The Life and Legacy of Fela Kuti

Music is the weapon of the future - Fela Anikulapo-Kuti (October 15, 1938 - August 2, 1997)

Born into the violent bloodshed and political upheaval of an Africa at war with herself, Fela Anikulapo-Kuti (He who emanates greatness, who has control over death and who cannot be killed by man) leaves a nuanced legacy as complex and paradoxical as the life that he lived.

From the gritty streets of Los Angeles and London, to the Mushin of Lagos, Fela conjured up potent rhythms and revolutionary lyrics, laced with the antidote to the poisonous military regimes that were methodically murdering the spirit of Nigeria during his lifetime. He ignited the spark of a dormant revolution through his willingness to sacrifice his life -- and the lives of his loved ones -- and the remnants of the wildfire he created still smolders through the musical genres of Soul, Funk, Jazz, Blues, Hip-Hop and African Highlife.

Stevie Wonder has said that Fela was a "pioneer" to which the "musical world owes a debt of gratitude." Hip-Hop artist, QuestLove, draws stark parallels between Fela's life and music and the rebellion, raw and undiluted, that is evident in hip-hop. As a testament to his lasting legacy, the Broadway musical, FELA!, is currently touring the United States and Europe; sponsored by hip-hop mogul, Jay-Z, and Hollywood power couple, Will Smith and Jada Pinkett-Smith, the unique and provocative performance brings Fela's textured life story to the masses.

A contemporary of Bob Marley and James Brown, Fela used his music to stare down the oppressive politics that threatened to ruin Africa and remained insistent to his last breath that the Cradle of Civilization must not bow to vulgar attempts at transforming her into a bastardized Europe. He waged a strategic, grassroots war to preserve the core of the continent's existence and fought for the rebirth of humanity -- one rooted in family, class equality and a re-invigorated sense of community where greedy capitalist narratives, corrupt politicians and selfish individualism would not be tolerated.

Known primarily for his art and political endeavors, it speaks to the complexity of Fela's existence that within the pages of his life and the underbelly of his lyrics, one begins to grasp that his legend is tainted with a blatant misogyny and intolerance that stands as the antithesis to the freedom and human dignity he dedicated his life to achieving.

In Fela: This Bitch of a Life, written by Carlos Moore, Fela speaks freely about women being nothing more than mere "mattresses" on which men were meant to sleep. It was also his belief that "women are like Satan, in that stupid book, The Bible." He preferred his women to be passive and obedient, "the African way," and did not hesitate to strike one of his 27 wives if they did anything to displease him. He considered religion, specifically, Christianity and Islam, to be dangerous impediments of nature. It was Fela's perspective that some young girls are ready for sex as early as nine-years old, and that the suppressive institutions of religion, which attempt to mold sexual relations into a narrow box where only two married adults -- male and female -- can fit, led directly to homosexuality; which to Fela, was the only unnatural framework for sex, because reproduction is impossible.

While there are certainly obvious dangers lurking in organized religion, such as interpreting certain passages of Holy books to justify slavery, prejudice and violence towards women, Fela's co-option of some of those very same beliefs in his own relationships (male dominance, child molestation, polygamy and domestic abuse) while repudiating the rest, is blatant hypocrisy.

To watch one of Fela's performances is to witness the roots of Hip-Hop music. Misogyny in rap did not materialize in the boroughs of New York or the strip clubs of Atlanta where the magnificence of the feminine form is appreciated, while what lies beneath is ignored; rather, it manifested in part through the ancestral characterization of women as "mattresses" in need of men to elevate their status and provide sexual gratification.

The fact that Beyonce Knowles, a self-proclaimed feminist who recently declared that "Girls Run The World", appeared in L'Officiel Paris in blackface to honor Fela and his 27 "Queens"-- even though he physically abused them -- is a testament to the one dimensional perspective through which we examine Fela. It is also an ironic reflection of his priorities that the controversy generated over the images was due to her unfortunate choice to mimic racist satire -- not her celebration of domestic violence, which disproportionately affects the Black and African-American women she claims to empower. In allowing herself to be blinded by his skewed mythology -- that she protects and proliferates through her "iconic" photoshoot -- she squandered an opportunity to not only speak out against violent crimes against women, but also to honor Fela's true Queen: his mother, Funmilayo.

