TOPLINE
Fela Anikulapo Kuti was born Olufela Olusegun Oludotun Ransome Kuti on October 15, 1938 to parents Rev. Israel Oludotun Ransome-Kuti and Funmilayo Ransome-Kuti, a strong women’s rights activist. He used music as a weapon to fight social injustice, corruption and challenged Nigerian government. He is widely regarded as the pioneer of Afrobeat, a genre that blends highlife, jazz, funk, and African rhythms.
In 1970, Fela founded the Kalakuta Republic, a commune he declared independent from military rule. Soldiers raided this commune in 1977. He was severely beaten, and his mother thrown from a two-story window. She later died from her injuries. In 1984, he was arrested and jailed by the military government of Muhammadu Buhari. He spent about 20 months in prison before he was released and continued to record and perform until his death.
Mádé Kuti, Fela’s grandson, was about two years old when he passed. Speaking with Kolo Magazine, Mádé said the Grammy honor recognizes the risks, sacrifices and contribution his grandfather made for his art. According to Mádé, while Fela was punished for his political lyrics, seeing him honored globally, is vindication that brings a sense of fulfillment to the entire family. “I love that Afrobeat can move through different sound spaces like jazz, pop, and rock. But I’m concerned that people are gradually forgetting the core elements of Afrobeat, the depth and the message behind it.” While he understands the commercial success of Afrobeat, he believes artistic creativity have a responsibility to stay bold.
Fela’s message and popularity has travelled beyond the shores of Africa to Broadway, taking new forms and reaching wider audiences. The stage production Fela!, is built around his life and music. The off-Broadway premiere was in 2008. The show later moved to Broadway in 2009 until 2011. Directed and choreographed by Bill T. Jones and co-created with Jim Lewis, the production focused on Fela as a musician and a victim of immense political pressure. Set around his performances at the Shrine, it captured his clashes with the Nigerian government. His music drove the show, performed live by the Afrobeat band, Antibalas. With producers Jay-Z, Will Smith, and Jada Pinkett Smith, it gained global attention, received 11 Tony Award nominations, and won three Tony Awards for best choreography, best costume design, and best sound design.
Despite the worldwide recognition of Fela’s achievements, Mádé has a feeling of emptiness. People have to be convinced human sacrifices never happened at the Shrine, a narrative which he says has as adversely impacted its image. He says the Shrine is a space for constructive and liberal thoughts, music shows, performances, and welcomes everyone.
Mádé explains that the Kuti family vision and intentions has always been driven by music and conscious lyrics. However, the burden of understanding this concept, fell on Fela’s immediate children, his father, Femi Kuti who was heavily criticized. Despite this burden, his father earned several Grammy nominations.
“Being Fela’s grandson comes with expectations. I can choose to follow Fela’s ideas strictly or decide to be more progressive and take risks.” Despite all uncertainty, one thing is undeniable. Fela did not just make music, he weaponized it. When soldiers stormed his home, when prison walls closed in, when critics mocked his lifestyle, he did not retreat, he doubled down. Nearly three decades after his death, the same system that persecuted him now applauds his genius. The same country that jailed him now celebrates his global recognition. History has a way of correcting itself. In his death, echoes of his voice roar through protest chants, conscious lyrics, and every artist bold enough to speak truth to power. Perhaps that is the real meaning of immortality. Being remembered and staying relevant beyond death.
