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OPINION: Descending From Fela’s Afrobeat To Wizkid’s Afrobeats (2)

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Tunde Odesola 

Once upon a time, long before brazenness dissolved into the air inhaled by youths, Àkèré, the son of Onítùre, was a prince in an Ọ̀yọ́ village called Ìkẹyọ̀. In lands faraway, Àkèré is called Frog, but within the southwestern land of Nigeria called Káàárọ̀ Òjíire, Àkèré is called Àkèré.

Àkèré walked tall, exuding princely confidence. Despite having blue blood coursing in his veins, Àkèré was hard-working, owning massive farmlands, which he tilled and tended.

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As it was customary for the young and old of his time, Àkèré went to Balawo Adífáṣẹ to know what pattern fate had woven for him in the womb of tomorrow. He wanted to know his ‘àkọsẹ̀jayé’.

The oracle gave three prophecies. One: Àkèré would be stinkingly rich. Two: He would beget a child. Three: He would become king. Unsure whether the prophecy was meant for him, Àkèré looked around, but he was the only one before the herbalist. Wealth? Child? Kingship? Uhnmm! Expectation and fear palpitated in his chest as he trekked home, the prophecies ringing in his ears.

Hard work is the antidote to hunger. Despite the prediction, Àkèré did not rest on his oars. One day, he went to his farm. As he tilled the land, his hoe struck something hard – kà! “Must be a pebble,” he thought, but his hoe struck it the second time – kà! And the third time – ko! Curious, “What kind of stones are buried in the earth?” Àkèré wondered and dug even more. He couldn’t see the stones yet, but his hoe could feel them – kà, kà, ko, ko.

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Àkèré threw his hoe aside and dipped his hands into the loosened earth. He felt a fabric. Quickly, he grabbed his hoe and dug deeper as the fabric came within sight. “A bag of stones?” he pondered. Like a huge tuber of cassava resisting harvest, Àkèré finally pulled the fabric out. Oh, it was a big black bag! He felt it. His heart raced. Frantically, he opened the bag. “Ha, ori iya mi o!” he shouted. Cowries, white like fresh milk, smiled back at him.

Joy quickened his steps as he journeyed home, treasure slung across his shoulder. Halfway home, news came that his wife had put to bed. Wealth and child arriving arm in arm. Àkèré couldn’t contain his joy!

Quickly, he sent an executive order to every palm-wine tapper in Ìkẹyọ̀: save all your wine for me. Another executive order followed, ordering Ìkẹyọ̀ palm-wine tappers to allow anyone to drink bellyful, free of charge. ‘Ẹsẹ̀ gìrì nílé Àńjọ̀fẹ́’ – feet throng Anjọfe’s house for free food. Ìkẹyọ̀ erupted in jubilation. Àkèré had become a celebrity overnight. Ifa does not lie.

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However, joy has a slender body that breaks too soon, says Ọla Rotimi in ‘The gods Are Not To Blame’. Thunder struck silently. The king was dead.

MORE FROM THE AUTHOR:OPINION: Descending From Fela’s Afrobeat To Wizkid’s Afrobeats

Grief enveloped Ìkẹyọ̀, but it did not last. A meeting of kingmakers rose and spoke in one voice. “Àkèré is king-elect.” The village went wild. What more blessings could the gods bestow on a mortal in one day? Drums exploded kolá-kolá. Bells sounded kangẹ̀-kangẹ̀. Wine ran riot inside Àkèré’s head, and he abandoned dancing for leaping. Àkèré leapt wildly for joy, whistling, laughing and leaping higher, wilder, higher, like a fẹ́lẹ̀lẹ̀ rubber ball in a youth-full playground. Àkèré galloped like a happy antelope on lush grassland. Wealth, child and crown in one single day!? Oluwa mi, eyi o wa pọju?

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Àkèré pranced and leapt even higher as the drummers and praise singers dipped his name in honey. Joy is not coming. Joy is here! He jumped again and again. And crashed. The drums went dumb. The bells went deaf. Merrymakers lifted the king-elect up, thinking he was merely exhausted. But the elders of the land know better. They know that ‘ẹni ti o subu, lo pari ijo’, the dance ends for the dancer who falls. Àkèré has finished dancing. His thighbones were shattered.

Bad news travels fast. The kingmakers heard about the tragedy, so they met. A cripple cannot be king in Ìkẹyọ̀. Àkèré became the king that never was. On the day destiny smiled brightest, Àkèré forgot that a smooth road is often the slipperiest. He fell into misfortune from the tree of fortune. Afro Juju maestro Sir Shina Peters sings that destiny may be delayed, but it cannot be stopped. I agree partially, but I will add my own thought: “Destiny may be unstoppable, yet it is destroyable.” Some never attained their destinies. Some are destroyed by the destinies.