Fela's mother, civil rights leader and feminist, Funmilayo Ransome-Kuti, also known as "Bere", was the catalyst who shaped Fela into the revolutionary he would later become. She tirelessly fought to eradicate the colonialism, racism and sexism running rampant through Nigeria, and as a boy, Fela soaked in her wisdom and took great pride in her fearlessness. Sandra Iszadore, a Black Panther who Fela considers one of the most influential women in his life, exposed him to anti-establishment human rights battles being waged in the United States, educating him on everyone from Malcolm X to The Last Poets. Sandra opened his eyes to the injustice in the world around him, and by his own account, introduced him to his own "African-ness."

Without these two women, the Fela Kuti that is recognized as a transformative political figure would not exist. It is no coincidence that the two women he valued above all others demanded his respect, subsequently, receiving it without reservation.

Ultimately, Fela died from AIDS related complications in 1997, at the age of 58. He refused to his last breath to believe that he was infected with the fatal disease -- characterizing both AIDS and contraceptive protection as "un-African." Towards the end of his life, he lived in a paranoid alternate reality where the lesions covering his body were merely a "spiritual changing of the skin" and symbols of his re-birth as a political martyr. His wives began to leave the Kalakuta Republic, seeking refuge in the Mushin of Lagos as prostitutes. He not only encouraged them to leave if he "failed them as a husband," but also bluntly stated that in Yoruba it is called asewo and is the equivalent of European men providing dowries to take possession of their wives. He never once considered the lives of his Queens, nor his children; one of them, Fehintola, eventually died from AIDS in 2006 and it is unknown how many others may have been infected. Fela fathered at least three children after becoming infected with AIDS, performing his irresponsible song ridiculing safe sex practices "Condom Scallywag and Scatter" from his throne at the Afrika Shrine.

Fela's life is a blueprint that clearly illuminates both the polarized ugliness and beauty that finds shelter in the hearts of all humans. In the degradation of women in hip-hop, I hear Fela; yet, he also lives in the lyricism of Yasiin Bey (formerly Mos Def). In discriminatory laws against the LGBT community, I see Fela; yet, he also lives in the Occupy Wall Street Movement. From immigration and racial profiling battles, to subjugation of women throughout society, there are echoes of Fela's spirit, determination and, yes, his dogmatic belief in a patriarchal society.

Fela Anikulapo-Kuti's legacy is one that is greater than the sum of its parts. Domestic violence and flagrant devaluation of women are just as much telltale signs of his character as his love for his people. As a feminist and journalist, I have only been able to reconcile my appreciation of Fela's political activism and musical genius by embracing the realization that the revolution did not die with him. In some ways, it began with his unapologetic refusal to allow Africa to drown in colonialism and his steadfast support of those living in poverty; in others, it will continue despite injustices and stigmas he perpetuated through his life, death and music.

When asked by author Carlos Moore did he want to leave an imprint on the world, Fela responded:

No. Not at all. You know what I want? I want the world to change. I don't want to be remembered. I just want to do my part and leave. If remembering is part of the world's thing, then that's their problem. I'll do my part. I have to do my part. And everyone has to do his. Not for what they're going to remember you for, but for what you believe in as a man. A human being should be like that.

That is the complex legacy of Fela Anikulapo-Kuti.

 

Follow Kirsten West Savali on Twitter: www.twitter.com/KWestSavali

Comments

[rootsdawta1]

07:13 PM on 10/18/2011

Fela, like Bob Marley are immortalized for their works for the rights and freedom of African people. Their work and music are always centered around the upliftment of Africa and her people, but their private lives have always been one of scrutiny, complexities and even hypocricies. Fela, clearly had an old world African view of women, but I believe if he were alive today, he would have adjusted with the times. To be a man in Africa is to be king, in many instances, but clearly that dichotomy has and continues to be a skewed and flawed concept to maintaining a 'kingdom'. Fela throughout it all still remains one of the most important artist of the 20th century for Africa and Pan African ideas. His revolutionary stance against the Nigerian government and corporate greed was well on point and continues to resonate. To see the low calibur of artists that are paying him tribute, i.e. jay-z and beyonce and few others, show they could never do what he did. They could never speak out to their corporate masters. For the young generation who are discovering Fela, they should see the whole picture of him, but they should certainly be inspired by his love for African people.

