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Debo Adedayo: Mr. Macaroni And Socio-Political Activism

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Debo Adedayo: Mr. Macaroni And Socio-Political Activism
Debo Adedayo (Mr. Macaroni)

By Toyin Falola
One of the qualities that distinguish humans from other species of living things is the capacity of the human mind and brain to form values based on many factors — society or environment, upbringing, religion, and a personal sense of purpose or lifelong goal. Although these factors often collaborate to make up a human’s wholesome value system, some have stronger influences on the individual, so much so that they override all other factors. Then, if the individual falls out of line in terms of value, they could retrace their steps and fall back in line if any of the more influential factors had enough influence on them. A personal sense of purpose or lifelong goal is one of the more influential factors that shape the human value system.

An interesting twist in this human phenomenon is that a personal sense of purpose or lifelong goal comes much later in life, unlike several other factors that design our value system. Some people discover it later than they should have after they might have veered off to an untoward path. However, once humans have successfully discovered their sense of purpose or found the path to their lifelong goal, their lives become more meaningful.

Debo Adedayo is a young man who has discovered his purpose and life’s mission and is earnestly pursuing it. It might not be in the obvious way you know him, but he is a man given to activism, social change, and advocating for the masses through legitimate and influential means. Debo is the popular Nigerian comedian, actor, and activist, whom you most likely know as Mr. Macaroni. The character and personality of this young man transcend an agbada-wearing rich Nigerian, a corrupt, people-deceiving politician, a student-harassing professor, or any other role he takes up in the course of his message-sending work. His environment and upbringing must have deeply influenced him, as his father, Chief Alao Adedayo, is a veteran journalist and the publisher of Alaroye Newspapers.

READ ALSO: Court Orders Release Of Mr Macaroni, Other Arrested #OccupyLekki Protesters

If there is anything about journalism, it is a profession for the vocal and fearless fenders of public interest. Therefore, it is not surprising that Debo grew up with an ambition to study law. Although he ended up studying creative arts at the Redeemer’s University due to several issues that could be summed up into the dreaded maxim, “Nigeria happened to him,” his endeavours in the past few years are enough proof that if he had studied law, he would most likely have ventured into human rights activism — for at his core is the burning wish to fend for the public good and speak truth to power.

Before 2020, Debo was a comic skit sensation whose social media pages served comic relief in various forms to teeming viewers. He was emerging as one of the most popular new generation comedians who were neither into stand-up comedy nor sitcoms, but what is termed skit-making. Of course, things did not start initially on the comic skit-making path for the Lagos-born Debo Adedayo. Being a graduate of both the PEFTI Film Institute and a graduate of creative arts from Redeemer’s University, he had initially ventured into the Nollywood industry at the early stage of his career, acting in several movies, the details of which could be seen on his Instagram page.

However, the Mr. Macaroni stage name and comedy skits started popping up on Instagram and YouTube in 2019, and within one year, the brilliant comic skit-maker had studied the industry and audience enough to know the trends and the kinds of content that appealed to the audience, thus riding to fame (his followership base on Instagram, Facebook YouTube, and Twitter stand at a combined figure of over 7 million). Mr. Macaroni strives to portray several social vices through his characters and support characters while also appealing to the audience and gaining more followers. While 2020 was a defining point in Adedayo’s life and career in terms of socio-political activism, the fact remains that the comic skit maker and actor has been more than a comedian for a long time.

Looking into Mr. Macaroni’s past, especially his undergraduate days at the Redeemer’s University, one would quickly notice that his adventure into social activism, taking up public responsibility, and speaking to power did not start today. If he claims to be of the S’oro Soke generation—the appellation the Nigerian youth adopted during the famous #EndSARS protests—then he is, not only for his role during the 2020 protests but also because he had demonstrated that he is a people-supporting activist on several occasions in the past — even before he came to the limelight.

While he was a student at Redeemer’s University, Debo held several leadership positions, including President of the General Students’ Association. He had a drag-on with the school management for a piece he published on his Facebook page in 2017. The post, which criticized his alma mater’s administrative style, caught the interest of the school management, leading to Debo’s expulsion on October 8, 2017. From a protracted dragging that later resulted in a lawsuit, he could reclaim his student status and graduate from the university after the school agreed to settle out of court. Thus, the vocal, openly non-partisan Mr. Macaroni did not just happen on a new identity in the wake of the events in 2020. Those events might have catalyzed his reawakening, but they did not create that side of him.

In 2020, at the height of police brutality and sheer mishandling of citizens, the Nigerian youth came out en-masse to protest their unjust suffering at the hands of law enforcement agents, infamously popular among whom were members of the Special Anti-Robbery Squad. That period was one of the most unifying, defining, yet traumatic, perspective-changing, and orientation-shifting for the Nigerian youth. During this time, Mr. Macaroni was one of the most vocal influential Nigerian youth who spoke through their social media platforms, lent their voice to the protests, and occupied the streets to fiercely condemn the brutality of the police.

