UDC: 781.7:929 Кути Ф. A. 784.4(669.1) 781.7(=423) COBISS.SR-ID 139208201 CIP - 10 _________________
Received: Sept 29, 2023
Reviewed: Nov 18, 2023
Accepted: Dec 03, 2023
MUSIC PERFORMANCE OF FELA ANIKULAPO KUTI
AS AN ENVIRONMENTAL JUSTICE ACTIVIST IN NIGERIA
Olusegun Stephen Titus
Department of Literature, Arts and Media Studies and Centre for Cultural Inquiry
Konstanz University, Germany
and
Obafemi Awolowo University, Ile-Ife, Nigeria
[email protected]
Samuel A. Adejube
Department of Music
University of Ibadan, Ibadan, Nigeria.
[email protected]
Department of Literature, Arts and Media Studies and Centre for Cultural Inquiry
Konstanz University, Germany
and
Obafemi Awolowo University, Ile-Ife, Nigeria
[email protected]
Samuel A. Adejube
Department of Music
University of Ibadan, Ibadan, Nigeria.
[email protected]
Citation: Titus, Olusegun S., Samuel A. Adejube. 2024. "Music Performance Of Fela Anikulapo Kuti As An Environmental Justice Activist In Nigeria."Accelerando: Belgrade Journal of Music and Dance 9:3
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Abstract
Several scholars have documented volumes of studies on Fela Anikulapo Kuti. However, little is known of his digital musical performances related to environmental justice activism till date. This paper therefore examines Fela Anikulapo musical narratives about environment in Nigeria. Environmental degradation globally has witnessed a phenomenal catastrophic level, and urgent attention is needed to reduce global warming. The paper engaged ethnographic, musical and textual analysis of Fela Anikulapo selected songs on the environmental pollution in Nigeria. Using Ecomusicology theory, we argue that Fela as a political and environmental justice activist chronicles the phenomenal damages done to the environment by multinational companies and the federal government of Nigeria, and the need to protect Nigeria's resources and the environment. We also argue that noise pollution, as explained by Fela, could cause generational loss of hearing and risk people’s healthy life.
Keywords: Ecomusicology, Nigeria, Popular Music, Fela Anikulapo, Environmental degradation |
Introduction
Environmental degradation is a global phenomenon, affecting several communities, nations and continents of the world. Africa as a continent, and particularly Nigeria as a nation, are not left out of this tragedy. The challenges facing the average Nigerian could be traced not only to poverty, but also to rural and urban infrastructure, proper maintenance of existential organization, and environmental degradation as seen in water, air and noise pollution, as well as deforestation. Thus, music in Nigeria, just like in other countries in Africa, permeates leisure or hobby. The quotidian relevance of this living art is realized in every aspect of the culture, society, tradition, and from womb to tomb. Whether traditional, art or popular, Nigerian music is rich in historical and philosophical matters, conveying communality, socio-cultural values, and serving didactic function. The Nigerian’s music is as well panegyric, praising well-deserved people, remembering the feats and triumphs of heroes and heroines, and strengthening the legitimacy of contemporary leaders. Songs in the African community serve a great number of functions than mere entertaining - either it could be songs of praise of good leaders and deeds in the society, or, on the contrary, it could also be songs of insult or correction in the condemnation of the insalubrious deeds of leaders and their followers in the society (Omojola 2012; Adeoye 2013, 11; Okeke 2019, 32).