The myth of Àkèré, as told by Ifa scholar Ifayemi Elebuibon in his book, “Ifa: The Custodian of Destiny,” demonstrates the tempest raging between Afrobeats sensation Wizkid and his online supporters known as Wizkid FC, on the one hand, versus Seun, the son of Afrobeat originator, Fela Anikulapo-Kuti, on the other. ‘Trouble sleep, yanga go wake am’ when Wizkid FC compared their idol with Fela, with Seun describing the comparison as disrespectful. The storm to come shocked Seun, Wizkid and his disciples as egos went to war. Need I say the vacuous brouhaha is as brazen as it is needless, with the three categories of combatants behaving like the mythical Àkèré, all drunk on entitlement.

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Life rotates on the wheels of seasons and generations. The youngest adult generation in the global demographic is Gen Z, short for Generation Z. Gen Zers, as they are popularly called, are people born between 1997 and 2012. They are currently between 13 and 28 years old. The average Gen Zer received their first mobile phone between 10 and 13 years old. They make up Wizkid’s online fanatics, called the fanbase.

In the book “Gen Z. Explained: The Art of Living in a Digital Age” (2021), Stanford scholar Roberta Katz et al describe Gen Zers as the first generation never to know the world without the internet. Katz and her colleagues say Gen Z are misunderstood, contrary to stereotypes of being “lazy” or “coddled.” According to them, Gen Z are entrepreneurial and adaptive. Gen Z are typically self-driven, collaborative, and diverse-minded. They value flexibility, authenticity, and a pragmatic approach to addressing problems.

The book argues that much of the negative judgment against Gen Z comes from a misunderstanding of what it is like to grow up in today’s world when compared with how their elders grew up. It explains that older generations criticise them as lazy because they don’t have to do strenuous stuff such as trekking long distances or doing after-school jobs, noting, however, that many Gen Zers earn significant money online doing legit business.

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However, for the ever clamorous Gen Z supporters of Wizkid, brazenness is the currency they mistake for boldness. Being ‘self-driven, collaborative, and diverse-minded’ is no license for rudeness. Gen Zers who support the Big Three in the Nigerian hip-hop industry – Wizkid, Davido and Burna Boy, often shout themselves hoarse online like the sheep in George Orwell’s Animal Farm, bleating even when they know their actions are stupid.

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At 43, and being a music star cum online content creator, Seun should be wise enough to know that nobody is too big or revered to escape being insulted by Gen Z online warriors sworn to a common cause. Seun is at liberty to defend his father, but I am sure a large percentage of people born in Gen. Y, aka Millennial Generation, to which he belongs, would see a lot of sense in the logic of American writer and humorist, Mark Twain, who said, “Noise proves nothing. Often a hen who has merely laid an egg cackles as if she laid an asteroid,”

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The revelation by Seun’s elder brother, Femi, that Wizkid annually plays free of charge during Felabration festivals and the restraint by Wizkid, who initially did not join the fray, was enough reason for Seun to be cautious and not caustic while taking issue with Wizkid’s Gen Z fans, whose eldest member is 28 years old. Seun, when children behave like children, adults should behave like adults.

Seun calls himself Big Bird Kuti. Yes, he is. He is the white chicken that does not behave its age – ẹdìyẹ funfun ti o mọ ara rẹ lagba. Seun behaved like the Àkèré of Ìkẹyọ̀, hyperexcited by unfolding events, running and jumping and galloping online when he should exhibit self-control, and match the fallacy of Wizkid FC with logic or silence. He could have employed the tactic of a former French President and Army General, Charles De Gaulle, who taught his troops that ‘silence is the ultimate weapon of power’. Seun’s call to Wizkid to remove Fela’s tattoo on his hand was a demand far from from commonsense.

Wizkid, like his fan base, also behaved like the Àkèré of Ìkẹyọ̀. Ignoring Seun and his online tantrums would have shown that he was ‘Unavailable’, in synch with Davido’s song. Making himself ‘Unavailable’ would have drawn a demarcation between sense and nonsense. Wizkid calls himself Biggest Bird; I hope he is not the peacock who prides himself as the king of birds, but walks on land. I’d prefer to be the eagle.

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By caving in to frustration and telling Seun, “Oya, I big pass your papa, wetin you wan do?” Wizkid brought upon himself rage from a cross-section of Nigerians spanning all generations. The backlash the Wizkid brand suffered during the kerfuffle is a lesson to Gen Y and Gen Z artistes that Olufela Olusegun Oludotun Anikulapo-Kuti still sits on the throne of Afrobeat, more than 28 years after his death.

To fully appreciate the depth of Fela’s musicography in contrast to the noise that largely makes up Nigerian music today, a look into the furnace that forged the Abami Eda is necessary. Fela sang for all seasons. His songs like Water, Na Poi, Lady, Jeun Ki O ku, Shakara, Yellow Fever, Alijonjonkijon, Palaver, Gentleman and Je n Wi Temi, show that music is not only a battleaxe against political oppression, it is also a balm for love, cultural cohesion, social etiquette and enjoyment.