READ ALSO: Police Arrest Mr Macaroni, Other #OccupyLekki Protesters

Adedayo was arrested, along with some other Nigerian youth during this troubling period, and members of the Nigeria Police Force assaulted them. The young activist tweeted about how some of the police agents who arrested and harassed them kept on hammering on how they would release him only because he is “Mr. Macaroni” — a popular influencer and comedian whose sudden absence would raise a lot of brows and generate rippling reactions if the police tried to keep him for longer. One of the most notable things Debo did during this period was to create video content, which we cannot pass as a comedy skit in this instance due to its nature. The video content aptly portrayed what was happening in the country, what the youth was suffering, and why they took to the streets to protest. The content also served as the youth’s statement about what was happening.

What did the video content achieve? Mr. Macaroni’s audience is not comprised of the youth alone. Some adult Nigerians or other Africans might not have known the cause of the protests and why the youth were on the street. However, the creation of the video content served as a means to reach out to that category of people to help them understand. Another thing he achieved by making a strong statement with the video was to boost the morale of the protesting youth. After the 2020 #EndSARS protests, Mr. Macaroni returned to his comic skits. However, he returned with a reawakening — a determination to continue to use his platforms and the influence he has garnered through them to create socio-political awareness, defend the public good, speak truth to those in power, and stand up for the masses. And he has not looked back ever since.

If you watch his videos on YouTube, Instagram, or Facebook, you would see the most popular of his characters, the agbada-wearing, contract-winning, promiscuous Nigerian rich man who is always trying to prey on the young. However, you would also see other videos subtly slotted into his video creation schedule — depicting the citizen-robbing politician who only knows his constituents every four years. Mr. Macaroni recognizes what has helped him gain such a following on social media. He knows the kind of content the people love, and he has not stopped delivering such content to them. Nevertheless, he is also advancing his cause of political awareness by subtly sharing content designed to look like comic skits. In doing so, he reawakens the electorate’s consciousness, all while they believe they are having a good laugh watching a funny skit.

READ ALSO: The African Union At Twenty

In this imminent Nigerian election period, Adedayo’s concerted efforts to continually speak up for the suppressed and awaken the Nigerian people’s consciousness cannot be anything short of laudable. His efforts are undoubtedly yielding rippling effects on the Nigerians in his demographic bracket (the youth) and on Nigerians across all ages, social classes, and gender. Aside from religion, online skits are among the top things that Nigerians of different demographic and psychographic strata share in common. And thus, Mr. Macaroni’s efforts are not only laudable but also worthy of recognition and emulation.
Please join us for a conversation with Mr: Macaroni on
Sunday, June 12, 2022
5:00 PM Nigeria
4:00 PM GMT
11:00 AM Austin CST

Register and Watch:
https://www.tfinterviews.com/post/debo-adedayo

Falola is a Nigerian historian and professor of African Studies. He is currently the Jacob and Frances Sanger Mossiker Chair in the Humanities at the University of Texas at Austin.

 

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Interview

Monica Cheru On Rethinking African Literature

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20 Years Of African University College Of Communications (AUCC): Looking Back On The Achievements And Looking Forward To Innovative Upgrades

By Toyin Falola
In an earlier piece, I traced the historiography of African literature and wrote about anticipations of how the panelists at the last edition of the Toyin Falola Interviews (in conjunction with the Pan-African Writers Association) would propose ways of rethinking African literature. Today, I will be spotlighting and extrapolating the views of Cheru, the only female panelist and the Vice President (Southern Region) of the Association. Cheru had many interesting perspectives on the questions and issues raised.

There is largely an imbalance between the financial stability of critics and writers, based mainly on the fact that a higher percentage of critics are employed at universities, thus having a stable source of income compared to literary writers. In stating her perception of this imbalance and approaches to springing up a reward system that balances the financial strength of both critics and writers, Cheru started with writers’ mentality and our perception of writing—especially as a full-time job—as one of the biggest stumbling blocks to writers’ achievement of financial stability.

Passion is the key ingredient in the making of literary writers, which makes the bulk of writers venture into writing as a means of expressing themselves and connecting with their deep passion for literature and writing. However, it should be known that passion is not enough to build a successful writing career. The writer must step out from the mentality of writing as a second option and realize that it is a full-time career that passionate writers can pursue, thus approaching writing as a professional. This means that writers need to improve their writing skills and develop a career path that can help them turn a profit.

