Here’s Lagbaja’s latest video. One thing that is peculiar to Lagbaja is the way he weaves cultures into each other seemingly flawlessly. Talk of hybridity. This one is done in Spanish and Yoruba, and the music is nice.
I like what I’ve seen so far.
I made this video during the cultural awareness week on the campus of the University of Ibadan in May 2009. The talking drum is a uniquely Yoruba percussion instrument that is peculiar because of its ability to mimic tonal patterns of actual human speech. In this video, I tried to engage the drummer in a little competition of abilities; he on the skill of drumming, and I on the skill of discerning. Enjoy.
I showed it to students in class today, along with some music videos of Lagbaja, once again to illustrate the blend of tradition and modernity in Nigerian contemporary music. I had a reaction to his appearance almost in a similar form to the one I had the first time I showed him in class. My students are supposedly aware of the concept of the masquerade, but apparently, not in this particular shape and form. Let me get back to you after the Mardi Gras, and I’ll let you know what I learn about how American masquerades really look like. I’m guessing that they are not as elaborate, or as “scary”. We also learnt about the concept of Abiku, how different it is from the scientifically verifiable child mortality, and how many children often used it as a weapon against abusive parents.
All my students agreed, to my utmost discomfiture, that the Nigerian musician Lágbájá reminds them in some way of the Klu Klux Klan, even though his costume is neither white, nor as creepy. I wasn’t aware of this, and I had come to class with his most recent video, and a few others, as pointers to an authentic Nigerian musical art form popularized by this masquerade of a man.
“Does he ever show his face?”
No.
“Do people know who he is?”
Yes.
“Is he ever going to take his mask off?”
I don’t know.
And in actual fact, I didn’t. The brand that is Lágbájá has come to be defined by his invisibility, woven into the Yoruba’s mask as a form of cultural expression, along with the namelessness that Lagbaja represents. Lágbájá is a placeholder in Yoruba that means anyone of “anybody”, “nobody”, “everybody” and “somebody”.
In the end, all that mattered was that the students were exposed in some way to a form of artistic expression that both Yorubas and non-Yorubas are proud of as representative of creativity, and art. But that reference to the KKK, by both White and Black students of the class flipped me, and got me wondering just how much we take for granted because of our distance from the scene of events. It wasn’t so much of a consolation that the concept of Lágbájá is the farthest possible kind to that of hate-mongering, racism and intolerance.