No musician is a saint. Fela was never one. This is evident in his open use of banned narcotic substance marijuana and allegations of high-handedness by some members of this band. Fela never wanted others to copy his style, according to his producer, Odion Iruoje, who said Fela would send thugs after musicians playing his style of music. Likewise, Wizkid, Seun, Davido, Burna Boy, Naira Marley and many other Nigerian artistes have had their ugly shares of notoriety.

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But originality, creativity and courage stood Fela out. Fela went to the prestigious Trinity College of Music, London, where he studied music for five years (1958-1963). In London, Fela started out playing Highlife music, recording a song, Won Fe Gba Aya Wa, which was a flop. He came back home and went to work, heeding his mother’s advice to produce music that would connect with the people.

MORE FROM THE AUTHOR:[OPINION] Chimamanda: The Stethoscope As Hangman’s Noose (1)

So, Baba Yeni worked his socks off, looking for a breakthrough sound. And eureka, he found it in ‘Jeun Ki O ku’ in 1972! Thus, the broth Fela cooked has become the source of food for Tu Face, Wizkid, Davido, Burna Boy, P Square, Asake, Olamide, Kizz Daniel, Tiwa Savage, Rema, Ayra Starr, Tems, among others.

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After Fela got the sound he was looking for, he called it Afrobeat, and took it EMI recording studio, where Iruoje worked. Iruoje said he could not believe his ears when he first listened to Fela’s Afrobeat sound, saying he had never heard anything like that before.

It is instructive to note that Fela called his sound Afrobeat, not Afrobeats. I think he did so because he was the originator and saw himself as the only one who was going to play it, oblivious of the fact that an orange tree with ripe fruits will attract thirsty throats. Fela did not see tomorrow. He never knew he was the river to water a legion of music artists who would add an ‘s’ to his Afrobeat – to show their connectivity to the source, affirm the diversity of music and make the world see the limitlessness of arts.

Popular gospel artiste, Goke Bajowa, whose “Iwo Ko Lo Da Mi” song is an evergreen, has this to say about Fela. “Fela Anikulapo-Kuti was not just an artist, not just a singer; he was many things. Fela was a musicologist – somebody who understands the dynamics, the fundamentals of how sound and music are produced. Fela was a producer, Fela was director and an instructor. In addition to that, he was a multi-instrumentalist who could play the saxophone, trumpets, drums, piano and many other percussions.

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“I’m not even talking about his creativity yet, his compositions, oh my God, that’s another level! Don’t forget, he was also a fantastic artist; the showmanship and the singing were out of this world.”

Lamenting the descent in quality music production today, Iruoje said recording companies no longer exist in the country, adding that what obtains today are label operators. Highlighting the difference between recording companies and label operators, Iruoje said, “Recording companies should have the Artiste Department, which talent-hunts artists, audition them, after the audition comes the studio, you get a space large enough, that time we had groups, not solo artistes like we have them now. That time we had groups like Fela, so you need space. The studio should be big enough to contain them, you have the various recording equipment, you have the mixer, the mixer desk, various musical instruments, microphones, and then of course, space big enough for rehearsals and so on.

“But nowadays, it is just label operators, you can have a label and sing into your instrumentation, your company is the label on it, and you put it on the internet, you don’t go to record companies to release your records for you. You don’t find recording studios so popular anymore. And the standard has completely gone down. It was music companies that made up the standards and maintained the standards. Now there are no recording companies; you can put anything in the air, on the internet.”

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Fela played music in an era when music was not for everybody. Nowadays, anybody can sing a song in their toilet and send it to a producer who would mix it and put it on their record label. In acting, the difference between theatre performance and cinema production is huge – in terms of skills, spontaneity and connectivity. One is raw, the other is synthetic. The same goes for music production in Fela’s era and now. In sold-out arenas, a Wizkid miming to his songs would send fans into delirium. Fela never mimed to his songs. Fela was live. Good music never dies. Fela forever.

Concluded.

Email: tundeodes2003@yahoo.com

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Facebook: @Tunde Odesola

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Court Orders SERAP To Pay DSS Operatives N100m For Defamation

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The High Court of the Federal Capital Territory has ordered a non-governmental organization, the Socio-Economic Rights and Accountability Project, SERAP, to pay N100 million as damaged to two operatives of the Department of the State Services, DSS, for unjustly defaming them in some publications.

The court also ordered SERAP to tender public apologies to the defamed officers,
Sarah John and Gabriel Ogundele, in two national newspapers, two television stations and its website.

Besides, the organization was also ordered to pay the two operatives N1 million as cost of litigation and 10 percent post-judgment interest annually on the judgment sum until it’s fully liquidated.

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Justice Yusuf Halilu of the High Court of the Federal Capital Territory gave the order on Tuesday while delivering judgment in a N5.5 billion defamation suit instituted against SERAP by the DSS operatives.

The judge found SERAP liable for unjustly defaming the two DSS operatives with allegations that they unlawfully invaded its Abuja office, harassed and intimidated its staff, in September 2024.

READ ALSO:How We Arrested Terror Suspect Who Threatened To Kill Students, Teachers In Abuja — DSS

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In the offending publication on its website and Twitter handle, SERAP alleged that the two operatives unlawfully invaded and occupied its office with sinister motives.