Monica Cheru On Rethinking African Literature

Monica Cheru

Cheru further went towards the controversial side when she stated she does not see any excuse for writers to be poor or “unable to put food on their table.” As controversial as this may seem, Cheru is not wrong because there are several opportunities out there that literary writers can tap into once they have taken writing as a professional career and not just as a hobby. Writers can earn money through the ability to market their ideas.

In reality, many African writers do not invest enough in producing, promoting, and distributing their works, which could be due to the lack of funds to invest in such. However, professionalism is required at every stage of the book creation process, from story-writing through publishing to distribution and promotion. Writers should be ready to be strategic about the stories they want to tell, the impacts they hope to make, and the people they want to engage with their stories. They should be prepared to attend events, launch their books, and promote them. They must learn to network with other writers and join the right writing communities.

Another issue relating to African literature is African writers positioning themselves for prizes, especially Western prizes. These prizes, among other things, provide writers with references and proof of their outstanding works. Some of these prizes come with substantial monetary rewards that serve as the gateway to more opportunities for several writers on a continent where success in the writing world is based largely on grit, talent, and passion, with the stark absence of access to practical writing-related degrees and writing workshops.

Notably, all the panelists at the last discussion are award-winning writers. Having won writing-related awards in the past could well have given credence to their emergence during the selection process because awards and recognition are a good means of gauging one’s impacts and qualifications across all walks of life. The question that rears its head then is: what does winning awards, or otherwise, mean for one’s career as a literary writer, African literature as a whole, and for up-and-coming writers? Prize obsession could evolve into a fast-spreading phenomenon if it has not already. Thus, is prize obsession justified, given that winning awards and prizes could contribute to a writer’s career?

READ ALSO: Rethinking African Literature

For Cheru, awards and prizes should not be the focus, and she strongly advocates against them. As she said, some of these awards and prizes have the style and pattern they look for in literary works. Only writers who pander to the box created by the awarding institutions qualify for the awards and eventually win. Cheru believes that the bulk of the awarding institutions from the West, which are incidentally the institutions with substantial monetary rewards for African writers, tend to favor negative African stories or those that portray Africa as that suffering, never-to-develop continent of people who look up to and need the salvation of the West. It may seem counter-intuitive to advocate against prize obsession, as there is a need to balance the reward system for writers and raise awareness of their financial stability.

However, having many African literary works pandering toward certain narratives with the hopes of winning prizes does not augur well for the continent. Thus, African writers need not write for prizes. This is not to say writers be anti-prize or reject nominations. Cheru’s message is that writers should write for all the reasons they want to, strive to document Africa’s history, and portray Africa as a continent rich in human and natural resources. They could very well opt for writing against the ills in African society and the poor leadership that bedevils the continent. But the primary motivating factor for writing should not be the hopes that such writing will get nominated for foreign prizes. If the prizes come in the end, then writers can celebrate.

It is also important to encourage the new generation of African writers to find their voice and write without pandering to the style and narrative awarding institutions watch out for in African literature. Success for literary writers should not necessarily be measured by how many awards they win. Success can also be defined by how well one’s literary works meet the demands of one’s audiences. In defining African literature from a gender perspective, there are questions like: Should there be a special focus on writings by African women and for African women? Should we give special attention to writing by African women? Should there be dedicated support for grooming female African writers? These are sub-forms of larger questions of gender equality, equal opportunities for all, and feminism.

READ ALSO: Alternative Paths To Ghana’s Success

Cheru does not subscribe to the idea that African literary works should be segmented across gender lines. For her, some female-related African literary works are sponsored, and the sponsors have some narratives they want to foster. This puts writers under pressure to write what fits into the narrative, thus crippling their creative freedom, as the focus is placed on highlighting issues rather than writing naturally and on the basis that there is an audience that needs to be reached with the writer’s creative thought flows. Cheru also believes that there is a generalization of Africa-related cultural beliefs and values viz-a-viz the treatment and consideration of women. Of truth, several African traditional practices are flawed in their treatment and acknowledgment of the female gender. However, Cheru believes that the roots of these issues run deeper than what sponsored gender-based African literary works currently portray and that it is a multi-perspective issue that must be addressed.

There is also the need to strategically boost the visibility of African writers and African literature. All over the world, public places like airports and train stations and even hotels are good points of call for literary works; sadly, African literature is missing from the equation. There is the need to give visibility to African books in a way that shows we are ready to actively promote literature by our people. Rethinking African literature entails reforming African literary writers’ mindset, as well as the mentality toward African literature. African writers need to be more audience-aware, to better understand the trends in world literature and how to make Africa the centerpiece of those trends.

