Connect with us

Opinion

Fela Aníkúlápó Kuti and His Crowned Princes

Published

on

Fela

By Prince Adeyemi Shonibare

Explore why Fela Kuti’s Afrobeat legacy surpasses trends, shaping Nigerian music history, while Wizkid and contemporary stars carry the torch globally

Preface: The Necessity of Historical Context

Every generation seeks its heroes. In music, this instinct often manifests through comparison—an exercise that frequently reveals more about contemporary taste than historical contribution.

Also read: Nigeria Secures Fresh $20bn Investment Pledge From Shell

In recent years, public discourse, amplified by social media, has juxtaposed Fela Aníkúlápó Kuti with global Afrobeats icons, most notably Wizkid, provoking the recurring question of “greatness” in Nigerian music.

This essay does not diminish the accomplishments of Nigeria’s contemporary stars, whose global visibility is unprecedented.

Rather, it offers a scholarly contextualization—one that distinguishes between musical origination and musical succession, and between cultural architecture and commercial dominance—while situating Fela Aníkúlápó Kuti firmly within the category of historical inevitability.

The Problem with Simplistic Comparison

Comparing Fela Aníkúlápó Kuti with contemporary Afrobeats performers is, by scholarly standards, inherently flawed.
Fela’s work transcended performance. He engineered an entire musical and ideological system, fused political philosophy with sound, and permanently altered the trajectory of African popular music.

His output represents cultural authorship, not entertainment calibrated to market demand. Fela’s music is timeless precisely because it was never designed to be fashionable.

A Yoruba proverb captures this distinction with enduring clarity:
“Ọmọ kì í ní aṣọ púpọ̀ bí àgbà, kó ní akísà bí àgbà.”
A child may own many clothes, but he cannot possess the rags of an elder.
The proverb is not dismissive. It is instructive. It speaks to accumulated depth—experience earned, systems built, and legacies forged through time rather than trend.

Musicians and Artistes: A Necessary Distinction

A rigorous analysis requires conceptual precision. Fela Aníkúlápó Kuti was a musician in the classical and intellectual sense: a composer, arranger, bandleader, employer of musicians, multi-instrumentalist, theorist, and cultural philosopher. His work demanded mastery of form, orchestration, ideology, and discipline.

Fela composed extended works, trained orchestras, performed entirely live, and embedded African political consciousness into rhythm, harmony, and structure.

By contrast, many contemporary stars—though exceptionally gifted and globally successful—operate primarily as artistes: interpreters of sound whose work prioritizes studio production, performance aesthetics, and commercial reach. This is not a hierarchy of worth, but a distinction of function.

Fela’s music demanded study and confrontation; contemporary Afrobeats prioritised accessibility, pleasure, and global circulation—often without courting antagonism.
Afrobeat: An Ideological Invention
Afrobeat, as conceived by Fela, was not merely a genre. It was an ideological framework. Jazz, highlife, Yoruba rhythmic systems, call-and-response traditions, and political chant were fused into a resistant, uncompromising form.
Modern Afrobeats—by Wizkid, Burna Boy, and others—are adaptations and descendants, not replicas. They have expanded Africa’s global cultural footprint, but expansion does not erase origination.

Fela’s Afrobeat remains the undiluted prototype upon which contemporary success rests.
Enduring Legacy Beyond Mortality
Fela Aníkúlápó Kuti passed in 1997, yet his influence has intensified rather than diminished. His legacy is evidenced by:
– Continuous academic study across global universities.
– International bands, many formed by people not alive at the time of his death, performing his works.
– FELABRATION, now a global annual cultural event.
– Broadway and international stage adaptations inspired by his life and music.
– Lifetime achievement and posthumous recognition by the Grammy Awards.
– Cultural centres, festivals, and scholarly conferences generating lasting intellectual and economic value.
This constitutes cultural permanence, not nostalgia.
Reconsidering Wealth and Sacrifice
Measured monetarily, Fela was not among the wealthiest musicians of his era. His radicalism came at an immense personal cost. He was beaten repeatedly.

His mother, Funmilayo Ransome-Kuti, was killed. His home was burned. Original artistic archives were destroyed during state-sanctioned violence by unknown soldiers, even though history records who authorised the actions.

Yet Fela gave voice to generations—from Ojuelegba to Mushin, Ajegunle to Jos, Abuja, and even the privileged enclaves of today’s ọmọ baba olówó.