The judge held that the publication was in bad taste especially from an organization established to promote transparency and accountability, as nothing in the publication was found to be truthful.

The DSS staff had listed SERAP as 1st defendant in the suit marked CV/4547/2024. SERAP’s Deputy Director, Kolawole Oluwadare, was listed as the 2nd defendant.

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In the suit, the claimants – Sarah John and Gabriel Ogundele – accused the two defendants of making false claims that they invaded SERAP’s Abuja office on September 9, 2024..

Counsel to the DSS, Oluwagbemileke Samuel Kehinde, had while adopting his final address in the mater urged the judge to grant all the reliefs sought by his client in the interest of justice.

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He admitted that although the names of the two claimants were not mentioned in the defamation materials, they had however established substantial circumstances that they are the ones referred to in the published defamation article by SERAP on its website.

The counsel submitted that all ingredients of defamation have been clearly established and the offending publication referred to the two officials of the secret police.

However, SERAP, through its counsel, Victoria Bassey from Tayo Oyetibo, SAN, law firm, asked the court to dismiss the suit on the ground that the two claimants did not establish that they were the ones referred to in the alleged defamation materials.

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She said that SERAP used “DSS officials” in the alleged offending publication, adding that the two claimants must establish that they are the ones referred to before their case can succeed.

Similar arguments were canvassed by Oluwatosin Adefioye who stood for the second defendant, adding that there was no dispute in the September 9, 2024 operation of DSS in SERAP’s office.

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He said that since SERAP in the publication did not name any particular person, the claimants must plead special circumstances that they were the ones referred to as the DSS officials.

Besides, he said that there is no organization by name Department of State Services in law, hence, DSS cannot claim being defamed adding that the only entity known to law is National Security Agency.

The claimants had in the suit stated that the alleged false claim by SERAP has negatively impacted on their reputation.

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The DSS also stated, in the statement of claim, that, in line with the agency’s practice of engaging with officials of non-governmental organisations operating in the FCT to establish a relationship with their new leadership, it directed the two officials – John and Ogunleye – to visit SERAP’s office and invite them for a familiarization meeting.

The claimants added that in carrying out the directive, John and Ogunleye paid a friendly visit to SERAP’s office at 18 Bamako Street, Wuse Zone 1, Abuja on September 9 and met with one Ruth, who upon being informed about the purpose of the visit, claimed that none of SERAP’s management staff was in the country and advised that a formal letter of invitation be written by the DSS.

READ ALSO:DSS, Police Partner NCCSALW To End Terrorism, Mop Up Illegal Arms

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John and Ogundele, who claimed that their interactions with Ruth were recorded, said before they immediately exited SERAP’s office, Ruth promised to inform her organisation’s management about the visit and volunteered a phone number – 08160537202.

They said it was surprising that, shortly after their visit, SERAP posted on its X (Twitter) handle – @SERAPNigeria – that officers of the DSS are presently unlawfully occupying its office.

The claimant added, “On the same day, the defendants also published a statement on SERAP’s website, which was widely reported by several media outfits, falsely alleging that some officers from the DSS, described as “a tall, large, dark-skinned woman” and “a slim, dark skinned man,” invaded their Abuja office and interrogated the staff of the first defendant (SERAP).

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John and Ogundele stated that “due to the false statements published by the defendants, the DSS has been ridiculed and criticised by international agencies such as the Amnesty International and prominent members of the Nigerian society, such as Femi Falana (SAN)”.

“Due to the false statements published by the defendants, members of the public and the international community formed the opinion that the Federal Government is using the DSS to harass the defendants.”

READ ALSO:SERAP To Court: Stop CBN From ‘Implementing ‘Unlawful, Unjust ATM Fee Hike’

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They added that the defendants’ statements caused harm to their reputation because the staff and management of the DSS have formed the opinion that the claimants did not follow orders and carried out an unsanctioned operation and are therefore, incompetent and unprofessional.

The claimants therefore prayed the court for the following reliefs: “An order directing the defendants to tender an apology to the claimants via the first defendant’s (SERAP’s) website, X (twitter) handle, two national daily newspapers (Punch and Vanguard) and two national news television stations (Arise Television and Channels Television) for falsely accusing the claimants of unlawfully invading the first defendant’s office and interrogating the first defendant’s staff.

“An order directing the defendants to pay the claimants the sum of N5 billion as damages for the libellous statements published about the claimants.

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“Interest on the sum of N5b at the rate of 10 percent per annum from the date of judgment until the judgment sum is realised or liquidated.

“An order directing the defendants to pay the claimants the sum of N50 million as costs of this action.”

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[OPINION] Tinubu: Borrowing Is Leprosy

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By Suyi Ayodele

“Neither a borrower nor a lender be; For loan oft loses both itself and friend, And borrowing dulls the edge of husbandry.” William Shakespeare, Hamlet (Act 1, Scene 3)

Nigeria has shifted from incurring debt as an instrument of policy to embracing it as a condition of survival. It is a dangerous evolution—made worse when President Bola Ahmed Tinubu appears to regard debt not as leprosy, but as ornament.