.This is the final interview report with a panel of African writers on August 7. For the transcripts: YouTube:

Facebook: https://fb.watch/eLOPycx-MF/)

 

Falola is a Nigerian historian and professor of African Studies. He is currently the Jacob and Frances Sanger Mossiker Chair in the Humanities at the University of Texas at Austin.

 

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Interview

Touching Base With Chido Onumah’s Perspectives On Nigeria’s 2023 Elections

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20 Years Of African University College Of Communications (AUCC): Looking Back On The Achievements And Looking Forward To Innovative Upgrades

Touching Base with Chido Onumah's Perspectives On Nigeria's 2023 Elections

By Toyin Falola
The past few weeks’ events have made the forthcoming 2023 elections more of a reality to the average Nigerian than they were six months ago. As typical of every election period in Nigeria, there have been party defections; party primaries were rife with irregularities, reckless spending to win delegates over, and unbelievable sums of money doled out in a country touted to be the world’s poverty capital, where universities are currently shut because the academic staff union is at salary-and-allowances-inciting loggerheads with the government. Party flagbearers are emerging in all nooks and crannies of the country, and the scenes replay themselves yet again, as they always do during every election period in Nigeria.

On Sunday, May 22, 2022, we had one of the not-so-common editions of the Toyin Falola Interview Series. It was a discourse that featured veteran journalist and social commentator Dr. Chido Onumah alongside Dr. Jibrin Hussaini, Dr. Abiola Akiyode-Afolabi, and Ms. Miriam Oke. It was an intellectually engaging evening that saw our guests extrapolate on some of the major issues that bedevil the Nigerian nation-state during election periods. Let us touch base with some of the points and perspectives Dr. Onumah shared.

Touching Base with Chido Onumah's Perspectives On Nigeria's 2023 Elections

The Role of Money in the 2023 Nigerian Elections
Money is the convenient and effective wheel on which many human endeavours run. Thus, we cannot rule out the need for money during elections. The Independent National Electoral Commission (INEC) budgeted N305 billion for the 2023 General Elections, which is N70.5 billion more than the commission approved for the 2019 elections. Elections cost money — registering voters, acquiring electioneering materials and equipment, setting up registration centres and polling booths, and hiring temporary INEC workers. Spending before, during, and after the elections is necessary. Therefore, it must be a concern for a country like Nigeria if so much is spent on elections when there is little to nothing to show at the end.

Nevertheless, the nation’s election expenditure is not so much a concern compared to aspirants’ and parties’ spending on the electioneering process. As the government spends billions of naira trying to conduct “free, fair, and credible” elections, so do political aspirants and their parties spend billions of naira on winning party blocs, lobbying delegates, buying the electorate’s conscience and consciousness, among other election-winning and money-costing tactics. The recent primaries conducted within Nigeria’s two largest parties — the ruling All Progressives Congress (APC) and the People’s Democratic Party (PDP) — brought news on how aspirants spent money in reckless abandon, whether or not they were guaranteed their party’s ticket.

What preceded that: the cost of nomination and expression of interest forms across all parties, the highest being the APC’s N100 million demands from all presidential ticket hopefuls? This move raised questions that would ultimately lead to the conclusion that either the contestants have so deeply eaten into the public treasury — given how long many of them have been in the corridors of power — or they are hoping that buying the form would be an investment for which they would receive massive returns if they win the election or get appointed as a minister or for some other political seats.

Yet, purchasing the grossly expensive forms is a baby step the average Nigerian politician needs to take for the 2023 elections. As per calculations, the average presidential aspirant would need over N1 billion to monitor election proceedings and ensure ballots are cast on election day. Additionally, my team and I have calculated the financial costs of properly setting up an independent political party in Nigeria, with all the structures that can help a party gain grounds and win elections. Our calculations resulted in a whopping N200 billion. This shows the high amount of money that goes to electioneering in Nigeria, even when there is hardly any buzz or signs of life in these parties, especially the non-ruling ones, within the three years between every ante-election an election year in Nigeria.

The role of money in Nigerian politics is an all-important one, and Onumah had interesting points to share about the 2023 elections. He touched on how politics has become Nigeria’s major and most lucrative business, making the aftermath of the reckless spending during electioneering periods of much more concern than the actual spending. For Onumah, several Nigerian politicians are in the “business” of politics as a form of investment, knowing that political power offers them the proverbial Midas’ touch to get everything and anything they want. And that point cannot be lost on us, seeing that a position as that of an appointed Accountant-General of the country could conveniently divert billions of naira of public funds to private coffers.

Onumah related the issues of this fast-growing and widespread Nigerian political business to the anomalies of the Nigerian state structure. If the reward for holding political offices in Nigeria were not as huge as it currently is — in terms of salary, sitting allowances, security votes, and constituency allowance, among other huge chunks of unwarranted bonuses that Nigerian elected and appointed public office holders to enjoy — and if there were systems in place that rightly and equitably punish corrupt officials, politicians would not invest so much to get into political offices.