He toured globally with an unusually large band long before satellite television or social media could amplify his reach.
Like Wole Soyinka and Chinua Achebe, Fela’s wealth exists beyond currency. It resides in influence, citation, adaptation, and endurance.

National and Global Recognition

Fela received a state burial in Lagos—an extraordinary acknowledgment from a military government he relentlessly criticised. Nations rarely honour dissenters so formally.

Globally, his stature aligns with figures such as James Brown, Elvis Presley, and the Rolling Stones—artists whose music reshaped identity, politics, and social consciousness.

The Crowned Princes: Wizkid and the Ethics of Reverence

Nigeria’s modern stars—Wizkid, Burna Boy, 2Face Idibia, Davido, Tiwa Savage, Tems, Olamide, among others—have achieved extraordinary global success.

They are wealthier, more mobile, and more visible internationally than previous generations, and they deserve their accolades.
Wizkid, in particular, has consistently demonstrated reverence rather than rivalry toward Fela Aníkúlápó Kuti.
Femi Aníkúlápó Kuti has publicly stated:
“Wizkid loves Fela like a father.”
Wizkid has repeatedly supported FELABRATION, never demanding performance fees.

The only times he has not appeared were occasions when he was not in the country.

He has remixed Fela’s music, bears a Fela tattoo on his arm, and openly acknowledges Fela’s primacy.

A senior associate and long-time friend of Wizkid has affirmed that Wizkid adores Fela, would never equate himself with him—“in this world or the next”—and that recent tensions were reactions to provocation rather than assertions of equivalence.
This distinction matters. Wizkid’s posture is one of inheritance, not competition.
Seun Kuti and the Burden of Legacy
Seun Kuti is a musician of conviction and lineage. Yet relevance is best secured through original contribution rather than reactive comparison.

Fela’s legacy does not require defence through controversy; it is already settled by history.

As William Shakespeare observed:
“The fault, dear Brutus, is not in our stars,
But in ourselves, that we are underlings.”
—Julius Caesar

The weight of inheritance can inspire greatness or provoke restlessness. History rewards those who build upon legacy, not those who contest it.
The Songs That Made Fela Legendary
Among the works that cemented Fela’s immortality are:
– Zombie
– Water No Get Enemy
– Sorrow, Tears and Blood
– Coffin for Head of State
– Expensive Shit
– Shakara
– Gentleman
– Teacher Don’t Teach Me Nonsense
– Roforofo Fight
– Beasts of No Nation
These compositions remain sonic textbooks of resistance.

Fela in the Digital Age

Had Fela lived in the era of social media, his voice would have resonated far beyond Africa.

His music would have found kinship among global movements confronting inequality, oppression, and social injustice.

“Music is the weapon.”
—Fela Aníkúlápó Kuti
Weapons, unlike trends, endure.
Placing Greatness Correctly
Fela Aníkúlápó Kuti’s greatness does not require comparison. He is the great-grandfather of Afrobeat—the musical and cultural architect who cleared the roads upon which today’s Afrobeat princes now travel.

Honouring contemporary success does not diminish historical achievement.

Also read: Nigeria Secures Fresh $20bn Investment Pledge From Shell

To understand Nigerian music’s global relevance is to understand Fela. History, when read correctly, is both generous and precise.

Opinion

Why Nigeria needs the All-Nigeria Rotary Peace Summit

Published

on

rotary

The All-Nigeria Rotary Peace Summit will examine how good governance, justice and equity can help Nigeria build lasting peace

(more…)

Continue Reading

Entertainment

Reel Momentum: Nollywood Releases That Defined Q3

Published

on

Nollywood

By Olayinka Akanbi

The third quarter of 2026 offered a clear picture of where Nollywood stands today. Across July, August and September, filmmakers told stories centred on family, culture, history, identity and everyday life.

Some films looked inward at personal struggles, while others drew from folklore, real-life events and Nigeria’s past.

Also read: Orlando Owoh Music Festival Set for November 7 in Lagos

There were also signs of change in how films are distributed, with streaming platforms increasing their investment in original content.

July was defined by personal, character-driven stories.

One of the standout releases was Alechenu, directed by Biodun Stephen, which followed the journey of an autistic teenager travelling from Oyo State to Lagos in search of the mother he had never met.

The film explored themes of family, identity and perseverance through a simple yet emotional narrative.

