Magna Carta's Defender Unenviable Role
10 February 2024 By Abiodun Kareem Giwa
Fela Anikulapo Kuti
Ayinde Wasiu is a Nigerian star playing Fuji music, following the footsteps of legends like Ayinla Kollington, and Ayinde Barrister. They sing mainly in Nigeria's Yoruba language, accompanied by danceable beats. This reporter knew a man who worked with his father listening to the version of Nigerian music when, as a young man, he wondered why the man enjoyed the songs. However, the writer found meaning in them as he grew older, and the tune was suitable for all times and ages.
Wasiu's recent video shows that tightrope artists thread for intruding on politics, unaware of when to be critical of economic conditions and when to seek the population's patience in a challenging situation. His earlier song recorded during a Germany tour was some advice for Nigerians to exercise restraint over the sickening economic condition in the country, singing that what was insufficient would soon become surplus.
However, the situation became more challenging than improving, and Wasiu wasted no time telling the government the truth. Government supporters dislike what they think is an unwelcome intrusion. Wasiu is filling a vacuum left by Fela Anikulao Kuti's passage. Fela was not only the king of Nigeria's Afrobeat but a conscious government critic and loved for his no-nonsense portrayal of Nigerian leaders.
Unlike Wasiu, Fela never sang for Nigerians to accommodate nonsense at any time. Fela began with highlife music before turning into Afrobeat. His first release for Afrobeat, "Jeun ko ku," meaning eat and die - portrayed the nation's leaders' wealth-amassing attitude. It was a hot cake. It sold and put Fela on a successful platform for the remaining time of his career. He made Afrobeat a popular genre until this day. Fela was fearless. He did not seek wealth but got it with the fame his music gave him. It is an attitude missing among the near-age Afrobeat singers since his demise. His two sons, Femi and Seun, have tried to fill the vacuum but have failed to succeed like their father. The new generation of Afrobeat singers needs to possess a critical stance. They are successful singers but do not follow in their master's footsteps.
The reason Wasiu's effort to be critical of the government is welcome. However, an artist cannot be a people's pacifier and, at the same time, be a government critic. Some observers think it is good to be and remain a critic. Wasiu may wish to convince these fans that his creativity is multi-dimensional and not a one-way mania. Consistency is always needed to avoid an accusation of double standards. Wasiu undoubtedly won hearts with his criticism. It shows a lack of bravery in many young Afrobeat artists and that an artist exists ready to hold the leaders accountable. One question is whether Wasiu is fully prepared for this assignment, which Fela took upon himself and made the government seek his destruction.
Nigerian leaders have not changed from the pattern that compelled Fela's "Jeun ko ku"—the love for wealth acquisition to humanity's denigration. This lifestyle reminds people of an animal called 'Ikun,' in Yoruba language, known for eating until it bursts. They constantly require a reminder of the danger inherent in their lifestyle because when a family member eats something dangerous, all of the family will be affected, when sickness occurs. Though crooked politicians don't think critics are helpers but saboteurs. It is not a desirable role, but some are naturally born to fit the position of Magna Carta's defenders.
Wasiu's recent video shows that tightrope artists thread for intruding on politics, unaware of when to be critical of economic conditions and when to seek the population's patience in a challenging situation. His earlier song recorded during a Germany tour was some advice for Nigerians to exercise restraint over the sickening economic condition in the country, singing that what was insufficient would soon become surplus.
However, the situation became more challenging than improving, and Wasiu wasted no time telling the government the truth. Government supporters dislike what they think is an unwelcome intrusion. Wasiu is filling a vacuum left by Fela Anikulao Kuti's passage. Fela was not only the king of Nigeria's Afrobeat but a conscious government critic and loved for his no-nonsense portrayal of Nigerian leaders.
Unlike Wasiu, Fela never sang for Nigerians to accommodate nonsense at any time. Fela began with highlife music before turning into Afrobeat. His first release for Afrobeat, "Jeun ko ku," meaning eat and die - portrayed the nation's leaders' wealth-amassing attitude. It was a hot cake. It sold and put Fela on a successful platform for the remaining time of his career. He made Afrobeat a popular genre until this day. Fela was fearless. He did not seek wealth but got it with the fame his music gave him. It is an attitude missing among the near-age Afrobeat singers since his demise. His two sons, Femi and Seun, have tried to fill the vacuum but have failed to succeed like their father. The new generation of Afrobeat singers needs to possess a critical stance. They are successful singers but do not follow in their master's footsteps.
The reason Wasiu's effort to be critical of the government is welcome. However, an artist cannot be a people's pacifier and, at the same time, be a government critic. Some observers think it is good to be and remain a critic. Wasiu may wish to convince these fans that his creativity is multi-dimensional and not a one-way mania. Consistency is always needed to avoid an accusation of double standards. Wasiu undoubtedly won hearts with his criticism. It shows a lack of bravery in many young Afrobeat artists and that an artist exists ready to hold the leaders accountable. One question is whether Wasiu is fully prepared for this assignment, which Fela took upon himself and made the government seek his destruction.
Nigerian leaders have not changed from the pattern that compelled Fela's "Jeun ko ku"—the love for wealth acquisition to humanity's denigration. This lifestyle reminds people of an animal called 'Ikun,' in Yoruba language, known for eating until it bursts. They constantly require a reminder of the danger inherent in their lifestyle because when a family member eats something dangerous, all of the family will be affected, when sickness occurs. Though crooked politicians don't think critics are helpers but saboteurs. It is not a desirable role, but some are naturally born to fit the position of Magna Carta's defenders.
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