Another valid case that Onumah made for the huge financial resources that go into electioneering in Nigeria is that the financially popular and “open-handed” political aspirant is more likely to win elections in Nigeria. Simply put, the more you can give, your chances of winning are higher. This is not unrelated to how practically impossible it is for the citizens to benefit from the dividends of democracy, such as job-creating and economy-stabilizing policies. The people know that politicians only mingle with the masses and come around to gauge the citizens’ plights during electioneering periods; thus, citizens are willing to take whatever they can from the politicians during campaigns and elections, even if it means suffering the consequences for four years or more.

The need to satisfy citizens by reinforcing their stomach infrastructure during the electioneering process is another reason money plays an important role in elections in Nigeria. Videos and news stories from the party primaries have shown the huge amount of money politicians have spent to convince a few hundred delegates in their parties to vote for them. One can then begin to mentally project how much more they would need to convince millions of people to get them to their political destination come 2023.

Touching Base with Chido Onumah's Perspectives On Nigeria's 2023 Elections

Will 2023 Bring True Change, Or Will It Be a Waste of Time and Resources?
Undeniably, Nigerians have been scarred. After the huge failure of the Goodluck Jonathan government in several aspects, including security and the national economy, the APC ran one of the most successful PR campaigns in Nigeria, selling the citizens on the status, integrity, and identity of Muhammadu Buhari, who would bring change to the country. Seven years later, the citizens have experienced nothing short of a disturbing and devastating change. This charring, caused by the Buhari administration, led to a poor voter turnout in the 2019 presidential election compared to the 2015 election.

This time, the 2023 presidential election will be similar to the 2015 presidential election. The citizens are tired of the Buhari-led government’s baggage and are yearning for a more refreshing leadership. This would, in turn, lead to a surge in the number of voters, as there has been an increase in the clamour for voters’ registration among frustrated citizens. However, would the citizens have wasted their time and resources at the polls when they turn out for the 2023 presidential election, with hopes in hand and ballot papers inked for whom they think fit the task?

According to Dr. Onumah, to consider things in general terms, the 2023 elections would be a waste of the electorate’s time because the issues bedevilling the country are foundational, so much so that no matter how qualified the next president is, he or she would not be able to do a good job of getting the nation back on track within the constitutionally stipulated timeframe. The problems Nigeria is currently facing, including the immolation of Deborah Samuel in the North and the cold-blooded murder of a military couple in the East, indicate Nigeria is bitterly divisive. It is akin to a couple who, although not divorced, have a troubled home where they fight bitterly and hurt each other dangerously. Separated, yet not legally divorced, and still living under the same roof. Of course, this analogy only briefly compares to what is currently plaguing the Nigerian nation-state.

READ ALSO: 2023 Election: Buhari’s Opportunity To Win

Despite these divisive issues in Nigeria, there has been no pin drop in the camps of the Nigerians contesting to be the nation’s president in 2023. They are far more buried in their aspirations and the repercussion of commenting on ethnically and religiously motivated actions like Deborah’s gruesome murder and the killing of the army couple. Nigeria is faced with so many internal issues, so much so that in Onumah’s opinion, the best that could happen to Nigeria now is for its next president to serve as a transitional president who would raise discussions and make moves about the structure and nature of the country and on the amendment of the constitution, to mention a few. For Onumah, the Buhari government has worsened matters bordering on national unity and cohesion; thus, the 2023 president has to be able to act as a transition president to help us touch on those painful, deep-seated, and foundational issues that the country is seriously avoiding but which need to be resurfaced and resolved, without which we cannot progress.

But then, what is the possibility of the 2023 president acting as a transition president? History shows us that Nigerian political officeholders are too selfish. As a result, it would be practically impossible to have any of the 2023 presidential aspirants consider themselves as the forerunner of another government that will benefit from and ride on the glory of the fruits that the expected turbulence of the next four years would bring. Nigeria is in disarray, and it is more than disheartening to see that the citizens and the political class seemingly live in different worlds within the same country.

READ  ALSO: Can Peter Obi Win The Presidential Election In 2023?

While the people writhe and languish in pains brought by ethnoreligious and socio-political divisions, the political class, which is only one small class — regardless of the façade represented by political parties, religions, or ethnic groups — continues to make beneficial alignments and arrangements to further steal from the nation’s treasury and render the citizens lonely and miserable. They spend recklessly, to the point that it is difficult to believe that within the same country touted as the world’s poverty capital are political office holders who command several billions of naira and can easily afford to dole out tens of thousands of dollars per delegate to hundreds of delegates. As the 2023 elections approach, Nigerian citizens need to know that there are several issues. Despite how the political class disguised as stupid and clueless in their deeds and public appearances or bloopers, they are wise and calculating. They are the new crop of oppressors who took over from the colonisers, and if anything, history tells us that oppressors do all in their power to keep the oppressed on a leash.

