This month commemorates the 26th anniversary of the ascent to higher realms of Nigeria’s most recognizable cultural icon: a figure whose essence has ignited Broadway productions. Fela Anikulapo-Kuti, the Abami Eda, revered high priest of the Afrikan Shrine, and the storied sovereign ruler of the Republic of Kalakuta, signed off on 2 August, 1997. My […]
This month commemorates the 26th anniversary of the ascent to higher realms of Nigeria’s most recognizable cultural icon: a figure whose essence has ignited Broadway productions. Fela Anikulapo-Kuti, the Abami Eda, revered high priest of the Afrikan Shrine, and the storied sovereign ruler of the Republic of Kalakuta, signed off on 2 August, 1997. My generation came of age in the shadow of his overwhelming socio-cultural consciousness.
It was while in England that he met drummer Tony Allen, who later joined him in a new group called Koola Lobitos and drawing inspiration from James Brown pioneered Afrobeat, a genre that fuses traditional African rhythms with jazz, funk, and other Western musical styles. In the late 1960s, the Koola Lobitos lineup embarked on a journey to the US, resulting in recordings known as The ’69 Los Angeles Sessions. During his US tour, Fela Kuti’s path crossed with Sandra Izsadore, a Black Panther Party member, whose transformative ideas reshaped the very essence of his music. Under her influence, Fela was introduced to the Black Panthers and the revolutionary works of Malcom X and Angela Davis.
Amidst the Kalakuta streets, a defiant shift unfolded, wresting liberty from the grip of a repressive regime. Within its walls, cannabis smoke billowed freely, a symbol of newfound liberation, while candid conversations on sex and intimacy reverberated through the community. His political activism was focused on the corrupt and repressive military regime of the time.
In the course of his illustrious career, Fela and his band forged an exceptional path with record-shattering hits like “Vagabonds in Power ”, “Coffin for Head of State”, “Beasts of No Nation”, and “International Thief Thief ” , to name a few. But it was the resounding impact of “Zombie” that truly shook the foundations. This song, a poignant critique likening the Nigerian military and government to mindless zombies, struck a nerve.
But Fela Kuti’s legacy transcends mere musical brilliance; it encompasses his very human imperfections. In addition to openly advocating the use of ‘igbo’ with the belief that “the God of Africa created this herb to enlighten his people,” his sexual indiscretions, including maintaining relationships with multiple partners and publicly showcasing his harem of young women throughout Lagos, are integral to this narrative – an aspect of his story that cannot be overlooked.
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