Fela Kuti, the pioneer of Afrobeat music and a powerful Nigerian activist. Learn about his musical evolution, fight against corruption.
Fela Anikulapo Kuti: The Afrobeat Pioneer and Nigerian Activist.
Fela Anikulapo Kuti also known as ‘ Abami Eda’ was the pioneer of Afrobeat, a genre that goes well with the energy of West African rhythms, American funk and jazz, and social commentary.
His music wasn't just for dancing; it was a weapon aimed at corrupt governments and a call for Pan-African unity. He created his own commune, the Kalakuta Republic.
By the time of his death in 1997, Fela was an international icon, revered for his musical innovation and his unwavering commitment to justice.
In this blogpost, we will learn about his early life and education,his musical evolution,how he used music as a weapon of anti-corruption and the reason behind his Kalakuta Replubic.
Early Life, Marriage and Education
Born into the family of Funmilayo Ransome-kuti and Israel Oludotun Ransome-kuti in Nigeria, on October, 1938.
His mother, Funmilayo Ransome-Kuti, was a prominent women's rights activist and seeing her pursuit of social justice, and her passion for creating a better future left an indelible mark on him.
Aside this, Music played a central role in his formative years. Piano lessons became a cornerstone of his childhood, providing a creative outlet and a career that has served him well throughout my life. This was evident when he was sent to London to study medicine but chose music instead.
His educational journey began in Abeokuta, Nigeria. Later, he left for London to further his education. This transition exposed him to diverse perspectives and broadened his horizons, shaping him into the well-rounded individual.
In 1960, Fela married his first wife, Remilekun (Remi) Taylor. The union was blessed with three children (Femi, Yeni, and Sola).
However, on February 20, 1978, he secretly married the 27 women popularly known as "Queens" at the defunct Parisona Hotel along Ikorodu Road in Lagos.
Early Musical Career
Fela Kuti's musical journey wasn't a straight shot to Afrobeat. It was a road paved with diverse influences, starting with the vibrant rhythms of his homeland.
In the late 1950s, Fela's path took a sharp turn when he traveled to London for music school. There, he dove headfirst into the world of jazz and funk. The improvisational nature of jazz and the driving rhythms of funk would become crucial elements in his musical arsenal.
Upon returning to Nigeria, Fela wasn't content to simply replicate the sounds he'd discovered abroad. He began a process of creative alchemy, fusing his highlife background with the newfound influences of jazz and funk.
This experimentation, along with the addition of traditional Yoruba percussion and vocals, gave birth to Afrobeat – a genre that was both distinctly African and undeniably innovative.
Music beyond art works
One of the things that stood out about Fela kuti was how he uses lyrics as a platform for social commentary, challenging the government corruption and human rights abuses.
Some of his art works that addressed this corrupt practices includes:
opposite people, produced in 1977, addresses people who intentionally pull down others for self satisfaction or gain.
Beast of no nation, produced in 1989, addresses the failed Nigeria system of government with comical lyrics.
Shuffering and Shmiling, which means Suffering and Smiling is another powerful art work of Fela kuti produced in 1977. It poses the current reality of Nigerians living in Nigeria.
This among others were means by which he uses his artwork to pass comments in the government system as well as fighting for the human rights.
The Kalakuta Republic
The name was derived in 1974, the time Fela spent in prison on suspicion of possessing weed. He was held in a communal cell which his fellow prisoners called Kalakuta Republic.
Fela Anikulapo Kuti's Kalakuta Republic was more than just a commune – it was a defiant act of rebellion against a corrupt Nigerian government and a celebration of Pan-African identity.
Fueled by disillusionment, Fela established the Kalakuta Republic in 1970. Located in Lagos, the commune housed his family, his band called Africa 70, and served as a recording studio. It wasn't just a living space – it was a statement of independence. Fela declared Kalakuta a sovereign state, free from the control of the military junta.
It boasted a free health clinic, a recording facility where Fela's revolutionary Afrobeat music was born, and a nightclub where he performed. The very structure challenged the legitimacy of the Nigerian state and championed self-sufficiency.
The commune wasn't just about music – it was a platform for political activism. Fela used his music, laced with Yoruba mythology and scathing lyrics, to criticize corruption and advocate for Pan-African unity. Kalakuta Republic became a symbol of resistance, attracting artists, activists, and revolutionaries who shared Fela's vision.
The Nigerian government viewed the Kalakuta Republic as a thorn in their side. In 1977, soldiers brutally raided the commune, burning it to the ground. Fela's mother was thrown from a window, an act that ultimately led to her death. Though destroyed, Kalakuta Republic's legacy lives on. It serves as a powerful reminder of the fight for freedom, the importance of artistic expression, and the enduring spirit of Pan-Africanism.
Conclusion
Fela Kuti's legacy extends far beyond the pulsating rhythms and infectious energy of Afrobeat.
He was a revolutionary figure who used his music as a weapon against oppression, a platform to advocate for social justice, and a celebration of African identity.
Fela's music was never just about entertainment; it was a call to action. His lyrics challenged corrupt governments, exposed social injustices, and championed the fight for freedom.