[Kirsten West Savali]

08:54 PM on 10/17/2011

(cont...)

Fela's misogyny and devaluation of women were both reprehensible, but honor and tradition and right or wrong are always subjective. I don't excuse it, I don't condone it, and broadening my perspective has been the only way I've found to reconcile the two truths that can be found in all people, ugly and beautiful, that Fela represents.

Thank you all reading,

K

[Kirsten West Savali]

08:53 PM on 10/17/2011

Thank you all for reading,; I appreciate your feedback.

Let me be clear on a few points:

Fela Anikulapo-Kuti was one of the most unapologetic revolutionaries of our time and a musical genius. Yes, he was flawed, and I have no problem exposing those flaws, but Fela represents African culture, not just one man. To negate his positive influences, would be to ignore the positive contributions of Africans because of their social structures. Polygamy, men's authority to "discipline" their wives, not believing in birth control, etc, that's a way of life for many Africans. Fela was raised to believe in those things, just like many of us in the United States are raised to believe the opposite. Looking through it from an African lens, not a European one, doesn't make it forgivable, but it does make it understandable.

The question I ask myself is: How do we empower women on other continents without becoming social imperialists trying to infiltrate and change their culture? Harriet Tubman famously said, "I freed a thousand slaves, I would have freed a thousand more if only they knew they were slaves." Many women are, in fact, born slaves in a culture that views them as inferior --- a culture where giving someone else control over their body is the norm, whether for "disciplinary" reasons or sex.

(cont...)

[easterncross]

01:02 PM on 10/18/2011

I don't think it is right to claim Fela represented African culture in his 'complicated' treatment of women anymore than it is to claim Miles Davis an admitted pimp ,or the legendary(for reasons both musical and other) Ike Turner represented African American culture. These were all brilliant and non-conformist men with a tendency to take advantage of women.
The social inequality faced by women in Africa,the American South and all over the world is a much more complex issue.

[Kirsten West Savali]

06:42 PM on 10/18/2011

Thank you for reading, Eastern Cross. I appreciated the feedback.

You're exactly right, that was a negligent generalization. My apologies. Let me expound: Polygamy, women as inferior, physically disciplining women, are in fact widely present and accepted in African culture. I believe the key words to be "widely accepted." There have been points in history that domestic abuse was accepted on a wide-scale. Even now, though there are laws, women still face horrible atrocities at the hands of the men who claim to love them. That is not only an African issue --- but it is *also* an African issue.

Perhaps a better word would have been "manifestation." Fela was definitely a manifestation of the cultural norms of his time. And though, I get your broader point, you can't compare Fela to Ike Turner, nor by extension, Tina to Fela's Queens. Ike was considered an abuser and is reviled for it by many. Fela is considered a hero; and for the most part, his "complicated" treatment of women, has been analyzed, excused or ignored by those who don't want any negativity surrounding the Black President.

Thanks again for reading,

K

[Atane]

06:41 PM on 10/17/2011

Kirsten, I'll only address the dancing by the women.

I'm Nigerian. There's a lot of cultural context missing here. Drawing a parallel with Yoruba dancers, and misogyny in rap/rump-shaking videos, and strip clubs isn't only far fetched, it's downright insulting. It's completely off-base. They are not dancing to titillate and sexually excite the audience. They are dancing because African people dance! Did you not notice Fela dancing after the women in the video you linked? It's something you need to be a part of to fully understand.

In either one of my parent's villages in Nigeria far away from the big cities, it is normal to see a naked child walking around. Through our eyes, it's completely innocent. If an American saw that, they'd probably think they need to call child protective services, or that something is wrong with their parents, and that naked kids will attract pedophiles. It will be a sexual matter in an American's mind, because they come from a place where everything is a sexual matter. That's the western lens you have. You have judged the dancing through that lens. You don't see women practicing cultural norms. What you see is something lascivious, because in western culture, attractive women dancing is seen as sexually charged behavior solely for the consumption of men. That's unfortunate, and it is mentally stunting. However, it isn't the African who is stunted here.

I wonder what you'd think if you saw videos of Nuba dancers from Sudan.

[Kirsten West Savali]

08:13 PM on 10/17/2011

@ Atane,

Thank you for reading; I appreciate it. You seem to be viewing my comments out of context. My characterization of Yoruba dance as parallel to Hip-Hop videos and strip clubs was in no way to disparage dance. In fact, it wasn't about the women at all.