Around the same period, Lami focused on the life of a retired soldier grappling with the emotional effects of war, examining trauma, healing and second chances through the experience of one man trying to rebuild his life.

Another notable release, The Return of Omotara Johnson, marked the return of veteran actress Bukky Wright in a crime drama centred on family secrets and unresolved past conflicts.

Later in the month, films such as Wire Wire and Njem: The Journey continued the trend of storytelling rooted in real-life experiences and social issues.

In August, attention shifted towards history, tradition and culture.

The month opened with Sweet 16, a coming-of-age family drama that also drew attention as one of the final completed performances by the late actor Alexx Ekubo.

This was followed by Ikenga: The Last Festival, a story centred on tradition, power and destiny, featuring veteran actors Pete Edochie and Patience Ozokwor.

Released around the same period, Aláhùn (The Weaver) drew heavily from Yoruba mythology and folklore, highlighting a growing interest in indigenous narratives and local fantasy storytelling.

Towards the end of the month, King Kosoko revisited the life of one of Lagos’ most influential historical rulers, reflecting a broader shift by filmmakers towards exploring Nigeria’s history on screen.

By September, the conversation had expanded beyond storytelling to include audience engagement and distribution models.

One of the month’s notable releases was Mama Deola’s Wedding Story, which became the first original production from Nigerian streaming platform Kava. Its release underscored the increasing role of local streaming services in shaping the industry.

Other films focused on contemporary life and younger audiences.

Ordinary People examined the lives of everyday Nigerians, while 19 explored themes of identity, ambition and relationships from a youthful perspective.

One Gidi Night captured the rhythm and character of Lagos, using the city itself as a central narrative element.

The month also saw the release of Black Market, which generated widespread attention due to efforts to stage a Guinness World Record attempt for the largest film screening audience at Tafawa Balewa Square in Lagos.

Taken together, these releases reflect an industry in transition one that is expanding its storytelling range while experimenting with new platforms, audiences and formats.

Also read: Orlando Owoh Music Festival Set for November 7 in Lagos

Nollywood is not only telling more stories; it is also redefining how those stories are created, distributed and experienced.

Continue Reading

Opinion

Rotary hails IPDG Lanre Adedoyin polio drive

Published

on

Rotary

By Victor Ojelabi,

The Rotary Foundation has recognised the polio eradication efforts of Rotary International District 9112 under Immediate Past District Governor Lanre Adedoyin, following the District’s transfer of District Designated Funds to the PolioPlus Fund during the 2025 to 2026 Rotary year, a contribution acknowledged recently, as part of the global funding effort to protect children from the disease.

Also read: Rotary Club of Lagos Strengthens Traders With Fresh ₦6m Business Grant

The recognition brings a fitting international dimension to a Rotary year in which Adedoyin, a lawyer and member of the Rotary Club of Surulere South, repeatedly placed polio eradication among District 9112’s major humanitarian priorities across Lagos and Ogun states.

In a message addressed to District 9112, The Rotary Foundation thanked the District for committing its District Designated Funds to the campaign, saying the collective support from Rotary districts helped the organisation reach its fundraising target and secure matching funds that translate into US$150 million for polio eradication.

“Your support helped Rotary reach our goal and secure the matching funds that translate into US$150 million toward eradicating polio,” the Foundation said.

The money has consequences far beyond the balance sheet.

According to the Foundation, polio funding supports frontline workers taking vaccines into remote communities, environmental surveillance capable of detecting the virus in wastewater and programmes designed to interrupt transmission in affected areas.

The Foundation said the continuing effort was particularly important in Afghanistan and Pakistan, the only two countries where wild poliovirus remains endemic.

That assessment is consistent with Rotary International’s latest account of the global campaign.

Rotary says its partnership with the Gates Foundation generates up to US$150 million annually for polio eradication, with Rotary raising US$50 million and the Foundation providing a two-to-one match.

The money supports vaccine procurement, social mobilisation, outbreak response, surveillance and other operational requirements.

Rotary’s involvement stretches back decades. Its first polio vaccination project began in the Philippines in 1979, and the organisation became a founding partner of the Global Polio Eradication Initiative in 1988. Since then, global polio cases have fallen by 99.9 per cent.

For Nigeria, the story carries particular resonance.

The country recorded its last case of wild poliovirus in Borno State in August 2016.

