“We are nothing but pencils in the hand of the Creator.”

This is a closing tagline every child and adult in the early 2000s knew. A tagline owned by Wale Adenuga Productions.

7pm – 8pm WAT was that prime time for Nigerians, from the late 90s into early 2000s. Why? It was a community time for citizens; both young and old, to sit hunched together, visit homes of neighbours with a television set and watch the next episodes of anticipated soap operas. While the shows were for entertainment, some saw it as edu-tainment. But beneath all that, there was a satirical approach to activism and advocacy.

In the late 90s, shows/films like The Masquerade created by James Iroha (popularly known as “Giringory Akabogu”), alongside Mirror in the Sun by Lola Fani-Kayode, Checkmate by Amaka Igwe, Saworoide by Tunde Kelani, became a blueprint for the early 2000s. Often exploring societal and political ills, they used satire, irony and exaggeration to layer plots. And so, it’s not unexpected that the Wale Adenuga Productions franchise took a leaf out of their books and ran with it.

The Nollywood Evolution
In the early 2000s, we saw the rise of soap operas like Fuji House of Commotion, by Amaka Igwe. A spin off of Checkmate in the 90s. It explored the problems of gender inequality, dysfunctionality in polygamous homes, and the existence of patriarchy.

In Super Story, we saw soft advocacy take effect. From child abuse, to HIV stigmatization, corruption and even domestic violence.

Laced with heavy humour, we had Papa Ajasco & Company that held a satirical twist to corruption and serious societal decadence.

All these were major milestones in the evolution of Nollywood, as they built actors and filmmakers. But the icing on the cake? Those DVDs that required renting or shopping at Ebinpejo Lane; Nollywood’s first distribution hub, in Idumota, Lagos Island. If you’ve ever come across a post like “I miss old Nollywood,..”  this is it. The peak.

Ebinpejo Lane: Pre-Netflix Distribution Era
The reign of Issakaba, Bakassi spelt backwards was based on the true story of the boys from that community that became vigilantes, they were the unsung heroes of Eastern Nigeria, when law enforcement and community leadership failed. It was a strong stance against a failed system, high level of criminality and systemic corruption.

Also, with guts and gusto, State of Emergency was produced in 2003. Centred around military corruption and political oppression, this film strove to advocate for reform in governance and leadership. Demanding accountability.

There was a lot more the media was doing in a bid to advocate and demand for good leadership, and music wasn’t to be left out. While filmmakers were doing their fhings (in Kunle Remi’s voice), socially conscious artistes were also active. 

Socially Conscious Artistes Going Band For Band With The Government
As I write this, I remember walking down broad street, into Nnamdi Azikwe street in Lagos Island, hearing lyrical lines like, “Nigeria Jaga jaga,” “There is fire on the mountain, and nobody seems to be on the run,” “Mr President, lead us well. If you be governor, govern us well.” The nostalgia it brings back, just thinking about it.

Alas, while Eedris Abdulkareem was venting, we were laughing and dancing.  

While Asa’s heart and pen were bleeding, we were writing song lyrics in books.

While Sound Sultan was using metaphors to call our attention to important things, we were watching creative musical videos and abusing his Mathematical  prowess.
While Lagbaja was sending cryptic political messages and warnings, we were dancing to Konko Below.

These artistes weren’t only about the music, they were socially conscious, and saw the need to use music as a tool for advocacy and activism.

The Advent of Music Talents Management & Jingles
Of course, this was difficult, as the government began to censor songs and stop them from playing on the radio. One of which was Jaga Jaga by Eedris Abdulkareem, banned by former president, Olusegun Obasanjo. However, with the support of Kennis Music’s Dayo Adeneye (D1) and Kenny Ogungbe (Keke), socially conscious artistes like Eedris Abdulkareem, Sound Sultan, 2Baba (formerly 2Face Idibia) were signed and managed. The professional media duo influenced advocacy and got their talents featured in campaign advocacies and jingles such as the ‘Light Up Naija’ jingle by Sound Sultan, 2Baba, Faze and some other artistes. This jingle was sponsored by Nigerian Breweries Plc and some NGOs focused on civic consciousness.

Unofficially, ‘Motherland (Area)’ by Sound Sultan was used as an advocacy jingle to promote patriotism and encourage networking of Nigerians in the Diaspora. This was used by Nigeria Tourism Development Corporation (NTDC) and media houses.

In addition, Nigerian All Stars collaboratively recorded Peace songs, which were later used for public service announcements.

Having highlighted all these, if we still give our events “Old Nollywood” themes, and remember the crop tops, bootcut jeans, shimmery eyeshadow and lined nude lipstick, why then can’t the media of that era have influenced the media of advocacy as we know it now?

The Rise of The FALZs, SIMIs, BURNABOYs and New Nollywood
I still remember watching Jenifa by Funke Akindele, and the fear it put in me. I also remember Tunde Kelani’s Maami. It was a lesson on poverty, social disparities and inequality. 

The list goes on and on, but this is what the early 2000s have shaped the current media advocacy to be. We’ve had filmmakers build their stories on the harsh realities of Nigeria and Nigerians.

Whether it’s;

• Lionheart; Female leadership and gender roles.
• For Maria Ebun Pataki; Post-partum depression. 
• Oloture; Advocacy on prostitution and human trafficking.
• Shuga; Youthful approach to societal dysfunction and public health messages.
• Skin; A needed conversation about skin colour stigmatization, bullying and identity. 
• Citation; Similar spin on Eedris Abdulkareem’s Mr Lecturer.
• 93 Days; Public health storytelling on Ebola.
• Gangs of Lagos; Politically layered film.
• Funmilayo Ransome-Kuti; Biopic of an activist.
• Sista; Advocacy against absent fathers and the problems of single motherhood. 
• Jenifa Diaries; Activism and advocacy series with a focus on multiple cultural and societal topics.

Or

• This is Nigeria by Falz
• Woman by Simi
• 20 10 20 by Burna Boy
• Clone Wars Series by Show Dem Camp
• Ozumba Mbadiwe by Reekado Banks
• We Go Win (Corona) by Cobhams Asuquo
• Great Nation by Timi Dakolo

They’ve all contributed towards advocacy in one way or the other. And this time, just like Fela Kuti, the celebrities themselves have gone beyond the arts, to be voices of activism.

We are nothing but pencils in the hand of the Creator
The early 2000s unapologetically demanded justice and advocated for so many societal ills, and in this era, it’s beautiful to see that the media (Nigerian film and music) refuses to be shunned, despite political threats and weaponized bigotry. 

Just like real life happenings made into films, or sung, can’t be erased, they are forever etched into the digital stone. I believe this is the new advocacy, not just capturing the moment, but building the permanent foundation for a more accountable tomorrow.