While they were coming from a pure place, an artistic place, Fela, the man with whom they're performing, views them as sexual beings, "mattresses," "inferior." Those are his words. The parallel is being drawn between the men who are watching them dance, not the dances themselves.

Through Fela's performances, (sidenote: He is considered a pioneer of Hip-Hop, his work has been sampled by everyone from Leaders of the New School to Lupe Fiasco), it is clear that the devaluation of women through music---specifically, Hip-Hop, is not a new phenomenon, it was passed down from generation to generation, continent to continent --- then exacerbated by materialism and capitalism in America. Yes, Fela dances as well, but when he does, it is not with the understanding that he's inferior and merely a sexual object...as, again, he said he viewed women.

Viewing things through an African lens vs. a European one is extremely different. I completely agree. Often times though, the damage is not found in the origination, but the interpretation.

Thanks again for reading,

K

[Minna Salami]

05:26 PM on 10/17/2011

Kirsten, you raise mostly valid points, although I disagree with the likening of Yoruba dance with booty-shaking in hip hop videos (there are different contexts at play). However, your review of Fela's attitude towards women is incomplete.

After his longest stunt in prison Fela returned to Kalakuta Republic quite a changed man, to find that some of his wives had new boyfriends and some had children by other men.
Patriarchal and chauvinistic as he had been, Fela refrained from infidelity accusation. He understood them he said. He divorced the Queens but those who wanted to were welcome to remain in his Kalakuta home. The reason he gave for the divorce was:

“People marry because they are jealous. People marry because they are possessive. People marry because they are selfish. All this comes to the very ugly fact that people want to own and control other people’s bodies. I think the mind of human beings should develop to the point where that jealous feeling should be completely eradicated.”

[Kirsten West Savali]

08:30 PM on 10/17/2011

Thank you Minna,

I agree whole-heartedly with the point you raise, sister. Fela is too complex of a subject to be tackled in one article.

However, as it pertains to his views on women specifically, I would contend that my review is only incomplete (as condensed in this article) because I don't touch on how dismissive he is towards women. Yes, he did say that in Moore's book; yet, his position that women, nor men, should be forced to stay in marriage, was more because he felt that polygamy offered that freedom, not because he wanted to empower them. At least that's my interpretation; though, I'm always open to a healthy debate.

As became clear when he hid in a neighboring home while soldiers raped and beat his dancers at Kalakuta, locking them in "the welfare" until they escaped, he did not value them. He only married them because they risked their lives for him, and because according to him, he was only having sex with the 27 of them, "no one else," so he wanted to show his appreciation.

So, yes, I do agree with the Fela quote you raise, just not as a justification for polygamy, nor as a salve for his own conscious after the Queens faced horrific neglect and abuse, both in his presence and his absence.

Thanks for reading,

K

[Tre Members]

01:36 PM on 10/17/2011

I think this article is gonna confuse too many people who don't know anything about Fela. Sure Fela had his share of problems, but in fairness if you put any so called hero under the lens I think you'll find many disturbing things. George Washington, Thomas Jefferson, Martin Luther King, Malcolm X,Bob Marley, John Lennon, John and Robert Kennedy,Ghandi, Jesus, Mohammad- if you explore their attitudes and some of their practices toward women, sex and violence you will be shocked. Fela was much more complex than this article gives credit and I think you do a diservice to Beyonce Also. Does everyone who gives praise to George Washington support slavery, Are those inspired by Thomas Jefferson also defenders of abuse against women? If you believe in King's dream, do you also have to believe in adultery. How many have denounced John Lennon's behavior towards his first wife and son and his mistreatment of Yoko from time to time. I'm not saying that Fela's mysogeny is acceptable, but to blame him for the mysogeny in Hip-hop is wrong, most rappers don't even know who Fela is. Mysogeny is rampant in EVERY society on this earth, In EVERY religion. It takes a very conscious man to fight against it and not let his mind be corrupted by it. One thing Fela has above all those others however is that he was not a Hypocrite.

[OooZzzzz]

09:21 AM on 10/17/2011

Beyonce has the slightest clue who Fela Kuti is and she performs strictly for the money and does whatever she's told or asked without any reservation.