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Greek philosopher, Plutarch (before AD50-after 120), wrote a piece titled: “That We Ought Not to Borrow.” What the old Greek philosopher said in the piece, published in Vol. X of the Loeb Classical Library edition of the Moralia, 1936 (Pg. 315-339), shows that borrowing is worse than leprosy in all ramifications. Plutarch’s piece summarises the Greeks’ attitude to borrowing.

Incidentally, every arguement he posted in the material aligns with the African’s philosophy of a borrower ending up a broke person. Our elders, right from the beginning of time, say: Àì l’ówó l’ówó kìí jé ká ní owó l’ówó (being broke makes one to be more broke).

They say this because the broke man goes a-borrowing and ends up using the little he has to service his debts thus ending up without money. A man without money is a sad man. That confirms the age-long axiom of he who goes a-borrowing goes a-sorrowing.

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President Tinubu, on Tuesday last week, at an engagement with all the movers and shakers of events from Plateau State, said to those critical about the rate of borrowing by his administration that “borrowing is not leprosy.” He added that whenever the occasion arose for him to borrow, he would not hesitate to do so.

Maybe we should allow Tinubu to speak: “If we have to borrow money, we will, because borrowing is not leprosy; we just have to work hard to be able to repay it.” To the President, going by these uttered words, what matters is the ability to pay. And to pay back the countless debts incurred by his administration, Nigeria and Nigerians must work hard.

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It is not what Tinubu said that worries me. My concern is the metaphor he deployed – “leprosy”. That is the worst of all contagious diseases. Anyone who contracts leprosy is usually isolated. Leprosaria, in ancient days, were built in the deep forest. This is why it is said that: A kìí kó ilé adétè sí ìgboro; inú igbó ni adétè ńgbé (no one builds the house of a leper in the city; lepers live in the forest).

The idea of the forest in this ancient saying itself depicts graphic metaphors of a pariah, isolation, and of an individual who lives with ultimate shame. So, when our President deployed that metaphor, its meaning goes beyond the theatrical message his audience thought they heard and clapped for. What Tinubu told his audience is that Nigeria had not borrowed to that level when it would become an isolated nation, a leprous entity that nobody would dare touch with a 10-feet pole! We may soon get there, anyway! Back to ancient Greek.

Ancient Greek philosophy never supports borrowing. Rather, it considers borrowing, which usually comes with heavy interest, as another form of servitude. The borrower, in the Greek mindset, is not just a slave to the lender; he is equally considered a weakling and one with the base of all moral values. Plato, Aristotle, and other ancient philosophers believed that a borrower, especially a reckless one, is an ‘unnatural and socially corrosive” individual. Any borrowing that imposes heavy interest on the borrower, they said, is ‘predatory.’ (See: “Lending and Borrowing in Ancient Athens,” by Paul Millett, Cambridge University Press, Cambridge, 2022).

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This is the summary of Plutarch’s work, where he argues that taking loans comes with its own degree of disgrace and leads to “a voluntary loss of freedom and a sign of folly.” A simple review of Plutarch’s essay says: “That We Ought Not to Borrow” (Greek: De vitando aere alieno) is a famous essay….that argues against debt, describing it as a form of slavery to lenders that causes stress and ruins financial freedom. Plutarch advises avoiding loans, whether rich or poor, arguing it is either unnecessary or impossible to repay.”

In an October 5, 2021, piece on this page with the title: “Buhari and the chronic debtor-wife of Osin”, I expressed worry at the rate at which the administration of General Muhammad Buhari was taking loans. I warned that Nigerians would be left in pain and sorrow at the end of the day. The introductory paragraph of the said article is worth repeating here:

“Permit me to call this Buhari regime Onígbèsè Aya Osin (The chronic debtor-wife of Osin). Osin is the Yoruba deity of royalty. According to the legend, Osin married a shameless woman who owed virtually everyone in the community. In our tradition, once a person’s behaviour is off the mark of our acceptable mores, norms and traditions, we give such a person a descriptive name. This wife’s reputation followed her everywhere she went. ‘Onigbese’ is the Yoruba word for chronic debtor; ‘Aya’ is wife. Her cognomen is an exercise in character portrayal. She is known as Onigbese Aya Osin, who buys pangolin without paying, and buys porcupine on credit. She sees the woman hawking a hedgehog; she runs after her empty-handed. She uses the money from antelope to pay for deer. Yet, she fries neither for her husband nor cooks for her concubine. Her first child is sold into slavery to service her debts; her lastborn is pawned off for her indebtedness. When she talks, she accuses her husband of not covering her shame whereas, she neither informs the husband nor takes permission from him before buying bush meat on credit.”