Though democracy gives power to the people, what is practised in Nigeria is far from being a democratic system. Thus, as the people increasingly become politically conscious, strategize, and plan for a better tomorrow, the political class is also assiduously making moves to throw clogs in the wheel and bring the nation to a grounding halt or a non-stop retrogressive movement. May they not succeed in their mission! Amen.

. This is the second report on the interview held on May 22, 2022, on the 2023 elections in Nigeria. The views of our distinguished panelists have traveled wide and have been reported in several newspapers.
For the transcript, see:

YouTube: https://youtube.com/watch?v=VJP3CfnlC28
Facebook https://fb.watch/daf9NQxuml/

Falola is a Nigerian historian and professor of African Studies. He is currently the Jacob and Frances Sanger Mossiker Chair in the Humanities at the University of Texas at Austin.

 

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Interview

Rethinking African Literature

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God Abeg!

The Toyin Falola Interviews

Panel Discussion On African Literature (2)

Rethinking African Literature
By Toyin Falola

Every culture has its agencies of cultural and information transmission, written, spoken or demonstrated through various means. At one point or the other, nearly all civilizations of the world have depended on the spoken medium to communicate their thoughts and ideas. The evolution of other means came with the innovation of technology, the earliest one being orthography itself. With the invention of writing, information preservation and exchanges changed radically. People now have the opportunity to preserve their knowledge and immortalize their ideas through the agency of the new technology―writing.

Notably, this revolutionary development began in many places simultaneously, but the character of writing differed from culture to culture. For example, the primordial African civilizations had an orthographic system, but that knowledge was not widespread. Only people who belonged to a particular group knew to decode information lurked in their writing then, but such an approach to information preservation was not embraced in some other societies. Rather than being secretive, some civilizations opened their orthography to their populace, and writing became an instrument of communication. Consequently, literature became redefined. Beyond the pedestrian definition of literature as a body of written works, the concept is associated with the process of documenting one’s worldview and cultural orientations and customs by adding some creative ideas to support the argument made in the works.

To this extent, literature became an instrument of cultural or political re-engineering that (re)conditions the people’s psychological domain for various purposes. In essence, reading some literary text can progressively change one’s ideological convictions. If used in this case, literature would be a veritable instrument for controlling a people’s mind. In some other cases, when literature documents people’s past experiences, arts, and culture, it is believed to have been used as a compass for history to give people the opportunity to connect with their past and make sense of their evolving present. After colonialism, many African writers entered into the business of writing literary works, banking on their cultural resources as the materials of their intellectual productions. Unlike the past oral communication system used with their audience, written literature gradually displaced oral literature with its peculiarities and sociological imports.

Rethinking African Literature

With the aggressive progression of technology in the twentieth century, the world seemed to have faced another imminent transformation of the practice of storytelling, not through writing alone this time, but through visual and virtual interaction. Technology has made it inescapable to organize the exchanges of information, cultural ideas, and intellectual creativity using the digital technology manifested in internet culture, cloud computing and technology, and ICT. Meanwhile, it is noted that African literature, which earlier on graduated from predominantly spoken form to written ones, has suffered mutilations and injuries that many scholars have sometimes suggested that some form of surgical treatment should be recommended. Some have argued that this treatment should be linguistic remodelling, where the African language would be used as the means of the interface in writing. But African languages are numerous, and using several of them would betray its political mission (to challenge the hegemon), particularly as it was a response not to the Africans but to the controlling imperialists. This phase of African literature passed, but the challenges remain—African literary writers battle with this when education moves from the physical to the virtual world. To be relevant in that evolution, their literature must shift to reflect this.

Suppose African literature continues to make meaning to the people and connect with the rising generation whose lifestyle revolves around the internet and the ICT. In that case, writers must come to terms with writing and use the available medium to transfer their information. We should not make a hasty conclusion that because global literature has evolved from what it used to be to what it is today and Africans are gradually incorporating their literary productions into these systems, the problems lurking around African literature have suddenly disappeared. More problems can be imagined; the problems have been redefined and have become deadlier than before. For example, this conclusion is triggered by the awareness that there are challenges with accurately containing the cultural traditions and expressions that people want to make and the challenge of semiotic inadequacies that literature expressed in another language would bring. These problems do not disappear; they have been recreated into the current system that humans now operate with. The gravity of their challenge in the survival of African literature would be understood when one realizes that the younger generation has no preferences other than the internet, and their access to information stored there would mean they will be re-engineered in some ways.

