Afrobeats, Fela Kuti, Afrobeat, global music industry, Wizkid, Burna Boy, Nigerian music, African studies, music globalization
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Abstract
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Abstract
Explore the growing influence of Afrobeats in the global music industry and its connection to Fela Kuti's legacy.
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[...] Musical glocalization refers to 'the current reaccentuation of regional musical traditions as a global response to the global forces of musical globalization.' Roland Robertson postulates that the term glocalization is derived from the Japanese expression dochakuka, which means 'to live on one's own land.' In terms of micromarketing, Robertson (1995: 28) describes glocalization as 'the adaptation and advertising of goods and services on a global or near-global basis to increasingly differentiated local and particular markets.' If afrobeats has a global audience, it is however legitimate to wonder if the hardships of globalization and the strategies of the music industry actors do not risk distorting the claim to origins of Fela Kuti and especially creating a progressive break with the anti-establishment roots of Fela Kuti's Afrobeat. Indeed, 'over the past decade, Afrobeat [has seemed to have transformed] both in terms of terminology and practice. For some, Afrobeat has transformed into a 'apolitical genre by an industry more concerned [ . ] to produce easy-to-listen-to [and danceable] music' (Osiebe p.7). [...]
[...] A legend of African music - called 'Black President' he left a ubiquitous legacy worldwide, both musically and politically. Recognized for his talents as a multi-instrumentalist and as a prominent figure of pan-Africanism, he dedicated his life to an incessant fight against the authoritarian power reigning in his country: Nigeria. Over time, he rose to the rank of myth and icon, far exceeding the borders of his native Nigeria1. In 1963, Fela created his first group, called Koola Loobitos, and launched into the 'High Life' wave that was a huge success in England. [...]
[...] During the fire, soldiers threw people out of the window. She died a few months later from her injuries.3. Before the attack on Fela's house, he had recorded a song titled 'Zombie' about the Nigerian military regime. In the song, soldiers are called zombies because he denounced their blind obedience to power. Thus, in the last part of his life, and particularly in the 80s, his political activism grew: he created a political party, political pressure intensified against him, and he was even imprisoned. [...]
[...] He was Fela's manager in the 1960s. Fela's legacy is also found in the lyrics and subjects addressed by the artists of the 'afrobeats' generation. Osiebe takes the example of a remix by the Nigerian artist Banky with two other artists Niyola and DJ Xclusive. Even if it is primarily a catchy song intended to be played in clubs, there is a deeper reference to Fela. The chorus is an exchange between Banky W who sings 'someone must love me tonight/if you cut off my money tonight/you must love me tonight' and Niyola's responses, which make an explicit reference to Fela's first big hit entitled: 'Jeun Ko Ku (Chop and Quench)'. [...]
[...] First of all, it is essential to say that identities are less and less radical and asserted as unique due to the many musical mixtures and fusions proposed as a marketing strategy in the music industry. Samson Uchenne Eze gives the example of the musical influence of American Hip Hop music that hit the Nigerian popular music scene in the 90s. This impact allowed the hip hop genres and high life to merge to create the hip life style. Regarding afrobeat, the author speaks rather of a cross-influence of the genre. Hip hop and pop have today integrated afrobeat by incorporating brass, vocal nuances or innovative beats. [...]