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Whatever we saw in the Buhari administration that informed the above has since paled into insignificance in the administration of Tinubu. This government borrows with reckless abandon! That is troubling. And unlike Buhari, who was decent about it, the current set of Onígbèsè in the Aso Rock Villa adds arrogance to the charade. This is why, when he had nothing more to tell us all, Tinubu said that our level of indebtedness had not reached the leprosy stage where no nation would want to touch us.

Whatever Tinubu said during the encounter, his spokesman, Bayo Onanuga, further amplified. In his criticism of the borrowing spree of this government, Peter Obi, the 2023 Labour Party (LP) presidential candidate, said that “Borrowing is not only leprosy, but a killer cancer when it is borrowed for consumption and not production as it is in Nigeria today.” He further lamented the nation’s “Debt that is not tied to measurable economic value; debt that does not translate into jobs, growth, or improved living standards for the Nigerian people.”

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Onanuga, responding to Obi, said that the opposition politician was “bringing up the same old arguments again with your sensationalist approach.” Like his master, Onanuga stressed that “…Every sovereign nation borrows money, and as President Tinubu correctly pointed out, borrowing is not a disease. If you really want to know, the government has been taking loans to pay for important infrastructure projects, not to spend on everyday things. The fact that we are getting money and have lenders who are willing to lend shows that our country is trustworthy and able to pay back the money.”

I read Onanuga’s position, and I wondered if ‘silence is no longer golden’, as we were told, especially when one does not have something intelligent to say! How can borrowing become an ornament that a government should wear like a medal, the way Onanuga deodorised it? So, if every nation of the world wants to lend us money, we should take all the loans with reckless abandon, the way the government, the ‘old activist’, is defending does? And, if we may ask: what are the “important infrastructure projects” Onanuga is talking about?

Do they include the $2.7 billion borrowed from the World Bank by this administration in 2023, part of which is the $700 million loan taken for adolescent girls’ secondary education that we have nothing to show for except the daily kidnapping of our school boys and girls up North? Or the preposterous $750 million loan for power sector recovery, only for the Aso Rock Villa to detach itself from the National Grid?

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Can we also ask Onanuga if his “important infrastructure projects” for which this government took a World Bank loan of $4.25 billion in 2024, include the $1.57 billion loan to strengthen human capital, improve health for women and children, and build climate resilience, without anything to show for it? What about the $357 million, $57 million, and $86 million loans for rural road access and agricultural marketing projects, in a country where bandits, herdsmen and terrorists don’t allow farmers to go to their farms?

Is the 2025 World Bank loan of $2.695 billion, part of which $500 million was said to have been for education under the HOPE Education loan, or the $253 million and $247 million for NG-CARES, also part of Onanuga’s “important infrastructure projects?” What sort of awkward reasoning governs this nation?

MORE FROM THE AUTHOR:OPINION: Count Your Sufferings: Tinubu’s Gospel Of Comparison

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Can someone please help tell those in power and their defenders that figures don’t lie! According to the Debt Management Office (DMO), Nigeria’s total public debt in 2015 was approximately N12.12 trillion to N12.6 trillion ($63–$64 billion). Various independent reports confirmed that figure, which is said to include both domestic and external debt stocks, representing the total liability at the time the administration of President Goodluck Ebele Jonathan ended in May 2015.

But by December 31, 2023, according to the DMO, the nation’s total public debt was N97.34 trillion (US$108.23 billion). Again, the figure includes the external and domestic debt of the Federal Government, the 36 state governments, and the Federal Capital Territory.

Fast forward to the three-year-old administration of President Tinubu, Nigeria’s total public debt is projected to exceed N159 trillion (approx. $110 billion, “driven by a N68.32 trillion budget that relies heavily on borrowing. The government has allocated roughly ₦15.81 trillion for debt servicing (interest and fees) in 2026 alone, highlighting a severe debt service burden on the economy.”

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Pray, what do you call a disease that makes a government spend over 80% of its revenue to service debt, if not ACUTE LEPROSY? What can be more cancerous than a government which borrows to satisfy the President’s fantasies at the expense of good living conditions for the citizenry? How do you describe a government which goes a-borrowing to finance its own budgets if not a leprous and cancerous government?

And since Onanuga has deliberately chosen not to understand why the government he defends has “lenders who are willing to lend” as he posted in response to Obi, I suggest, and very strongly too, that he takes a simple tutorial in Plutarch, who posits that “…the Persians regard lying as the second among wrong-doings and being in debt as the first; for lying is often practiced by debtors; but money-lenders lie more than debtors and cheat in their ledgers, when they write that they give so-and‑so much to so-and‑so, though they really give less…” This is why Onanuga and his ilk will be eternally wrong in their celebration of “lenders who are willing to lend.”

The Greek philosopher adds in the piece that, while he had “not declared war against the money-lenders”, he must point it out “to those who are ready to become borrowers how much disgrace and servility there is in the practice and that borrowing is an act of extreme folly and weakness.”

