Open Access Peer-reviewed Research Article

The philosophy of nonviolent resistance in Fela's Afrobeat

Article Sidebar

Download PDF
Submitted   Sep 6, 2023
Published   Nov 24, 2023
Issue    Vol 4 No 1 (2023)
DOI   10.25082/IJAH.2023.01.006

Views

525

Downloads

216

Citations

PlumX Metrics

Main Article Content

Noah Opeyemi Balogun corresponding author
Department of Conflict, Peace and Strategics Stuides, Afe Babalola University, Ado-Ekiti, Nigeria

Abstract

This study explores Fela Anikulapo Kuti, arguably Africa's most iconic resistant artist of the twentieth century by analysing his philosophy of nonviolence in his responses to numerous violent attacks by the repressive and oppressive regimes of the post independent Africa, nay Nigeria. Using the conceptual tool of music as social process and philosophical tool of critical and constructive analysis, the study combines documentary data in Fela's Afrobeat and Key Informant's Interview, in order to demonstrate the philosophical status of nonviolence resistance in conflict engagement and transformation in Fela's Afrobeat. The study argues that Afrobeat is a musical philosophy shaped by disregard for human rights and gross irresponsibility on the part of government that have manifested in Africa/Nigeria's underdevelopment since the Union Jack was lowered in 1960s. The study avers that Fela chose to be part of politics of revolution by using his music to exude protest and persuasion, non-cooperation and intervention against injustice that has created the many problems of man and social reality. The study concludes that for Fela, it is unAfrican to exert coercion; beat, kill or lynch and hopeful that Africans will eventually value nonviolence rooted in their cultural tradition.

Keywords
Fela, Afrobeat, nonviolence, nonviolent resistance, nonviolent methods, popular consciousness

Article Details

How to Cite
Balogun, N. O. (2023). The philosophy of nonviolent resistance in Fela’s Afrobeat. International Journal of Arts and Humanities, 4(1), 181-191. https://doi.org/10.25082/IJAH.2023.01.006
Creative Commons License

