ABU “IB” IBRAHIM
We invite you to get to know poet, Abu “Ib” Ibrahim. Journey through his album, Music Has Failed Us, and you will find a resounding voice which beckons every ear, and striking words which necessitate both awareness and compassion. His poetry is as topical as it is universal. He has the incredible gift of presenting pieces of prose which articulate the goings-on of his beloved homeland, Lagos, Nigeria, while also leaving room for the listener to connect on a personal level. He has been taking the Nigerian poetry scene by storm, and now…
The Poet’s List is excited to present our conversation with the astounding, Abu Ibrahim:
On poetry:
Prior to landing on poetry, what memories do you have of your relationship with literature and writing as a youth?
My relationship with literature and writing actually began before I became a teenager. In a bid to get us off the streets, my parents desperately fed us an unimaginable number of books and newspapers. Before I turned twelve, I had been exposed to the works of literary giants like Chinua Achebe, Ola Rotimi, Dennis Brutus, Robert Bolt, Prof. Wole Soyinka, Ben Okri, Ngugi wa Thiong’o and more. More so, to be African is to be forged by stories; to be raised by African parents is to be weaned with stories. African oral literature – with its impeccable storytelling, historical richness and profound message – truly fascinated me. This was the genesis of my bond with literature and writing. It was Mr. Iro, my high school Literature teacher who recognized the budding talent within me and graciously nurtured it.
When did you begin to claim the title of poet and how did you first connect with the poetry community?
I initially connected with the poetry community during my undergraduate years at the University of Benin. Before then, I had been writing in secrecy, sharing my work only sparingly with a few close friends. However, their encouragement pushed me to consider sharing my poetry more openly. This led me to Philip Asaya, the founder of Mannequin Mode – organizers of one of the largest spoken word poetry events in Nigeria, Say It Out (S.I.O). Connecting with Mannequin Mode marked my first immersion into a community of poets, and it was at one of the S.I.O concerts, precisely at the Akindeko Main Auditorium of the University of Benin in 2014, that I embraced the title of a poet.
May you explain the Nigerian poetry landscape? What are the available fellowship and visibility opportunities for the country’s poets?
The Nigerian poetry landscape boasts perhaps the richest potential globally. While the achievements of Nigerian poets worldwide may seem significant, there remains tremendous untapped potential. In recent years, organizations like the Spring Literary Movement have played a remarkable role in providing fellowships for writers and poets to refine their craft. However, there’s ample room for growth with additional support and structure from the government.
Currently, opportunities within the country are limited, prompting many to seek opportunities abroad. Nigeria’s open mic scene thrives, with renowned venues like the Bogobiri House hosting engaging events. The poetry slam culture is substantial and fiercely competitive. The Lagos International Poetry Festival Slam stands as a highly sought-after event today. More efforts could be directed toward educating university students about poetry and its business aspects. Overall, there’s a growing appreciation for poetry among everyday Nigerians, and the landscape appears to be on an upward trajectory.
Do you tend to write for the audience or for the reader? In other words: Do you consider yourself a stage poet or a page poet?
I consider myself to be both. I am a stage and page poet. I know I am more prominent for being a performance poet, but I also write poetry for page. In fact, I am currently working on my poetry collection. Being both a stage and page poet allows me to engage with different aspects of the art form. Through performance poetry, I connect directly with my audience, while writing for the page grants me the freedom to explore language and form.
In your opinion, what makes a good poem?
For me, a good poem has a mix of everything. A good poem captures emotions, takes one through a journey, teaches, heals, provokes, evokes imagery, manipulates words with sheer deftness, stands the test of time, and more.
On Music Has Failed Us:
We were blown away by your debut spoken word album, Music Has Failed Us! May you speak about your recording process?
Thank you.
I have always been socially conscious and I knew I wanted to create an album that projected that. To be fair, the most challenging part of the recording process was writing the poems. For instance, the poem “Music Has Failed Us” took four years to complete. Once I had the poems, I performed them with Brossy Jude who made all the instrumentals with the exception of one. The instrumental for “We Know What Terrorism Is” was made by QUESTIONKEYS. Once I had the poems and instrumentals sorted, I recorded the album in two nights. Everything was recorded in a hotel room. So it’s fair to say the project took over five years to put together.
A line that stood out from the track, “Outsiders” is: “They say this is a country crawling on its knees. I say it’s a perfect place for a prayer.” The grit and passion in your voice is beyond captivating. How did this track come to be?
“Outsiders” mirrors the struggles and reality of the average Nigerian youth. After the EndSARS protest, where peaceful protesters were murdered in cold blood by the Nigerian military, it became glaring that the Nigerian government was at war with its youths. Policies or lack of it were subtly and brazenly enacted to “put us in our place.” Like bastard children, we have been left to our fate. The poem “Outsiders” asks a fundamental question: Who is a citizen without rights? A slave? A wanderer? A protester? Yes, even if the future looks dark, the poem ends with a prayer – hoping the nightmare ends.
The 8-minute title track, “Music Has Failed Us,” is a riveting prose about the state of music: its historical impact and its current implications. We LOVE this piece. What can you share about the origins of this poem and its reception upon release?
The reception for this poem and the album has been beautiful. “Music Has Failed Us” was inspired by the massive success of Nigerian artistes and the global dominance Afrobeat currently enjoys. This poem serves as a CT scan of the Nigerian music industry, born from questions I personally struggled to answer. What defines success – international recognition? What role does music play in the life of a black man? Is there a link between music and crime? While some might perceive this poem as an attempt to diss the Nigerian music industry, its intent is simply to seek answers and, at best, provoke a conversation. For me, in the last two decades, nothing has quite elevated the country’s image like the dynamism and influence of its music industry, largely steered by the younger generation of Nigerians.
What is your favorite track from this album and why?
“Everything” is my favorite track off this body of work. As a wordsmith, it captures the very essence of my existence. Words are everything to me. I carry everything through words.
On you + advice:
Which aspect of your Nigerian heritage has been most impactful to you?
It has to be the never-say-die attitude of the average Nigerian. Through hell or high water, we forge ahead. Naija no dey carry last!!!
What words of advice do you have for your fellow Nigerian or Africa-based poets?
Our stories matter, don’t stop creating!!!
What would you like the rest of the world to know or understand about either your country or its poets?
Nigeria is a great country that’s rich in history and culture. We are smart, industrious and a blessing to the human race. Our poets are some of the finest in the world, and you should never miss an opportunity to attend their readings, buy their books or stream their albums.
Abu Ibrahim is currently working on his first written poetry collection. In the meantime, we implore you to indulge in Music Has Failed Us:
Links:
Twitter: @_therealib
Instagram: @_therealib
YouTube: THEREALIB
Email: booktherealib@gmail.com
The views and opinions expressed here are those of the featured artists (ie. poets, authors, writers and experts) and do not necessarily reflect the official policy or position of The Poet’s List LLC. Any content provided by the artists are of their opinion, and are not intended to malign any religion, ethnic group, club, organization, company, individual or anyone or anything. Legal