In correcting and condemning the misdeeds in the society, activist-musicians in the country employed music as a tool and means of identity construction and exploration to engage and formulate ideas, as well as educate the public in crusading and the need to stand up for what is right and morally acceptable within the socio-cultural environment (see Hess 2019, 62). In the same vein, scholars have engaged this discourse, especially referring to Fela Anikulapo Kuti, his son, Femi Kuti, Bisade Ologunde (Lagbaja), as well as some other prominent Nigerian popular musicians who occupied the sound space in the country as activist-musicians in advocating for the rights and privileges of the masses in what is called political activism. Olatunji (2007) exemplifies the usage of Yabis by Fela in addressing the financial corruption and embezzlement of public funds by the military rule, and thereafter examines the political activism of the contemporary Nigerian music artistes. Political activism and music have been an inseparable couple used during the precolonial, colonial, and the postcolonial era in the country. Music, as shown in its role in the society, is used as a means to persuade, mobilize, control, sensitize and advance social causes or cultural phenomena (Adebayo 2017, 56; Okeke 2019, 33). Thus, music is used as a tool in activism transcending not just political struggle, but also environmental advocacy. Apart from political scuffles done by the elected leader in the country, environmental degradation has also been globally witnessed at a phenomenal catastrophic level both by the leaders and their followers. Hence, there is an urgent need to reduce amicably global warming and return to a safe environment. According to Tailor and Hurley (2015), it is essential for an interaction between the environment and music to bring a viable social stability and musical responsibility. Also, Titus (2019) engages Rob Nixon’s (2011) concept of slow violence and environmentalism of the poor, which is unpinned by the discourse of Pacific Ocean ecomusicology, to examine texts of songs used to explain global social and environmental degradation and oil exploration in the Niger Delta of southern Nigeria. In the same vein, Olorunyomi (2003), Olaniyan (2009), and Olajide (2020) examine Fela’s music, his ‘afrobeat and imagined continent’, ‘rebel arts and politics’, and his ‘personhood and socio-political commitment’ respectively. This paper, therefore, uses ecomusicology theory as used by Titon (2014) with emphasis on the triangularity of culture, environment and human beings, to examine Fela Anikulapo musical narratives about environment in Nigeria. With the use of ethnography method, musical and textual analysis of selected Fela’s songs on environmental pollution in Nigeria were engaged. Ecomusicology, Ecocriticism
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To ba fe la we, omi lo ma lo
If you wan go wash, na water you go use To ba fe se be omi lo ma lo If you wan cook soup, na water you go use To’ri ba gbona omi lero re If your head dey hot, na water you go use Tomo ba dagba, omi lo ma lo If your child dey grow, na water he go use If water kill your child, na water you go us To mi ba pa omo re, omi na lo ma lo Ko sohun to le se, ko ma lo mi o Ko sohun to le se, ko ma lo mi o Call: Omi o lota o Resp: Water e no get enemy Call: If you fight am, less you wan die Resp: Water e no get enemy |
Translation:
[To bath, one must use water To cook, one must use water To cook, one must use water For headache, one must use water For child’s growth, water must be use For water reflux, water therapy is the solution There is nothing you can do without water Water has no enemy No one can be an enemy to water] |
The aesthetic approach to sustainability of nature was used here by Fela to sing the appreciation of water in the community. Challie (2015, 21), in one of his approaches to ecomusicology, encourages sustainability through the concept of aesthetics - the philosophies of beauty - which in turn urges individuals to cogitate aesthetics, sound and music in quest for accomplishing sustainability, and the safeguarding of picturesque landmarks in the society. Water no get enemy is an example of such, in that musical aesthetics, sound, and nature were considered in the composition and production of this music. In addition, the song encapsulates the society and cultural living as well. Each unit of the family was addressed in their appreciation of nature – water. Just like African music is functional – from womb to tomb - this music discourses the nitty gritty of the rite of life, even from infancy to adulthood, connecting aesthetically growth, health, and socio-economic influences.
The musical phrase “omi o l’ota o” reveals the significant role music plays in the sustainability of shaping the people’s perception towards the indispensability of water in the society. Rather than the aesthetic of the music, the appreciation and preservation of the nature–water was emphasized. The musical phrases “if you fight am, less you wan die” (“you cannot live without water”) and “t’o mi ba pa’mo re, omi na lo ma lo” (“when one has a water reflux, water therapy is still the solution”) supported the social and environmental crusading as used by Fela and his music. Thus, the appreciation of water is seen even in a situation where water seems to be the human enemy, the same water is consulted in solving the problem and resolving the challenge. Eventually, nature-water must be valued in order to be utilized and leveraged on the extensive worth of it. Titus (2018, 85) expresses the concern of the Nigerian government at the different levels, which talk about the people’s responsibilities in protecting the waterways as symbols of both intangible and tangible heritages.
The musical phrase “omi o l’ota o” reveals the significant role music plays in the sustainability of shaping the people’s perception towards the indispensability of water in the society. Rather than the aesthetic of the music, the appreciation and preservation of the nature–water was emphasized. The musical phrases “if you fight am, less you wan die” (“you cannot live without water”) and “t’o mi ba pa’mo re, omi na lo ma lo” (“when one has a water reflux, water therapy is still the solution”) supported the social and environmental crusading as used by Fela and his music. Thus, the appreciation of water is seen even in a situation where water seems to be the human enemy, the same water is consulted in solving the problem and resolving the challenge. Eventually, nature-water must be valued in order to be utilized and leveraged on the extensive worth of it. Titus (2018, 85) expresses the concern of the Nigerian government at the different levels, which talk about the people’s responsibilities in protecting the waterways as symbols of both intangible and tangible heritages.
“Perambulator”
Perambulator, literally is a small device with four wheels but no direction. The movement is just within a point. Fela Kuti music titled ‘perambulator’ describe the movement of an individual, organisation, or the government with no direction of purpose vis-à-vis environmental sanitation in the community. Just like Allen (op. cit., 106) proposes, ecomusicology is no panacea - it cannot automatically provide an ultimate answer to the question of ecological problem or ecocriticism - rather it is just one component in the diverse ecosystem of thought, learning and action, which addresses crises from cultural, political and scientific views. “Perambulator” examines the ecosystem of land pollution and the possibility of providing a lasting solution.
