It is high time organisers of children’s parties took another look at the lewd content of the music playlist. Yinka Olatunbosun argues
For a music star gliding over the uneven bars of music, controversies and a near-cult followership, Naira Marley needs no elaborate introduction. Folks who are stuck on classic music are often quite sceptical of contemporary Nigerian music because of the likes of Naira Marley. But then, his fans branded “Marlians” transverse generations which is quite strange given the nature of his songs. Marley is one of the most recognisable voices from the streets with a highly sexualised persona. Ironically, his debased music constitutes most of his popular songs like “Mafo”,”Coming”, “Tesumole”, “Do it for the Gang” and “Soapy”.
Still, Naira Marley is not necessarily evil although he has situated himself in pop culture as a symbol of rebellion and sexual gratification. His lyrics are often raw, as he references drugs, sex and violence. But Marley has attempted to promote some values through his less popular songs. For instance, in his love ballad, “Chi Chi”, he condemns sexual harassment with the visuals. Also, the song titled “Why” treats the subject matters of betrayal, friendship, loyalty. Another song titled “As E Dey Go” has a video that condemns violence against women, sexual harassment; “Aye” – is another song that shows Marley’s philosophical side. In it, he says the world is not hard but it is the people of the world or the worldly who make the world harsh. “Koleyewon” which is his special dedication to the casualties of the October 2020 #EndSARS protests is even less pungent in the light of the underlying issues that informed the song. Generally speaking, no one can blame Marley or his contemporaries for singing what “the people of the streets” want to hear.
Gone are the days when the playlists at children’s parties included songs like Princess Olubunmi Olajubu’s classics- “Eko Dara Pupo” meaning education is very good; “Bata mi adun ko ko ka” meaning ‘My shoes will make a rich knocking sound”; Funmi Adams’s “Nigeria My Beloved Country”; Evi Edna Ogoli’s “Look Before You Cross” and Sonny Okosun’s “Tire Ni Oluwa” loosely translated as “This belongs to you, Lord.” Even more recently, we have had Tubaba’s “See Me”, Skale’s “Shake”, Asa’s “There Is Fire on the Mountain” and “Jailer”, to list but a few on children’s party playlists. Most of the older songs are laced with deep values, ranging from patriotism to civic responsibilities. To be sure, Olajubu’s songs in particular have become anthems of sorts as many teachers still make their pupils learn every word of it till date.
But it is a different ball game when a DJ arrives at the school parties, birthday parties or a vacation spot for children. They usually start with songs that have cross-over appeal like the popular Davido ballads and Burna Boy’s dance tracks like “Killing Dem”. The DJ simply wants to entertain children and get them to dance. Then when the unsuspecting teachers and parents have become distracted by the buzz of the party, they slot in those Naira Marley songs or other songs with x-rated lyrics.
The past week was just pathetic. Echoes of playlists from children’s parties in the many Lagos neighbourhoods included Naira Marley’s raunchy duet with South Africa’s pop diva Busiswa titled “Coming”. What could be more outrageous than this? Now, some would argue that conservative views like this writer’s is hypocritical; after all Marley’s songs are a reflection of the daily reality. Yes, sex is a human behaviour but sexually-graphic lyrics for children falls short of that. If it is indecent for married people to have sex in public, then it is expected that the details would also be kept private. Since when has it become normal for a four-year old to sing “kissing, touching, orgasm?” Well, it seems our society as a whole has become more tolerant of what is and is not acceptable language. Some parents don’t listen to these lyrics; they simply just dance and then erroneously assume that their children are not listening to these highly-sexualised lyrics too.
The impact of popular music on children’s and adolescents’ behaviour and emotions has been of paramount concern to paediatrics. Many of them agree that lyrics have become more explicit in their references to drugs, sex, and violence over the years, particularly in certain genres like hip-hop, trap, dancehall and new Afrobeats sounds. This argument is really not about boycotting Naira Marley’s songs but it’s about censoring the playlists that a DJ curates for children’s parties.
According to the American Academy of Paediatrics (2006), almost 1 in 5 male youth, and 1 in 4 female youth like their favourite songs because of the lyrics. Other studies have found that the more importance youth place on a type of music, the more they pay attention to the lyrics. Before the advent of mobile phones and quick access to the internet, many school-age children had self-made lyrics books or journals.
Music is also one powerful learning tool that must not be abused consciously or unconsciously by educators. Most children learn by repetition; it follows then that the more they are exposed to this kind of music, the quicker the lyrics would be etched on their minds. And when they develop a certain degree of emotional intelligence, these lewd lyrics have the potential to inflame them with passion.
Psychologists have traced early sexual behaviour to a child’s media exposure although some media theorists have argued differently. While most parents control their television and radio channels, video games and the use of their mobile phones by their children, they often neglect the party playlists, leaving the DJ to curate it. It is the job of parents, guardians and educators to censor the kind of music that their children party around with. Children’s party playlist should not be the same as clubs’. It should be carefully curated and be intentional about entertaining and educating. After all, every child that has sung Katy Perry’s Roar knows the sound that a lion produces- that’s some education.
Recently, a video of Davido scolding his daughter went viral. The young girl was twerking to Cardi B’s song “Up” at her birthday party. Well, the dance was appropriate for the song; it was the age of the dancer that was inappropriate and that should spark serious conversations about a child’s media exposure and not the usual off-handed, sentimental comments like “so cute”.
Outright ban of sexually-graphic songs can never be the solution as these songs often get more popular at parties and in the clubs. Being selective about music choice for self and for young children is a more enduring value to imbibe.
Educators, parents and other professionals working with children also need to realise that music is an educational tool in whatever form it comes and education is not constrained within the four walls of the classroom. That’s why Afrobeat legend, Fela classified “culture and tradition” as teacher in the song “Teacher Don’t Teach Me Nonsense”. By extension, revellers should be saying, “DJ, Don’t Play Me Nonsense” if the shreds of moral values left were to be preserved for the sake of young children.