Beyonce, put your clothes on...No problem. Beyonce, take your clothes off. No problem. Beyonce, bump & grind in front of teenagers, No problem. Beyonce, simulate sex acts during prime time TV with pre- teens watching. No problem....Whatever.

Her "self-proclaimed feminist" (nobody believes that garbage) allows her to fool her fans; an ever changing chameleon in the middle to not piss off fans because they spend money buying whatever she's selling

That's the bottom line Out your pockets, into hers...No different than Michael Jordan in his prime, who said when asked about the politics of that time, "Republicans buy Nike too".

To even mention her in the same conservation as Fela Kuti is a true disservice to the music & political legacy of the man. Beyonce according to some, may "dominate" hip hop music but ranking on the actual world stage of true music superstars and their contributions? Doesn't make the cut and not even a speck or blip on the screen.

ITT, Coffin For the Head of State, Water No Get Enemy, Beasts Of No Nation, Movement Of the People (MOI)..and if you never heard or better yet "listen" to his music, it's not too late.....make this a part of your musical collection and cherish it.....it's powerful.

Compared to Fela Kuti, Beyonce is one of his back up singers.

[tchoupitoulav1]

11:13 PM on 10/16/2011

Never heard of him.

[Wookiee1972]

07:57 PM on 10/16/2011

Fela has no North American or European equivalent. He was a combination of John Lennon, Bob Marley, James Brown, and Yukio Mishima. And his songs are like suites of funk.

[JohnnyAce Okeke]

02:23 PM on 10/16/2011

Fela Kuti never beat any of his wives. {{-_-}}

[sortafly]

12:17 AM on 10/16/2011

Interesting and smart take on the complexities and contradictions of Fela Kuti's life - but kind of amazing that you left out his most obvious and important legacy: his music. I'm not sure how truly successful Fela was as a "transformative political figure". Nigeria is still the same corrupt mess that it was back in Fela's day. But as a transformative musical figure, Fela is a giant. It's kind of astonishing to think that Afrobeat - his idiosyncratic sound - could have easily died out with him. But instead it grew into a flourishing genre played around the world thanks to artists like Tony Allen, Antibalas, and Fela's own sons. Afrobeat went from being the proprietary sound of one artist to become part of the international musical vocabulary in less than a generation - an astonishing accomplishment and a testament to the raw, visceral power and artistic truth of Fela's sound. In the end, I think you have to judge him as a musician and an artist - not as a political figure. And while his musical genius doesn't make up for his personal failings, it explains his enduring appeal a lot better than his politics.

[Christina Girgis]

04:24 PM on 10/15/2011

@Sandra. I'm confused - since you never witnessed the "judge" beating his "defendents" that means it never happened? Is there any room for error? The book interviews EACH of the wives and they all confirm in a Q&A format that he hit them. Just because you like Fela doesn't mean he should be exonerated. It's expected that men condone abuse, but it's pathetic when women do.

[sandraizsadore]

04:04 PM on 10/15/2011

Very interesting article. Having lived inside Kalakuta I must admit I never witness abuse of the women. What I did witness was court. Fela sat as the judge. Violations that were committed inside Kalakuta were heard before him and the punishment was given accordingly. Fela never struck any of his women, there may have been abuse in western terms, but that would be a discussion between us where we both understand your meaning of abuse.

[kadellagroove]

04:54 AM on 10/15/2011

I just had a great night last night drinking wine under a full moon, dancing till we sweat to the rampage that is fela Kuti. I love his spirit... something we dont have enough of in the west.

[Christina Girgis]

11:22 PM on 10/14/2011

Now women who enjoy sex and the finer things in life have no “purity” or “nobility” according to you? As if women should even concern themselves with the thoughts of a man who doesn't want them to enjoy life. you hit the core of how men hold women to standards that they themselves don't follow. That’s not an egalitarian society, that’s a patriarchal one. That’s fine, but admit you view women as less than, don’t front as if a figment of women’s imagination. When it's your mother or sister or daughter who get's beat down or raped, according to your rationale we can just say hey it was their fault anyway – they picked the wrong alley to walk down or the wrong man to go out with that night. Rappers call women hoez and tramps all day and write one love song for their mother so they're official not misogynistic? hilarity.

[snowballinhell]

01:35 AM on 10/15/2011

It-whatever that is- is complex, isn't it?