Call Perambulator
Resp: Pe-ram-bu-la-tor…
Call: He must to turn right, left, move forward, all for nothing
Call: If you look the man well, all for no profit nor progress, na the same place hin dey go
Resp: Same same place
Resp: Pe-ram-bu-la-tor…
Call: He must to turn right, left, move forward, all for nothing
Call: If you look the man well, all for no profit nor progress, na the same place hin dey go
Resp: Same same place
Lagos full full of dirty
Town council dey take salary for nothing Commissioner wants to do something about it He calls meeting for dustbin Resp: No solution Call: He makes announcement for radio Call: Plenty money dem dey spend Commissioner go for London He makes big press statement I am going over to London To learn how English carry dustbin Wetin commissioner no know be say other people dem go there to learn atomic energy Our commissioner go to learn dustbin carrying You see, him just dey perambulate and him still dey Resp: Same same place |
Translation:
[Lagos is full of dirty Council are not doing what they are paid for The commissioner intends a solution He calls a stakeholder meeting He made announcement on the radio Spent a lot of money Travelled to London Made a laudable press statement I am going to London To learn how to manage the dirt/refuse The commissioner is not aware that some travel to London to learn atomic energy instead, commissioner chooses refuse disposal He is just perambulating and he is going nowhere. Same place!] |
Fela Kuti, an advocate of environmental justice uses the music, ‘perambulator’ to emphasize on the phenomenal damages done to the environment by individuals and the government institution. The musical phrase Lagos full full of dirty, explains the environmental polluted quandary of the nation’s economic city. Debris of wastes are scattered and littered on the streets and major roads in Lagos, causing water erosion and air pollution which is hazardous to the health of the people. Fela, as an environmental activist, uses his music to preach the probably solution to the nemesis. The urbanization of Lagos state, just like other urban cities in the country (Ibadan, Onitsha, Kano) has been one of the factors causing environmental degradation. Institution upon institution has been set up to manage and control this situation but all to no avail as corruption has eaten up the whole system from the least to the greatest citizen in the country.
Fela, in his “Perambulator” explains how even the government that is saddled with the responsibility of managing the situation travels to other countries with the motive of learning how to curb or put a stop to environmental pollution, ended up doing nothing. Hence, the word ‘perambulator’ was used to describe them. The environmental challenges facing residents of these urban cities range from environmental and land pollution to air and noise pollution coming from the different religious centers scattered about the country, which use loud audio speakers in their efforts to project their messages to the public. A conceivable solution was suggested in the music when Fela sings about ‘other people dem go there to learn atomic energy’. This could be rephrased as energy recycle system, where reusable materials are recycled for another use. It is a system of refuse disposal, whereby different refuses are separated based on their materials, such as biodegradable and non-biodegradable materials. Such system is to allow the non-biodegradable materials to be recycled, avoid littering the environment, and thus avoid the main causes of the erosion and flooding.
Fela, in his “Perambulator” explains how even the government that is saddled with the responsibility of managing the situation travels to other countries with the motive of learning how to curb or put a stop to environmental pollution, ended up doing nothing. Hence, the word ‘perambulator’ was used to describe them. The environmental challenges facing residents of these urban cities range from environmental and land pollution to air and noise pollution coming from the different religious centers scattered about the country, which use loud audio speakers in their efforts to project their messages to the public. A conceivable solution was suggested in the music when Fela sings about ‘other people dem go there to learn atomic energy’. This could be rephrased as energy recycle system, where reusable materials are recycled for another use. It is a system of refuse disposal, whereby different refuses are separated based on their materials, such as biodegradable and non-biodegradable materials. Such system is to allow the non-biodegradable materials to be recycled, avoid littering the environment, and thus avoid the main causes of the erosion and flooding.
Conclusion
In this paper we have shown how Fela Anikulapo's music projects environmental sustainability as an activist. We have also examined the place of ecomusicology as a theory that encapsulates the environment, human and culture. Lagos, as the metropolitan city, is overwhelmed with solid wastes, which Fela’s Music addresses here. Music has the capacity to explain global and local environmental challenges, and therefore creates awareness for individuals and communities to help restore environmental sustainability. There is a human part to play, and in fact, from the songs analysis, individuals create the way in which the pollution is generated, that causes pollution and slows violence against Lagos, the fourth largest city in the world.
References
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Belgrade Center for Music and Dance is the publisher of Accelerando: BJMD
Belgrade Center for Music and Dance is the publisher of Accelerando: BJMD