In the context of cultural events, valuing competence over mere connections is paramount. The recent coronation of the 44th Olúbàdàn of Ibadanland vividly illustrates the pitfalls of allowing favoritism to overshadow skill, resulting in an event that fell short of honoring the city’s rich heritage.
The Olúbàdàn coronation is not just a ceremonial event; it represents a historical lineage and cultural heritage that have shaped Ibadan’s identity. Understanding its significance underscores the necessity of maintaining high standards in artistic representation during such pivotal moments. Cultural celebrations are defined by specific rhythms and artistic expressions that should resonate with the occasion. A skilled musician would never perform a light-hearted tune at a solemn ceremony, just as a royal coronation demands the highest level of artistry. Regrettably, Taye Currency’s performance at this significant event did not meet these expectations, leaving many attendees disappointed.
Questions surrounding Taye Currency’s choice of songs are concerning. What inspired such lyrics? Are we in a motor park rather than a royal venue? His performance raises doubts about whether he genuinely represents Ibadan or simply lacks an understanding of the cultural values at stake. The Yorùbá proverb “kò sí bí wọ́n ṣe lè ṣe ebòlò tí kò ní-ín run ìgbẹ́” aptly captures this sentiment: a leopard cannot wash off its spots, regardless of how much rain falls. This suggests that someone lacking refinement cannot easily transition from garage songs to the dignity of cultural values, especially in the presence of dignitaries such as the President and esteemed lawmakers.
“Ó mà ṣe o, àìnílààrí aráayé ní-ín mú kí á rántí ará ọ̀run, Àyìndé Ògún Eléré Ọba ìbà rẹ,” meaning, “It’s when people on earth are not responsible you remember someone responsible who had been snatched by death. Respect to you, Àyìndé Ògún Barrister, a veteran for this kind of occasion.”
Music plays a crucial role in shaping cultural identity in Nigeria. It serves as a vehicle for expressing shared values, beliefs, and traditions. Choosing artists who can authentically represent these elements is vital to preserving and celebrating cultural identity. Ibadan is home to a wealth of extraordinarily talented musicians, particularly in the Fuji genre, where artists like Alhaji Rashidi Ayinde Merenge exemplify lyrical depth and cultural authenticity. The decision to have Taye Currency headline the coronation was more about political connections than musical merit, sidelining more deserving artists who could have elevated the occasion. This choice not only undermines the artistry expected at such events but also sends a troubling message about the value placed on talent in cultural expression.
“Ẹni tó ń ti èèyàn ò gọ̀, ẹni tí wọ́n ń tì ni kò láròjinlẹ̀,” means that even if you are incited to speak ill of someone to embarrass another, you should exercise wisdom and native intelligence.
Critics pointed out the inappropriate nature of Taye Currency’s lyrics, such as “Wèrè laafí,ń wò wèrè” and “Ladoja, a wí wí wí, ẹ lẹ́yìn kò gbọ́.” These phrases seemed to convey veiled jabs rather than the celebratory praise appropriate for a royal occasion, raising concerns about the suitability of his performance. Such lyrics not only detract from the dignity of the event but also risk alienating audiences who expect a respectful homage to their cultural heritage.
The absence of Saheed Osupa, a respected Ibadan indigene known for his cultural praise-singing, only intensified the criticism. Many wondered why such a fitting artist was not featured, highlighting the tension between the satirical nature of Fuji music and the solemnity of Yorùbá royal customs. Although Osupa was initially scheduled to perform alongside Taye, the focus on Taye’s controversial style overshadowed the event’s dignity. This raises important questions about the criteria used for selecting performers at significant cultural events and the implications of prioritizing connections over genuine artistic ability.
Moreover, the presence of influential figures such as President Bola Tinubu amplifies the need for excellence in performances at high-profile events. These occasions are not merely social gatherings; they are opportunities to showcase the best of cultural heritage, fostering pride and unity among attendees. The accompanying lecture by Professor Toyin Falola, titled “Ibadan in History: Issues in Modernity and Tradition,” further underscored the event’s significance, reminding us that cultural heritage must be treated with the utmost respect.
As clips of Taye Currency’s performance circulated on social media, the debate intensified over the artist’s responsibility to balance creative expression with cultural reverence. Social media has become a powerful tool for shaping public perception of cultural events. The rapid spread of critiques and reactions can influence how performances are viewed, making it essential for artists to consider their impact and the expectations of the audience. This incident serves as a crucial reminder: when connections take precedence over competence, our cultural integrity is at risk.
The intertwining of political connections and the arts raises significant questions about meritocracy in cultural representation. A deeper examination of this issue could provide insights into how systemic biases affect the selection of artists for important cultural events. If we continue to allow connections to dictate our cultural expressions, we risk diluting the very essence of our heritage.
Moving forward, it is vital that future events prioritize skill and artistry to protect the heritage that defines our communities. This can be achieved by establishing clear criteria for performer selection based on merit rather than political affiliations. Additionally, fostering an environment where artists are encouraged to connect deeply with their cultural roots will ensure that performances resonate with authenticity and respect. Ultimately, the preservation of cultural integrity relies on a collective commitment to valuing talent and artistry in our celebrations.
By Fẹ́mi Akínṣọlá. All rights reserved.
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