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

References

  1. Aderinto, S. (2013). Sorrow, tears, and blood: Fela Anikulapo Kuti and protest in Nigeria, in Jonathan C. Friedman (ed.,) The Routledge history of social protest in popular music (New York: Routledge. 319-330.
  2. Adesokan, A. (2011). Method after Fela. Chimurenga, Issue 15: 103–110.
  3. Adewumi, A.O. (2000). FELASOPHY: a critical analysis of the socio-political thoughts of Fela Anikulapo Kuti. Unpublished B.A Project submitted to the Department of Philosophy, University of Ibadan.
  4. Albert, O.P. (2005). The Making of Fela Anikulapo Kuti's Afrobeat. African Notes: Journal of Institute of African Studies. Vol. 29. Nos. 1&2. P 129- 145.
  5. Alimi, S, & Anthony, I.O. (2013). No agreement today, no agreement tomorrow: Fela Anikulapo-Kuti and human rights activism in Nigeria. The journal of pan African studies, vol.6, no.4, September. 2013.
  6. Balogun, N.O. (2012). The notion of freedom in Fela’s music. Unpublished M.A Project submitted to the Department of Philosophy, University of Ibadan.
  7. Balogun, N.O. (2012). The notion of freedom in Fela’s music. Unpublished M.A Project submitted to the Department of Philosophy, University of Ibadan.
  8. Balogun, N.O. (2018). Nonviolent protest in Africa: echoes and lessons from Fela Anikulapo Kuti. A paper presented at the Graduate Conference of the Makerere Institute of Social Research.
  9. Carter. V.P. (2012). Africaman Original. The Beat. Google Search. Retrieved on 25 July, 2012.
  10. Cole, C. M. (2006). African Performance and the Postcolony. Theatre Survey, 47(2), 199–207. https://doi.org/10.1017/s0040557406000160
  11. Collins, J. (1969). Crossroads in Philosophy: Existentialism, Naturalism and Theistic Realism. Chicago: Henry Regnery Company. Pp. 1-18.
  12. Collins, J. (2009a). Fela: Kalakuta notes. Amsterdam: KIT Publishers.
  13. Collins, J. (2009b). Fela: Kalakuta notes. Abibisem: Journal of African Culture and Civilization, 2, 149–150.
  14. Dosunmu, O.A. (2010). Afrobeat, Fela and beyond: scenes, style and ideology. A MA thesis submitted to the graduate faculty of arts and sciences in partial fulfillment of the requirements for the Degree of Doctor of Philosophy. University of Pittsburgh.
  15. Eesuola, O. (2012). Behavioral approach to political protest: Analysis of Fela Anikulapo Kuti. University of Lagos. Unpublished Ph.D. Dissertation.
  16. Eesuola, O. (1970). Political Protest Songs and Actual Protest Values: Analysis of Fela’s ``Sorrow, Tears & Blood” and Bob Marley’s “Stand up, Get up.” AFRREV IJAH: An International Journal of Arts and Humanities, 4(2), 82–96. https://doi.org/10.4314/ijah.v4i2.7
  17. Eesuola, O.S. (2018). Democratizing without political participation: Nigeria as a good example of Fela’s Perambulator. International journal of social sciences. Vol. 63. No.1.
  18. Ezeukwu. (1998). Understanding International Relations. Enugu: CPA and Gold Publisher.
  19. Fanon, F. (1967). Black skin, white masks. New York: Grove Press. 1967.
  20. Fanon, F. (1967). The wretched of the earth. Harmondsworth, Middlesex: Penguine.
  21. Farred, G. (2001). The Postcolonial Chickens Come Home to Roost: How Yardie Has Created a New Postcolonial Subaltern. South Atlantic Quarterly, 100(1), 287–305. https://doi.org/10.1215/00382876-100-1-287
  22. Freire, P. (1972). Pedagogy of the oppressed. New York: Penguin.
  23. Galtung, J. (1989). Essay in Peace Research Vol. 1, Peace Research Education, Action Osolo:
  24. Gauff, D., Tchal-Gadjieff, S., & Flori, J. J. (1982). Fela Kuti: Music is the weapon [Motion picture]. France: Antenne 2, K.I. C.S. Ministere de la Culture.
  25. Grant, O. (2008). Composing apartheid: Music for and against apartheid. Witwatersrand University Press.
  26. Grass, R. F. (1986). Fela Anikulapo-Kuti: The Art of an Afrobeat Rebel. The Drama Review: TDR, 30(1), 131. https://doi.org/10.2307/1145717
  27. Hand, L., & Tyler, C. (2003). Weapon of the future. Unpublished paper.
  28. Hawkins, W. (2011). Fela Kuti, Konkombe interview.
  29. James, T. S. (1929). War as an Instrument of National Policy, New York, Harcourt.
  30. James, W. (2006). How Can Intelligence Results be Measured (ed.) Gregory, F. et al., Towards a Theory of Intelligence, Workshop Report. Santa Monica, Rand Corporation.
  31. Kahneman, D. (2003). Maps of Bounded Rationality: Psychology for Behavioral Economics. American Economic Review, 93(5), 1449–1475. https://doi.org/10.1257/000282803322655392
  32. Kong, L. (1995). Music and Cultural Politics: Ideology and Resistance in Singapore. Transactions of the Institute of British Geographers, 20(4), 447. https://doi.org/10.2307/622975
  33. Labinjoh, J. (1982). Fela Anikulapo-Kuti. Journal of Black Studies, 13(1), 119–134. https://doi.org/10.1177/002193478201300109
  34. Langley, M. (2010). PEACE PROFILE: Fela Kuti, An “African Man Original.” Peace Review, 22(2), 199–204. https://doi.org/10.1080/10402651003751511
  35. Lasisi, B. (2005). Fela Anikulapo Kuti: a misunderstood poet. Unpublished B.A Project submitted to the Department of English. University of Ibadan.
  36. Lipset, S. (1971). Rebellion in the university. Boston: Little Brown.
  37. Lyotard, J. F. (1996). Libidinal economy. Translated by I.H Grant. Bloomington: Indiana University Press.
  38. Mabinuori K. I. (1986). Fela: why Blackman carry shit? Ikeja. Opinion Media Limited.
  39. Malcom, X. (1957). The autobiography of Malcom X. New York: Billantine Books.
  40. Malcome, B. (1989). Music and the Expression of Emotion.US: Chicago University Press. P.10
  41. Manuel, P. (1988). Popular music of the non-Western world: an introductory survey.
  42. Maurice, N. (1967). Literature, philosophy and the social sciences: essays in existentialism and phenomenology. The Hague. Martinus Nijoff.
  43. Mbembe, A. (2001). On the postcolony. Berkeley and Los Angeles: University of California Press.
  44. Oikelome, A. (2010). Stylic analysis of afrobeat music of Fela Anikulapo Kuti. Paper presented at the First International Conference on Analytical Approaches to World Music 2010, 19–21 February at The University of Massachusetts Amherst.
  45. Olaniyan, T. (2004). Arrest the music! Fela and his rebel art and politics. Bloomington and Indianapolis: Indiana University Press.
  46. Olatunji, M. O. (2009). Yabis music: an instrument of social change in Nigeria. Journal of African Media Studies, 1(2), 309–328. https://doi.org/10.1386/jams.1.2.309_1
  47. Olorunyomi, S. (2003). Afrobeat: Fela and the imagined continent (Trenton, NJ: Africa World Press.
  48. Schoonmaker, T. (2003). Black president: the art and legacy of Fela Anikulapo-Kuti. New York: New Museum of Contemporary Art.
  49. Street, J., Hague, S., & Savigny, H. (2008). Playing to the Crowd: The Role of Music and Musicians in Political Participation. The British Journal of Politics and International Relations, 10(2), 269–285. https://doi.org/10.1111/j.1467-856x.2007.00299.x
  50. Tchal-Gadjieff, S., & Flori, J. J. (1982). Fela Kuti: Music is the weapon [Motion picture]. France: Antenne 2, K.I. C.S. Ministere de la Culture.
  51. Tenaille, F. (2002). Music is the weapon of the future: fifty years of African popular music (Chicago: Lawrence Hills Books, Pp. 69-76.
  52. Tenaille, F. (2002). Music is the weapon of the future: fifty years of African popular music (Chicago: Lawrence Hills Books, Pp. 69-76.