Musicians Must Touch The Souls Of Their Audience’

For over four decades, Nigeria’s first woman federal permanent secretary, Francesca Emanuel, has remained an inspiration to young talents in music and theatre. She is one of the early members of the famous Steve Rhodes Voices and a co-founder of the Musical Society of Nigeria (MUSON), Lagos. EVELYN OSAGIE speaks with the octogenarian on her passion for the industry.

My thoughts on music

Music speaks to the soul, so performers must touch the souls of their audience. Depending on my mood, every type of music appeals to me. I’ve always tried to be around whenever there is music in the air – it doesn’t matter what type of music.

Although my instrument is voice, I see myself as a lover of Jazz and all kinds of music. But I love Jazz more. In 1964, I sang Jazz with the late Fela Anikulapo-Kuti at the Nigerian Broadcasting Corporation (NBC). I used to do many programmes at NBC then – on children, women, drama, in Pidgin English, and a music programme where I had a Jazz programme with Fela, who played the saxophone and I sang Jazz. I later sang with Tunde Kuboye’s wife, Fran.

Each type of music has its standard, whether it’s classical or modern. Even the Apala players have standards and when you see them performing their songs, there is a standard that they maintain. They work as a team. There is harmony. People don’t just come in and do whatever they like.

Today, sometimes, when you listen to some music, you’d wonder what the performers think of their audience. If they think highly of their audience, they have to improve themselves and give us something that is acceptable, not just dish any nonsense to us.

My thoughts on music development in Nigeria

The music industry and musicians have come a long way. One person who has done a lot for the development of music in Nigeria is Benson Idonije. He clocked 80 last month and was highly celebrated by the art community for his contributions to the industry’s development. I was one of those who welcomed him to the club of 80. He deserves a national honour. He has got lots of experience; and still has a lot to teach the younger ones.

His person echoes that every type of music is important. And it depends on how you look at it: for those who are performers, it depends on the kind of standard that they keep. It doesn’t matter what type of music, but standard is important. And that is why I respect Idonije. And the fact that he insists on good music, values and standards, which are what is absolutely necessary if we want to continue to hear the kind of music that we love and which we want others to also enjoy depending on how we present it – but presentation with standard.

My journey into music and drama

I have always loved music. I have been involved in both worlds since I was a child. I was introduced to singing and drama in church. And then when I went to secondary school – Holy Child College in Lagos – we had a Reverend Sister who was very good in drama and singing. She had a beautiful and powerful voice. She helped to develop my voice when she noticed my talent. She always featured me at a festival of arts. In fact, I went ahead to win solo soprano voice at a festival.

And, then, when I went to the University of Ibadan, Wole Soyinka and I met in the 50s. The university had various societies – like musical, drama and others. We did a lot of drama together. I sing as well. I later went to England where I completed my degree. In England, I met Soyinka again and we did a lot of acting together. When we came back in 1960, I was one of Soyinka’s 1960 Masks.

Other members were Olga, Steve Rhodes’ eldest sister, and Segun Sofowote. We did a lot of plays by Soyinka and other writers like JP Clark.

Also, I am one of the co-founders of the MUSON (Musical Society of Nigeria); I did a lot of solo performances until I retired from the stage in 1970, only to go back last month to sing at the memorial concert of a very dear friend, Olga Miller, one of the co-founders of MUSON. I went back to do her that honour, even though I said I wasn’t going to go back on stage.