I watched the first annual Tanzania Comedy Awards bonanza that was recently graced by President Dr. Samia Suluhu Hassan. The whole conduct and content of the message delivered impressed me like a CCM campaign curtain raiser. Even the “who is who list” of sponsors were the usual suspects of bankrolling CCM. Comedians themselves weren’t interested in deploring societal vices but were falling over themselves to ingratiate CCM. This article asks the following question: Has our comedy lost its direction as a mirror of societal mores, and has it become a CCM campaigning tool?
Comedy all over the world excels by taking head-on societal ills. It tends to be indiscriminate, with little appetite to appease the rulers of the day. We have seen South African Trevor Noah deploying humour to disarm the ANC government. He often complains that the ANC rarely likes what he does, but they tolerate his political humour. Comedians often earn top marks by being anti-establishment. The more comedians do second bidding to authorities, the more they distance themselves from their audience. Regrettably, this is what is happening to Tanzania comedy despite authorities claiming to the contrary!
Society looks up to entertainers to provide moral leadership, and it is not easy for non-entertainers to do it. Humour disarms protagonists and conveys unpalatable messages in a manner that leaves warring parties in need of rib stitches without resorting to altercations. However, being the first of its kind, the Tanzania Comedy Awards fell short of the real reason it was envisaged in the first place. When entertainment becomes a propaganda tool, it fails to fill the void of acting as a moral ballast against establishment excesses. Entertainment is abandoned in a huff, being the whistle-blower against wrongdoing and becoming part and parcel of the oppressor.
Countries that have maintained their original comedians as paragons of impartiality have prospered. Such an industry is independent of government handouts. In Tanzania, entertainers have become unrepentant surrogates of suppression. They never excoriate the government’s excesses but keep on urging citizens to support CCM regardless of their economic predicament and curtailment of democratic space.
As a result, ordinary people do not find our entertainers in general as moral compasses because they are more driven by personal interests overriding societal ones. As performing artists abseil into ingratiating politicians of the day, talent development is stunted. Few Tanzanian comedians can be regarded as touting international accolades. Our comedians cannot cross oceans unless they have the CCM government bankrolling them. The way our comedians are marching to Tanzania will never rival South African Noah Trevor, who has crossed oceans, subdued racial barriers, and is now widely acknowledged as one of the most accomplished international comedians ever.
Trevor Noah made a name for himself by standing up for what he perceived as righteousness regardless of the consequences, but Tanzanian comedy has not lived up to societal expectations. Comedians use humour to provoke thought and challenge the status quo, often sparking both admiration and controversy. In Tanzania, comedy is an opportunity to shower authorities with undeserved encomiums in a forlorn hope advertising revenue and government largesse will be redirected to them. Here is a problem: as local comedians abscond their primary civic duty of questioning the moral standing of society, their influence wanes as a result.
Tanzanian politicians are good at killing talent by cajoling it to exchange artistry, vision and independence for a piece of mildewed bread. If an artist defies CCM and “walks alone” distasteful of CCM bribes, they may still find themselves hounded by security forces, and apart from being blackballed, they will have to endure regular brushes with the law. CCM claims it will help
our comedians excel, cross the oceans and make a fortune for themselves, but tethering their artistry, vision, and independence stifle those specious aims.
If you look at successful US comedians, one or two points are very robust: authorities accept comedy as the moral compass of society and refrain from muzzling it. This is why the US comedy is the most successful in the world because of governmental interference and meddling. Tanzania’s government wants to achieve two diametrically opposite goals: one is to muzzle the industry’s pugnacity while unleashing it as a tool for CCM’s parochial propaganda and brainwashing. The truth needs to come out fast and now: CCM will achieve neither of those contradictory aims. As CCM throttle artistic vision and independence to promote her political agenda, it risks alienating comedy’s fanbase, and the industry’s influence whittles down.
Anti-establishment comedians in the United States are known for their critiques of political, social, and cultural norms, often challenging authority and mainstream ideologies. Here are some notable figures: George Carlin is renowned for his sharp social commentary and criticism of politics, religion, and American culture. Bill Hicks is known for his provocative and philosophical takes on society, politics, and consumerism. Lenny Bruce is widely regarded as a pioneer in challenging censorship and societal taboos through his comedy. Richard Pryor sensitized racial issues, social injustices, and personal struggles with raw honesty.