Consider that the cartoon field is another potent literary mine that scholars are mining in contemporary times. Meanwhile, in some ways, cartoons represent a collapse of cultural ideas built into a technological system for consumption. African children, as innocent as they are, become active foragers of the internet, and social media, among others, to seek cartoons that will provide them with relaxation and knowledge. Cartoon stories are generally similar to the Afrocentric storytelling of the pre-colonial time when aged people arranged willing audiences and began to relay important messages to them. Through stories, these children were introduced to their society’s philosophical, cultural and ideological bloodstream, where they accessed a body of information and then used it to build their intellectual system. This practice has been remodelled into the internet, and the narrator of these stories is, in most cases, not the African aged that used to dish out knowledge to their people. It is the western narrators who build narratives that will condition the minds of readers and make them Western in orientation. The children will become enablers of colonization because they were exposed predominantly to cultural ideas that were not African. To challenge this, African literature deserves a rethinking.

The benefits of moulding the African child this way are manifold. The information acquired and stored at their tender age will always be with them for a very long time. They will continue to navigate their existence with the information they have taken in during their formative years. In essence, getting them to understand African philosophical leanings, religious identities, cultural traditions, moral values, and collective virtues will help them develop a permanent ideological base that will help them when they meet different cultural perspectives in the future. There is the possibility that Africans have continued to distance themselves from the cultural inheritance in the understanding that they are weak and perhaps subordinate to others. However, the perspective will not remain the same if they are worked on earlier than imagined.

Meanwhile, the literature of a people continues to prove itself as the best instrument with which they can redesign their lives. Access to the culture through technology will have a multiplier effect on the people and their political existentialism. For instance, they will be able to develop inventions on the internet that are useful to reveal other aspects of African culture to the world while simultaneously influencing world affairs in some ways. All these are inherent advantages that underlie rethinking the literature.

Beyond the transformation of written literature into the digital one is the understanding that writers of African narratives should challenge the status quo with their works. Writers across all generations have different epistemic battles that they must engage in so that the African identity will not die. There was a time the Empire wrote back to the European imperialists to correct the erroneous notions about the African people and their cultural inclinations. During that time, the collective attention of writers was drawn to the exploration of various African civilizations and cultures for proper documentation. It appeared during the period that a chunk of the history and great efforts of the pre-colonial African people have been displaced, distorted by false narratives, or lost completely in some cases. Therefore, continuing to listen to the perspectives of the colonizers about their identity was similar to watching serial assassins subjecting one’s relatives to homicidal adventures.

Apart from the emotional problems one would get from that experience, the psychological consequences cannot be overemphasized. In essence, the period experienced the surge of literary activities that wrestled and won the freedom to existence that Africans would later enjoy. Interestingly, the contemporary generation has a different assignment. The writer in the African context is naturally saddled with the responsibility of seeking to renegotiate African identity through their works as they have suffered untold injuries and severe injustices at the hands of external visitors. Despite this glaring responsibility, the quest for economic and financial stability also cuts in the way of excellently discharging their duties to the motherland.

By dwelling essentially on the diaspora experiences, these writers sometimes find themselves in the murky water of using the West as the nucleus of their writing. This unavoidably leaves the African people, culture, concern, agitations, and cause to be left unattended or given minimum attention. Meanwhile, helpless African culture suffers from the vestiges of corruption and humanitarian atrocities perpetrated, if not exclusively by their bad leaders, but also in collaboration with foreign companies. Problems continue in their countries while writers pick topics that suit Western literary markets to satisfy the urge for capitalist culture at the detriment of the in-house Africans undergoing pestilence, poverty, pensive violence, and violation of unknown magnitude.

Here, some scholars have come up with the idea of disruptive narratives. This is an evolving concept that depicts the employment of narratives to inspire social changes and revolutions by producing works that reveal social injustices and political ineffectiveness that have fostered poverty and diseases of an unknown kind; narratives that empower the people by identifying the underlying greatness in coming together for the restoration of social justice and values; and narratives that educate people about their fundamental responsibilities and the rights that come with them. All of these are ways contemporary literary writers are considering rethinking African literature.

One can logically ask where or how African writers fit in. The layers of undemocratic challenges facing African people come first from their intellectual deficit about the histories and cultures of their forebears, which would otherwise have given them the materials with which they could structure a strong civilization. The problems facing the people are not unconnected to the fact that culturally, they are gradually becoming orphans, making them powerless to construct social bonds that can be used to repudiate all social immoralities that have plagued the continent.

