In 1705, Daniel Defoe published a poem critical of the British parliament in which he wrote, “Gentlemen, and if the Cap fits any Body let ’em wear it.” In Britain, “if the cap fits” is still the norm; but in North America, by the late 18th century, the expression morphed into “if the shoe fits. The shift from cap to shoe might have been influenced by the Cinderalla story, as versions of the story, including the lost slipper, were well-known in the USA and Europe by 1773.
“If the cap fits” was an advertorial line employed by the British Parliamentary Recruiting Committee in 1915 to enlist people into the force. Like many advertisements both then and now, it played with a carefully calibrated set of meanings. On one level, the familiar idiom of ‘if the cap fits, wear it’ raises questions of identity and individual affirmation. In another breath, this idiom was targeted via a specific type of cap and the diction of direct address. As the image confirms, the metaphorical ‘cap’ is now to be seen in terms of the khaki service cap, while the obligation to ‘wear it’ is re-interpreted via the action of ‘joining- up’, and the identity politics of active service.
The situation in Nigeria further reinforced my choice of title for this piece inspired by the popular hit song of the late Jamaican Ragge icon – Bob Marley. The music was recorded in September 1975 and released to the market in April of the following year. In 1976, this single album by Bob Marley and The Wailers group ruled the airwaves in Nigeria and beyond. In this philosophical music composition, one may not have seen through the gaze ball to foretell what would become our fate today in Nigeria. We have seen evolving over the years, a political culture that creates a particularistic identity around political leaders – who adopt unique dress codes to register their brands in the minds of admirers and followers.
To register himself in the subconsciousness of the people, the leader strives to carve an image for himself with a seeming ideological bent as his identity. The great leader of the Indian political dynasty, late Mahatma Gandhi, who in 1930 led the famous Salt Marchin Dandi, has become synonymous with the famous round-rimmed spectacles. His admirers easily identify with this symbolic object. The late sage, Obafemi Awolowo, identified with Gandhi’s type of cap and glasses, which successfully etched his image in the minds of his admirers as an ethical leader who bore the traits and leadership qualities of Gandhi. Festus Okotieboh, a Urohobo/itshekiri man, the first Nigerian Minister of Finance under the late Tafawa Balewa government in the First Republic, was reputed for his flowing, flamboyant dress. He established the Central Bank of Nigeria. To date, Nigeria has not produced such a flamboyant personality again. The oratory skill of Zik of Africa – Dr. Nnamdi Azikiwe, our first ceremonial President was unparalleled.
Substantially, Obafemi Awolowo patterned his political life after his mentor, Mahatma Gandhi, who was also a lawyer. His commitment to good governance and bricklaying for an egalitarian society, which was the hallmark of his governance in the Old Western Region, is uncommon. The first Republic political class created a niche for themselves. Unfortunately, their faint footprints did not outlast except the few who successfully etched their image on people’s minds. In the second Republic, Alhaji Shehu Shagari’s skyscraper cap was popularized by the National Party of Nigeria stalwarts. No sooner had he left the stage, when his identitarian brand left in his trail.
Ibrahim Badamosi Babangida (IBB), the most enigmatic evil genius the country has ever produced, emerged. His period marks the beginning of a brain drain with an exodus of university lecturers leaving the country in search of greener pastures with the slogan “Andrew” and Andrew’s imprint on the nation’s governance. Humongous national resources disappeared under his watch without a trace. He instituted money politics and enthroned ‘lootocracy’ in Nigeria.
The darkgoggle man, ‘Emperor’ Sani Abacha, followed in this “Maradona” footsteps. He also carved an identity for himself via a brooch, which every loyalist must adorn. To be bereft of the symbol is to be regarded as an adversarial force. Interestingly! the brooch disappeared with his exit from the stage. The train again moved from the military to the democratic station. Obasanjo mounted the saddle, as a musician with no record label for his newfound gospel song – My life time, I’ll give up my life,” he indeed gave up his lifetime to water the garden of corruption planted by his predecessors. “Ghana – must-go” bags became synonymous with the Ota farmer enamoured with the ‘ambition’ to salvage Nigeria.
As Tinubu, with the clandestine support of three retired Army Generals—OBJ, IBB and Tripple A—strives to help Baba Buhari recapture the political space, the shout of Sai-Baba rented the air. Tinubu and his co-strategists repackaged the stone-faced “repentant pseudo-democrat”, and wooed Nigerians with their change mantra. Their propaganda machinery was ferocious and encapsulating. Nigerians were regaled with tales of lies. Even those in government engaged in subterfuge to bring down Goodluck Ebele Jonathan’s government. Interestingly, Buhari’s change mantra soon transmuted into a “chain” dirge all through the 4+4 – 8 years of his government. “Sai Baba turned to Kai Baba.”
Now the Ebilokan Renewed Hope peddler has borrowed an image bigger than himself. Some have acquired what I call “ways and means” and therefore think they are qualified to identify with great progressives such as Mahatma Gandhi and Obafemi Awolowo; Bola Ige; Arthur Nwanko; S.G. Ikoku Aminu Kano – the Seriki Talakawas; Abubakar Rimi, to mention but a few. I fear that some may be living in an imaginary world and wearing an oversized shoe. Someone putting on an air of a progressive in the mould of these iconic round-rimmed- spectacles personalities, may indeed be a progress-thief, who operates on stolen identity to ‘rob’ his people. Any discerning political observer would notice that the once endearing – figured 8 embroidery cap, whose bearer would wish to promote as a national symbol, is no longer captivating. Rather, it is fast disappearing from the political landscape. This symbolic cap has become an irritant to even those who previously identify with the powers that be in the country. The Figure 8 embroidery was once described by the owner at a parley in Abeokuta as the cap representing the broken shackles of chains into freedom. The expression of a broken chain—chains of what? The underlay betrays the cravings and power-mongering of a deft power player, whose ambition beat the most resilient anti-progressives. Interestingly, none of those who pride themselves as power brokers could decipher the signals emitting from Bourdillon until a neighbour urged for patience with the cap as it would fly for another four years.
Why would he not crush the crushables to actualize an age-long ambition? Why should anyone tolerate dissent voices to threaten an ambition finally realized, even if doubly impoverished citizens must endure excruciating pains and hardship to water the ambition? Citizens gagged, press freedom tactically suppressed and protested against hunger untolerated? While profligacy is promoted and celebrated by the powers that be? The cap has indeed become an albatross, loathsome to identify with. It has become a symbol of subterfuge, misery and dashed hope. The cap seems no longer fanciful, fitting or fascinating. What then has become of our cap, our symbol, our identity? Does the cap no longer fit?
Man to man is so unjust, children you don’t know who to trust….
*Lanre Ogundipe, a former President
Nigeria Union of Journalists and African Union of Journalists writes from Abuja.