Dave Chappelle combined humour with incisive commentary on race, politics, and societal issues. Bill Maher predicates his platform to critique politics, religion, and cultural norms, often sparking controversy. Doug Stanhope is known for his dark, abrasive humour and critiques of societal norms and politics.
Sarah Silverman blends humour with commentary on politics, feminism, and social issues. Louis C.K. often explores taboo subjects and critiques societal norms, though his career has been marred by controversy. Hannah Gadsby challenges traditional comedy norms and addresses issues like gender, sexuality, and mental health.
Nigerian comedians use humour to reflect on and critique the Nigerian establishment, often sparking conversations about change and accountability. While some are more direct in their criticism, others use satire and subtlety to address sensitive issues. Nigerian comedians, like their counterparts globally, often use humour to address social, political, and cultural issues. While not all explicitly label themselves as “anti-establishment,” many critique societal norms, corruption, and government inefficiencies. Here’s a list of Nigerian comedians known for their bold, critical, and often satirical takes on the establishment.
Basketmouth (Bright Okpocha) is appreciated for his sharp wit and satirical takes on Nigerian politics and societal issues. While he often balances humour with diplomacy, his routines sometimes critique corruption and governance. Ali Baba (Atunyota Akpobome) is a veteran comedian who often uses his platform to address societal issues, including government inefficiency and corruption. He is known for his intelligent and thought-provoking humour. Bovi Ugboma’s comedy often includes satirical commentary on Nigerian politics, social class, and cultural norms. His skits and stand-up routines sometimes critique the establishment subtly.
Mr. Macaroni (Debo Adedayo) is a comedian and activist known for his viral skits and outspoken criticism of government policies, police brutality, and social injustice. He was actively involved in the 2020 #EndSARS protests. Taaooma (Maryam Apaokagi) ‘s comedy is often lighthearted. She occasionally uses her skits to highlight societal issues, including corruption and gender inequality. Josh2Funny (Joshua Alfred) is famous for his humorous skits. Josh2Funny sometimes incorporates subtle critiques of societal and political issues in his content.
AY (Ayo Makun): AY’s comedy often touches on societal issues, including corruption and governance, though he tends to balance criticism with entertainment. Helen Paul is a comedian and actress who occasionally uses her platform to address societal issues, including gender inequality and governance, in a humorous yet thought-provoking manner. Klint da Drunk (Afamefuna Klint Igwemba) is acknowledged for his satirical takes on Nigerian society. In his stand-up routines, Klint da Drunk often critiques political and social issues.
Gordons (Godwin Komone) is known for his bold and sometimes controversial views on Nigerian politics and societal issues. His comedy often includes sharp critiques of the establishment. Lasisi Elenu (Nosa Afolabi) is a skit maker and comedian Who uses his content to humorously critique societal norms, government policies, and cultural issues. Sir Balo (Baloji Olaoluwa) is known for his satirical skits. Sir Balo often addresses societal issues, including corruption and governance, in a humorous yet critical way.
I Go Dye (Francis Agoda) is a comedian and social commentator, I Go Dye is known for using his platform to critique government policies and societal issues, often blending humour with activism. Okey Bakassi is a veteran comedian and actor, Okey Bakassi often uses his stand-up routines to address political and societal issues, including corruption and governance. Nedu Wazobia (Anadu Michael) is a radio personality and comedian, Nedu Wazobia often uses humour to critique societal norms and government inefficiencies.
Sampling international comedians across two continents who have made it big is abundantly clear that there is almost no symbiotic association with governments. The more comedy is in lock-step with the government in power, the more comedy erodes its original purpose. It becomes a tool of brainwashing and wanton neglect of its basic role as an ironclad ballast of societal mores. Such an industry loses her economic independence and becomes a leech solely dependent on government peanuts while potentially being very capable of eking out her own cake. What our comedians need is artistic freedom, not handouts, if they are to scale the heights of unmitigated prosperity.
Read more analysis by Rutashubanyuma Nestory
