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In the aftermath of Niger’s military coup on July 26, an intriguing interplay of music and politics has emerged. Central to this dynamic is Sergeant Maman Sani Maigochi, who, donning his military attire, engages in a performance combining dance, salutes, and symbolic weapon use.
While coups often face global criticism, this particular takeover garnered support not only from the military but also from both military and civilian musicians. These artists have swiftly produced songs reflecting a heightened sense of nationalism. Maigochi, who ventured into music following his induction into the army, became an emblematic figure during the coup’s initial hours. His video clips, frequently aired on national television, juxtapose military imagery – such as operations and medal ceremonies – with rhythmic dancing, creating a montage of the military’s prowess and cultural vibrancy.
Historical context provides insights into Maigochi’s prominence. Since the 2010s, he has epitomized the military’s widespread popularity in Niger, with a staggering 71% of Nigeriens expressing high trust in the armed forces, as per a 2022 Afrobarometer survey. Not confined solely to military matters, Maigochi, during a recent hiatus in the capital city of Niamey, was seen filming another clip at the Oumarou Ganda cultural center. This sergeant’s mission extends beyond the battlefield; he seeks to invigorate both troops and civilians with his music, often incorporating traditional Nigerien instruments such as the douma, kalangou, and gourimi.
There is also a regional dimension to this patriotic resurgence. Anticipation of potential military interference from neighboring West African nations, especially those opposing the ousting of democratically elected governments, has further stimulated patriotic sentiments among Nigeriens. A newly introduced national anthem, which predates the government’s displacement, has been widely embraced. Concurrently, numerous civilian musicians are bolstering the new regime by hosting supportive events in various cities and creating a plethora of music videos spanning genres from traditional to contemporary.
Adamou Yacouba, an artist known as Black Mailer, lends his voice to this movement. In a studio in Niamey, Yacouba, who intriguingly adopts Rastafarian aesthetics within a traditionally conservative society, vocalizes his perspective on democracy and militarization.
Such artistic expressions may seem out of place to outsiders but resonate deeply with Nigeriens. Niger’s history is punctuated by military interventions, often targeting unpopular governments. Many citizens feel disillusioned by the political elite, leading some to view military regimes more favorably. Rachid Ramane, representing the Federation of Niger’s artistic and cultural associations, observes that military leadership has historically been more attentive to cultural sectors than their civilian counterparts.
Nevertheless, the relationship between music and politics in Niger is multifaceted. Artists, while often supporting the military, maintain their critical voice. Black Mailer, for instance, has been vocal in his criticism of past administrations, often endangering his own safety. Such courageous stances underline the profound interconnection between art and politics in Niger. As Ramane aptly summarizes, the nation’s artists serve as vigilant observers, amplifying the voice of the silenced.
With AFP