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In concluding the piece, “That We Ought Not to Borrow”, Plutarch cautions thus: “Have you money? Do not borrow because you are not in need. Have you no money? Do not borrow, for you will not be able to pay….therefore in your own case do not heap up upon poverty, which has many attendant evils, the perplexities which arise from borrowing and owing, and do not deprive poverty of the only advantage which it possesses over wealth, namely freedom from care; since by doing so you will incur the derision of the proverb: I am unable to carry the goat, put the ox then upon me.” May the cosmos give us the grace to learn from ancient wisdom!

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OPINION: APC’s Politics Of Consensus

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By Lasisi Olagunju

In a democracy, victory won through real elections brings enduring legitimacy. ‘On Your Mandate We Shall Stand’ was composed and sung for Moshood Kashimawo Olawale Abiola because he submitted his ambition to a competitive process: he had a competent opponent, votes were cast, counted, and he won. The song, its defiance, and resilience followed that mandate because it was legitimate.

Those who chant similar slogans today may find themselves clutching empty matchboxes tomorrow if they continue to sidestep competitive elections. A democratic seat secured through elite manipulation and backroom agreement cannot command enduring popular support, especially when those same elites decide to take it back.

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Nigeria today stands in the grip of what is called consensus politics; choosing candidates without the ‘trouble’ of voting. We are even scheming to elect a president next year without the inconvenience of election. Good luck to all of us.

At the Battle of Hastings on October 14, 1066, the Norman king, William the Conqueror, defeated King Harold II and went on to become King of England. Historians note that the victory set off sweeping changes across the British Isles. They say by force of arms, William took the crown and went on to remake the Church, the palace, and the culture of England. They say he did more than change the English crown; his victory remade the English language through a deep infusion of Norman/Latin forms. The consequence is that more than 60 percent of English words now carry Latin parentage.

One such word is ‘consensus’, from the Latin ‘consentīre’—“to feel together”,

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“to agree,” “to be in harmony,” “to concur.”

The rains started beating that word a long time ago. Language historians note that words which experienced long migration often shed their original sense of shared feeling and acquire more instrumental meanings. So it is with ‘consensus’ in today’s political usage.

Somewhere along its long journey from Latin to modern political speech, ‘consensus’ lost its warmth. The distortion of the word and its meaning is no longer abstract. In our usage today, ‘consensus’ no longer suggests a meeting of minds; it often signals a decision already made; an outcome proclaimed from above and affirmed below. A word that once implied a genuine convergence of minds now describes an order from the throne, delivered through courtiers.

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The parties—especially the ruling APC—have stretched and inverted the meaning of the word. In APC’s political dictionary, “consensus” increasingly reads as the will of the president, not the outcome of deliberation.

As we had it in Sani Abacha’s transition programme, we think any of today’s living parties that make it limping to the ballot in January 2027 should reach an ‘agreement’ and adopt one person as the consensus presidential candidate. That is how rich our imaginative thoughts are and how limitless our capacity for distortion of values is.

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Within both party and polity, the president now embodies what Aristide R. Zolberg calls “the chief executive who is also the supreme legislator (the chief elector), and the ultimate arbiter of conflict.” Because the president is what he has always been, photo ops are staged as proof of order, while his name, cast as the final authority in the APC’s doctrine of “consensus”, is invoked to sanctify outcomes.

The APC set its neighbour’s hut on fire and rejoiced; now the blaze has caught its own roof. Across the states, the refrain is the same: the abuse of ‘consensus,’ with the president inserted into the process as decider-in-chief.

Oyo State offers a very sharp illustration. Some APC leaders, on Friday, announced Senator Sharafadeen Alli as the party’s “consensus” governorship candidate, invoking the president’s name. Within hours, former minister, Adebayo Adelabu, pushed back, also invoking the same presidency, and declaring that he remained in the race as the president’s “son”. When two rival claims lean on the same authority, what is presented as consensus begins to look like a contest of endorsements, not agreement.

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Our fathers say the medicine must match the disease. Bí àrùn búburú bá wòlú, oògùn búburú la fi ńwò ó (When the affliction is severe, the remedy cannot be gentle). That may explain why the rhetoric of resistance has turned harsh. One does not need a keen ear to catch the crudity in what now issues from Oyo APC bigwigs. It is a stream of curses and abuse, imprecations without restraint. And one must ask: why?

Beyond Oyo, across Nigeria, north to south, we hear cries of plots to impose “consensus” candidates. How do you use the words ‘imposition’ and ‘consensus’ in the same sentence? Imposition comes from above; the other grows from below. ‘Imposition’ is force without consent. ‘Consensus’ is agreement without force. The two opposites appearing as companions presents a contradiction, and politics is autological, a self-defining oxymoron. You will likely agree with my linguistic choice if you believe the popular (but etymologically false joke) that “politics” comes from ‘poly’ (many) and ‘tics’ (blood-sucking parasites).

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In Nasarawa, former Inspector-General of Police and APC governorship aspirant, Mohammed Adamu Abubakar, rejected any move towards “consensus,” insisting that only a direct primary could confer legitimacy. To him and others in the race, what is being dressed up as consensus is little more than unilateralism in softer language.

