Wednesday, 2 August 2017
Remembering Fela (1938 - 1997) through our shared history of AIDS
Saturday, 25 June 2011
Fela! In Amsterdam
Friday, 11 February 2011
Fela! National Theatre Live in Amsterdam
Fela! National Theatre Live
It has been so easy to forget who Fela Anikulapo Kuti [1] was as he is now celebrated in the West as that visionary revolutionary and musical genius.
The much acclaimed Fela! [2] That wowed Broadway [3] and is playing to great reviews in the West End in London did not come to Amsterdam as a live show but a hurriedly arranged screening at a cinema in the South-East as part of a National Theatre [4] Live broadcast which was an encore of the transmission that first went out on the 13th of January 2011.
The lack of a live performance allowing for feedback and response did not take away from the spectacle of the show.
Beats and dance
Many themes were relayed to me as I sipped my Coca-Cola and munched on my sweet popcorn, the wonder of African percussion, the sound of the Afrobeat drums and the way the performers responded to the beats.
The choreography was energetic combining African and contemporary dance, the heads, the arms, the body, the hips, the legs in violent synchronism that made you rock in your seat.
The sense of rhythm and movement, the explosion of colour on stage and variety of dance that could not be qualified with steps or the collage would be denied just praise.
Culture and identity
Fela’s story was compelling covering the discovery of his kind of music to the troubles he suffered in Nigeria which were causative of his mother’s death, his rise as a voice of conscience, a revolutionary and activist.
He renewed African consciousness without being militant, the compelling message being return to your roots, the identity that is part of your culture especially that of names and the need to respect our animist traditions and gods that contribute to enjoying the fullness of African life.
This resonated with me because my given name which came from my Muslim grandfather to his Christian grandson was not defined by religion but by situation and that also became my Christian and baptism name.
The story and the message
The sad narrative is that his mother fought off abuses of colonialism in emancipating the women but freedom did not arrive we found our own people robbing us blind as potentates with untrammelled powers to curtail our liberties, Africans left no better after all.
There were many references to his mother and she featured strongly through the performance, it was like Fela was in a constant grief for losing her.
The music was very familiar but not exactly the same, lyrics were modified in places and melody adapted more to a story-telling with a musical feel.
Being a Yoruba man, there were songs that were far from accent-perfect, the lead playing Fela was from Sierra Leone; he did well enough but for a native Yoruba speaker, it could be a bit jarring to the ear.
Fela in life
I first saw Fela perform in 1983 in Lagos at Yaba College of Technology, we were gate-crashers who found a vantage point to view him, there was always a feeling of ambiguity about him in Nigeria – his message was loud and clear but his lifestyle was shunned as decadent and unworthy of any of the youth that aspired to any success.
Yet today, any of his material played back to our hearing is like he transcends the times, the words fetch true today as they did then; the proverbial prophet without honour in his own land.
Sadly, we lost Fela in 1997 to AIDS presented opportunistically by Karposi’s Sarcoma a type of skin cancer that 12 years on medicine did contain, curtail and treat; the scars of which decorate my soles.
I would love to see the live show in London, it moves to Sadler’s Wells from the 20th of July 2011 to the 28th of August 2011, this is a show [4] that you must see.
Sources
[1] Fela Kuti - Wikipedia, the free encyclopedia
[2] Fela! - Wikipedia, the free encyclopedia
Monday, 25 December 2006
The passing of soul
His soul has departed
Sadly, news reaches us that James Brown has died at 73. His repertoire of music, songs and lyrics would serve as a catalogue of influence and inspiration he gave to entertainment from which he first earned the accolade of Father of Soul and the Grandfather of Soul.
If anything, his music became part of the movement to help black people see that they do not have to change who they are, especially pertaining to their racial identity, to be people who can significantly change their circumstances and society at large.
Black and proud
When he sang, I am black and proud, it was an anthem of an era, around the time of societal ructions in America as blacks were trying to gain equal citizenship and opportunities to the American dream.
Many would say, "I am black" would suffice and there is no need to say it loud, we have always had our blackness as part of our being, if we cannot live with who were are, then we have been overcome with a poverty of spirit.
Still fighting the old fight
Unfortunately, there are still many who are caught in the yoke of the pre-civil rights days, who still view their race at a disadvantage, who cannot mouth the words of that emancipation for the fear of selling-out of a life steeped in the hatred of all other races and a deeper hatred of those of their race who have just decided to make the best of life without the baggage of the politics of race deprivation.
The passing of James Brown indeed marks the passing of an era, one of the many musicians who whilst entertaining sent a message to their people to stand up like men and women who have rights, can exercise privileges and succeed exceedingly well.
Being black and being successful
In the same vein, one remembers Fela Anikulapo Kuti who in his Open & Close album exhorted us to "Shake your yansh (back-side) like a black man. Basically, the message is, no matter your colour, it should not be an impediment to being whatever you have dreamt you have ever wanted to be, except when you decide to change your colour.
Adieu! James Brown - The Apostle and Grandfather of Soul.