Four years later, the World Health Organisation African Region was formally certified free of wild poliovirus, leaving Afghanistan and Pakistan as the remaining countries with endemic transmission.

That historic achievement, however, did not mean the end of the polio challenge in Nigeria.

Circulating vaccine-derived poliovirus can still emerge in communities with low immunisation coverage, making vaccination and surveillance essential even in countries that have eliminated wild poliovirus.

It was against that backdrop that the IPDG’s polio drive developed during the 2025 to 2026 Rotary year.

Adedoyin, who became the second District Governor of District 9112 following the division of the former District 9110, had signalled early in his tenure that healthcare would remain a central part of the District’s service programme.

His installation in Lagos in July 2025 marked the beginning of a year that subsequently combined fundraising with grassroots advocacy and support for health workers.

By September 2025, the District had held a PolioPlus seminar at which Adedoyin warned against complacency simply because wild poliovirus had disappeared from Nigeria. District records show that the campaign remained prominent in its programme in the months that followed.

In October, Districts 9111 and 9112 took the End Polio Now message beyond conventional conference halls with a joint train journey from Lagos to Abeokuta.

Led by Adedoyin and then District 9111 Governor Henry Akinyele, alongside Nigeria National PolioPlus Committee Chairman Joshua Hassan and other Rotary leaders, the initiative turned the train journey into a public awareness campaign for polio eradication.

District 9112 also took the message to communities in Ogun State, including a roughly 10-kilometre Keep Polio @ Zero awareness walk in Sagamu aimed particularly at encouraging parents and guardians to ensure that children receive their vaccinations.

In Lagos, the campaign moved from advocacy to practical support.

District 9112 donated 100 pairs of rain boots and 200 raincoats to the Lagos State Primary Health Care Board in October 2025 to assist health personnel working on polio eradication during the rainy season. The intervention was valued at about ₦1.6 million.

Adedoyin made the District’s position clear at the presentation.

“Our commitment to ending polio is absolute,” Adedoyin said. “We will continue working with the Lagos State Government and our partners until polio is completely wiped out.”

Another significant moment came towards the end of his tenure.

In June 2026, District 9112 announced that it had raised US$13,000 through the World’s Greatest Meal initiative for The Rotary Foundation’s PolioPlus Fund.

The contribution was described by World’s Greatest Meal Committee Chairman Tokunbo Opanubi as one of the highest recorded by the District through the initiative.

The US$13,000 contribution is separate from the District Designated Funds now acknowledged by The Rotary Foundation.

Together, however, the initiatives illustrate the different channels through which District 9112 supported the global eradication campaign during Adedoyin’s tenure.

District Designated Funds form part of The Rotary Foundation’s funding system and allow Rotary districts to direct portions of avail

IPDG Lanre Adedoyin with wife at a Rotary event recently

able Foundation resources towards eligible programmes.

PolioPlus is one of the avenues through which districts can deploy such resources in support of Rotary’s eradication objective.

The Foundation’s latest acknowledgement therefore adds another layer to District 9112’s polio record for the 2025 to 2026 year.

It also demonstrates the multiplier effect behind Rotary’s funding model.

A contribution originating from clubs and districts can ultimately support a much larger global pool used for vaccines, surveillance, community mobilisation and the difficult task of reaching children in areas affected by conflict, insecurity or geographical isolation.

The stakes remain considerable.

Polio is a potentially fatal infectious disease that primarily affects young children and can invade the nervous system, causing irreversible paralysis.

Although its global footprint has been reduced dramatically, Rotary cautions that eradication requires sustained vaccination and surveillance until transmission has been stopped everywhere.

The Foundation’s message to District 9112 captured that unfinished mission.

It thanked the District for supporting the PolioPlus Fund and helping move the world closer to the point where “no child is threatened by this disease ever again”.

For Adedoyin, who handed over the governorship of District 9112 at the end of the 2025 to 2026 Rotary year, the recognition offers a powerful postscript to a year in which the District’s contribution was measured not only in fundraising figures, but also in public advocacy, community mobilisation and support for those working closest to vulnerable children.

Also read: Rotary Club of Lagos Strengthens Traders With Fresh ₦6m Business Grant

And for District 9112, the acknowledgement connects a local Rotary story from Lagos and Ogun states to a much larger global ambition: ensuring that the final cases of polio become part of history rather than the beginning of another outbreak.

Continue Reading

Trending