the home of a local ruffian presented me with my first glimpse. A girl, lying on the bed, with only a tiny towel to cover a miniscule part of her honour, stared at me from a threadbare mattress, her eyes pleading yet seemingly resigned to her fate. I had been sent to the room to “take kola”. I remember her clothes were in a bucket by the door, a bucket filled with water. Her story was sad. A visitor from the east, she had only asked for directions to her brother’s house in Angwan Kanawa and was lured to the house of Baba Wani’s aged grandmother, where he and his boys took turns on her. I got to the house on the second day. The monsters were clearly done with her and were offering her as kola to any young man that came to the house. I recall crying as I begged them to let her go, I recall the girl saying nothing, defeated I think. I recall she kept her legs parted, tired of fighting, she existed in a state of ‘cooperation’.

They let her go the next day. Fate however, knows how to mete out poetic justice.

My next BIG Thing!

Social media will be celebrated whenever and wherever the story of the generation of Nigerian writers that I belong to is written. And that story will surely feature how writers of my generation, managed, despite the odds, to create something grand out of the possibilities inherent in social media. The story will be big and surely, the tales of how aspiring writers searched for and connected with thousands of like minded individuals would be an integral part of it. While I don’t particular feel I am qualified to write this story, I won’t deny the fact that what you are reading now is a facet of that story.

I met Gbenga Awomodu, online, I can’t recall if it was on Facebook or in the early days of Naijastories, but we connected online and since we both live in Lagos and shared an interest in event reviews and journalism, the chances of us meeting outside of the electronic world of social media was high. We met a couple of times outside of social media before the Farafina Trust Creative Writing Workshop brought us face to face again in August 2012. The story of my generation of writers actually played out in that workshop. Of the 22 participants, I had only ever met Gbenga in person before the workshop, but Richard Ali, Abdulaziz Abdulaziz, and Samuel Tosin Kolawole were already (Facebook connected) friends of mine, even though I had never met them in person. I still shiver at that social media strangeness that allows you know people intimately before you meet them in person. I was also meeting Yemisi Ogbe for the first time, but I knew her work as a food writer with the now sadly defunct Next Newspaper, where I also had the privilege of contributing articles, and we happen to have mutual admiration for each other’s work—I  discovered that out during the course of the workshop. I summarised my workshop experience here and Yewande Omotosho did here, so we can skip all the long tori and bite into the meat of this one.

Of traffic snarls and the land of the rubber men

It is a hot day.

Another of those days that traffic stretches as far as the eyes can see causing people in cars to share something other than the unity of crawling traffic and sweltering heat: short fused temperament.

This is Lagos, the heat and traffic snarls are constant realities that we have learnt to live with, no matter how hard that is. Nigerians, we are special breeds, rubber men that defy the laws of elasticity—we are yet to find that elastic limit and we continue to adjust to constantly shifting challenges. Nothing seems to shift more constantly than our traffic laws. Perhaps they don’t really shift, change, rather the government finds new way to express them. That way they keep us on our toes, sweating in choking traffic.

We do have constants, those things that remain the same year in year out. The danfo bus, a modified Volkswagen van that perhaps ferried goods from one point to another in the European country that hosted its first incarnation, is one of the things that remain the same. A testament of our dump mentality, the danfo, like millions of other automobiles in Nigeria, comes second-hand: Europe’s discard serving faithfully here, still.

There is little to see in the scrap-like drabness of the danfo bus I boarded in the hope that their street and alley meandering ability would perhaps shorten the time I would otherwise spend in the traffic snarl—a vain hope. The clammy intensity of the heat that comes from within and without did not gift concentration, so Binyavanga Wainaina’s One Day I will Write About This Place rests in its place in the side pocket of my well-used bag. Yes, I had discovered that the three hours spent in traffic heading to work and the three hours spent on the way back is a good time as any to catch up on reading. Before One Day I Will Write About This Place, one of those Ikeja-under-bridge-paper-backs—a novel by John Varley—occupied the space in the bag. Victor Ehikhamenor’s brand new book Excuse Me!, a testament of where Nigerian literature is headed, will replace Binya’s in a few days.

Omawumi: Wonder woman?

The intro for Omawumi’s debut album ‘Wonder woman’ was supposed to show off Omawumi’s humorous side but it did not really work; as the humour is not immediately obvious.

‘Ma fi mi shere’ feat Eldee is the first song. The vibrancy of Omawumi’s voice is comes through in this track. But, both beats and lyrics are a little too high tempoed. The song flitters by before it can be assimilated (yes, even after several replays). Eldee delivers his lines too fast, as if chasing the quick beat and his short verse is not enough to convey his usual dexterity.

Whatever misgivings the previous track might have caused were cured by ‘today na today’. This is definitely Omawumi at her very best. The beat is again high tempo, with a techno feel, but unlike in the previous track it works here, the lyrics really get to you. Heads are definitely going to bob to this one.

‘Love nwantinti’ may not appeal to teenagers, but the older generation will have a blast rocking to the highlife flavour. Omawumi’s vocals in this track sounds one somewhat like that of Nigeria’s old school Diva, the Late Nelly Uchendu, yes, she has that kind of voice.

‘Love it’ featuring Shank does not quit cut it, the tempo, fast and unfocused, drowns out Omawumi’s voice most times. Shank, known more for his hit dancehall single ‘julie’, did not bring the captivating flow he is popular for into this track. In all Omawumi’s strong voice is the only redeeming feature of this track, once again she showed she can sing very well, even in an average song.

Nigerian girls should be mad!

In the last decade, since the Plantation Boys and Remedies before them began a revival of Nigerian music’s fortunes, Naija music has eclipsed Africa and is presently showing the world that Africa has got some groove. With YouTube views in the millions, brands such as P square, D’banj and Flavour have become household names and veritable representatives of Nigerian popular culture.

If music is the expression of a nation’s popular culture, whether adopted or not, one would expect the visuals that go with it to reflect that culture as well as the people that embody it, however, in Nigeria, this expectation doesn’t hold.

Close your eyes and call to mind popular Nigerian music videos of the moment. If you were true to yourself, you’d admit that these videos are very unfair to the Nigerian woman. Video after video, American copycat artiste name after another, all we see is the depiction of women as playthings, playthings that come with the money, the cars, the dope houses and the choice wines—a property that success acquires.

This disrespect of women jars the nerves and grates like mad. More so because most of the so called Nigerian feminists, ever ready to cuss a Nigerian man out on social media, pretend not to notice this constant demeaning of the sex they purport to represent—I don’t want to believe they are okay with this.