Technology is a great addition to the world, but Africans’ addiction to it brings cultural entrapment. And then we ask, in all of these, what is the role of a critic, or in a more defined form, what makes the writer different from the critic? Writers are the gifted individuals who gather resources together, process and transform them into abstract products ready for intellectual consumption. They refine these resources by sifting out the ones considered harmful for consumption by the people. However, there has been a surge of African writers as there are limitless cultural and ideological resources from which they can draw for their creative enterprise. They have continued to forage into the past African epistemological terrain, ontological reality and moral principles as the base of their works.

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To that extent, some African writers fit into the definition of creative writers whose works are inspired by the almost unending histories of their forebears and the great exploits that usually stand them out, among others. Their contemporary stories are tailored along the foundational ideals, principles, and knowledge handed down with a semiotic intelligence. Thus, one can take African fictional work and begin to draw out interpretations irrespective of the generation in question. Writers are seen as intelligent creators who have the vision of their community imposed as surveillance on their creativity, guiding them in the process of their artful engagement. However, the critic at the end of the rope interprets the work of arts using theoretical understanding and suppositions as the compass for interpretative engagements. These theories are an accumulation of ideas or sets of them that explain observed facts or situations. Although the professional assignment of the critic and the writer differs in this context, both of them appear to indulge in deep intellectual gymnastics. A critic’s interpretation is thus different from a layman’s reading, underscored by the fact that they use different interrogation techniques from other people.

In African literature, there has been controversy about the importance of a critic using Western theoretical understanding and knowledge to interpret African literature. The argument is that if theories are a set of ideas that explain a phenomenon, how can European facts or phenomena that differ in character and approach to African experience be adequate in interpreting the African narrative and, by implication, the African world? To understand the beauty of this argument, one cannot but look at the composition, the thematic, the epistemic, and the soul of African literature and see how glaringly different they are from their Western counterparts.

In addition, the critic, as opposed to the writer, has the opportunity to get rewarded even in schools and institutions. In many universities, they are employed as faculty members who take students through academic engagements to increase their intellectual values. It, therefore, opens the writers to the destructive hands of politics. Apart from the possibility of insufficient reinforcement for producing intellectually stimulating narratives, the writer may not attract much attention to be employed in corporate organizations for their skills. The logic in that situation is denied its voice as people find nothing bad in having writers relegated to the background as opposed to the critics who use their works. Therefore, when we talk about rethinking literature, we must accommodate thoughts and conversations that address these issues. For instance, some have argued that the writers place themselves at a vulnerable point when they fail to capitalize on their skills as their income sources. They can deliberately withhold their intellectual property if the necessary bodies do not recognize them. The underlying problems in this thinking are numerous, including the fact that the writer is a writer because they are motivated by the action of writing. In other words, they choose that trajectory to fulfil their potential. Critics perform differently as they give meaning to works already perfected by the writers.

Rethinking African Literature

At a grand level, rethinking African literature without reconsidering the language of expression would amount to a fruitless engagement frustrated by the unwillingness to address critical issues. Language is central to the propagation of literature. Apart from being the instrument through which writers send information to their audience, it facilitates understanding of what is being transferred from writers to the world. Notably, the current global community has seen the brutal hands of globalization occasioned by the imperialists’ continued determination to promote and enhance capitalism. Extending one’s economic and political domination to others a few centuries ago led to the large-scale imposition of colonial languages to the world, where colonies were forced to embrace respective language reservations. They continued in the assimilation of the Western languages and their culture, which brought about the postcolonial extension of this extant domination.

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African languages have been subjected to the pressure of every kind. Apart from being considered inadequate and unwanted in handing down the information and knowledge of its epistemic environment, they are also derided based on their international acceptability. Therefore, it is no coincidence that the African writers have been compelled to write in the language of their colonizers for one reason or the other. So, if we are considering rethinking African literature, the place of language deserves respect in that conversation. In the distant and proximal history, African scholars have engaged in this controversial debate where leading African creative writers hold an opposing side of the intellectual debate. Some concede that colonial languages can be domesticated and, in some situations, redacted. The ones in this category believe they are themselves products of postcolonial knot and were exposed to only the colonial languages in their development process. It would, therefore, be as counter-productive as it is impractical to use a language for which one lacks the necessary professionalism to pass across their messages.

Furthermore, their ambition to correct the erroneous impression of the West would be immediately frustrated when they wrote in a language their targets do not understand. In other words, the West would be barely convinced (although I am confused as to understand the logic in convincing the West in the first place) of the intellectual capacity of the African people. Those on the other side argue that writing in the colonial language alienates the people from the resources from which writing is drawn. It begs the question if the focus that compelled the African people to write back to the West is still the dominant focus of their texts today.

.This is the interview report with a panel of African writers on August 7. For the transcripts: YouTube:

Facebook: https://fb.watch/eLOPycx-MF/)

 

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