By Theresa Moses
When the inaugural Grammy Awards, which were meant to honour musical accomplishments, took place in 1959, it signalled the beginning of a persistent issue of neglect regarding the acknowledgment of Nigerian musicians’ efforts. Not a single Nigerian musician took home the coveted gramophone trophy, despite their ground-breaking songs, sold-out concerts, and clear influence on the world music scene.
Fast-forward to the 66th Annual Grammy Awards of February 4, 2024, where 94 categories showcased the pinnacle of musical talent. Burna Boy, a Grammy-winning star, accumulated four nominations, while Davido, in his inaugural Grammy appearance, secured three. Asake, Arya Starr, and Olamide each received one nomination, all competing in the Best African Music Performance category alongside South Africa’s Tyla.
The newly created category witnessed fierce competition with nominees like Asake and Olamide’s Amapiano,’ Burna Boy’s City Boys, Ayra Starr’s Rush, Davido and Musa Keys’ Unavailable, and Tyla’s Water. Despite the formidable representation, the Grammy stage remained elusive for these Nigerian talents.
Burna Boy’s additional nominations in categories such as Best Melodic Rap (Sitting On Top of the World featuring 21 Savage), Best Global Music Album (I Told Them), and Best Global Music Performance (Alone) showcased the diversity and depth of Nigerian musical prowess. Similarly, Davido’s nominations for Best Global Music Album (Timeless) and Best Global Music Performance (Feel) underlined the nation’s impact on the global music scene.
Yet, the question persists: Why do Nigerian artists struggle to clinch the coveted Grammy? Is it a reflection of a broader systemic issue within the Grammy Awards, or is there a need for a reassessment of the criteria used in the selection process? Is there an inherent bias, or, worse, racism, denying Nigerian artists their rightful opportunity to shine on the global stage?
The spectre of injustice looms large as the global flub of playing the musical genius of Fela Anikulapo Kuti’s Water in the background while announcing South African Tyla’s Water as the winner raises questions about the transparency and fairness of the Grammy Awards. The evident disparity between the quality of Nigerian music and the recognition it receives on this esteemed platform raises concerns about the fairness and inclusivity of the selection process. The sheer dominance of Nigerian artists in nominations, only to be overshadowed during the announcement, fuels suspicions that a glass ceiling, albeit unspoken, remains intact.
It’s imperative to delve into the root causes of this Grammy conundrum. Is there a cultural gap that impedes a comprehensive understanding of Nigerian music? Are the unique rhythms and narratives of Afrobeat and Afropop misunderstood or undervalued by the Grammy judging panel? These questions demand answers as Nigerian artists continue to create music that transcends borders and resonates with a global audience.
As the world grapples with the imperative need for diversity and representation, the Grammy Awards stand at a crossroads. The recurrent omission of Nigerian artists from the winner’s circle prompts a critical examination of the underlying biases that may persist within the esteemed institution. It is time to challenge the status quo, to break down barriers or glass ceilings that hinder the recognition of Nigerian music on the global stage, and to ensure that the Grammy Awards truly represent the kaleidoscope of talent that defines our musical landscape.
The world is listening, and it’s high time for the Grammy Awards to recognise the rich tapestry of Nigerian music that has, for far too long, been denied its rightful place in the spotlight.
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