In Ondo, there are subdued objections to what the party may decide on Ondo South senatorial ticket. Aspirants for the Ondo East/Ondo West federal constituency have raised similar alarms, accusing party leaders of plotting to impose a candidate under the convenient cover of consensus. Their warning is simple: once choice is managed from above, internal democracy is already compromised.

In Yobe State, Senator Ibrahim Mohammed Bomai, Kashim Musa Tumsah, and Usman Alkali Baba—three APC governorship aspirants—have rejected the party’s endorsement of former Secretary to the State Government, Alhaji Baba Malam Wali, as its “consensus” candidate for the 2027 election.

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Bomai’s choice of words is telling. He described the “consensus” imposition as an affront to democratic principles. He warned against the steady replacement of popular choice with elite arrangement. No individual, he argued, regardless of past office or political influence, has the authority to determine the leadership of millions behind closed doors. Leadership, he insisted, must emerge through a process that is free, fair, and transparent—not one brokered in the name of “consensus.” Quoting him directly, he said: “We categorically reject this attempt to subvert due process. We reject the culture of imposition. We reject any scheme that undermines fairness, equity, and the democratic rights of our people.” Those words give voice to what dissatisfied but muted APC leaders and members in Kwara, Ogun and beyond are saying in uneasy, even fearful, silence.

Lagos, for now, appears to be the exception. The emergence of Dr Obafemi Hamzat as the APC governorship candidate quietly followed a process that bore the marks of consultation rather than imposition. Hamzat combines the fine qualities of a gentleman with humble erudition. In a field without a formidable opposition, his path to final victory looks smooth. Congratulations may therefore be in order.

Choice of candidates by consensus is good, cheap and safe if it comes with clean hands. Going far back into our beginning, we find that real consensus is not alien to the African political tradition. Ghanaian philosopher Kwasi Wiredu (1931 – 2022), in his reflections on ‘Democracy and Consensus in African Traditional Politics’, argues that decision-making in pre-colonial African societies was anchored in discussion and agreement rather than imposition.

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He draws, for instance, on the words of Zambia’s founding father, Kenneth Kaunda, who observed that “in our original societies, we operated by consensus. An issue was talked out in solemn conclave until such time as agreement could be achieved.” Similarly, Julius Nyerere of Tanzania, in 1961, noted that “the African concept of democracy is similar to that of the ancient Greeks, from whose language the word ‘democracy’ originated. To the Greeks, democracy meant simply “government by discussion among equals.” The people discussed, and when they reached an agreement, the result was a “people’s decision.” In African society, he said, the traditional method of conducting affairs is “by free discussion… the elders sit under the big trees and talk until they agree.”

Our politics has refused to benefit from that past of refined due process. There is no “people” in today’s decisions. And we expect today’s “consensus” arrangement to yield good governance. No. It will not. It can only produce a system that answers to kings, kingmakers, and the capos who guard their power.

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When a ruling party actively promotes “consensus” after weakening the opposition, it risks sliding toward a very bad form of authoritarianism. It also strips even its own members of the power to choose their candidates. As Kwasi Wiredu observed, both Kenneth Kaunda and Julius Nyerere defended systems that claimed consensus but, in practice, narrowed choice.

The Yoruba, watching what has become of this democracy in the hands of its custodians, would say: when a wise man cooks yams in a mad fashion, the discerning take theirs with sticks. That is àbọ̀ ọ̀rọ̀—half a word—and for the wise, it is enough.

What passes for consensus in Nigeria today therefore demands closer scrutiny. When outcomes are settled before conversations begin, when dissent is managed rather than engaged, and when unanimity is announced rather than negotiated, consensus ceases to be the product of dialogue; it becomes instead an instrument of control.

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“Fair is foul, and foul is fair.” In politics, as William Shakespeare suggests, opposites often blur; good and evil do not always stand apart; they, in fact, reinforce each other. Bernard Crick, in ‘In Defence of Politics’ (1962), reminds us that politics thrives on contradiction, that it is “a creative compromise… a diverse unity.”

All dictionaries insist that “consensus” and ‘coercion’ are not the same. Our politicians, however, behave as though they are—indeed, as though one can be made to pass for the other. Once coercion learns to speak the language of consensus, it no longer needs to persuade; it only needs to declare. And declarations are fast, sweet and cheap.

But there are consequences.

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Someone said “every cheap choice is a lost chance at joy.” The quest for easy victory is behind the current ‘consensus’ frenzy. But it may be the death of this democracy.

In Yoruba, some proverbs come as stories. Take this: “All the animals in the forest assembled and decided to make ìkokò (hyena) their asípa (secretary). Ikoko was happy to hear the news, but a short while later he burst into tears. Asked what the matter was, he replied that he was sad because he realised that perhaps they (his electors) might revisit the matter and reverse themselves.”

Professor Oyekan Owomoyela, from whom I got the proverb, explains what it says: “even in times of good fortune one should be mindful of the possibility of reversal.”

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The moral is that those who donate victory cheaply through agreement can agree again to whimsically annul the victory without consequences.

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