Musical Genres

Arrest The Music!: Fela and His Rebel Art and Politics by Tejumola Olaniyan

By Tejumola Olaniyan

"Olaniyan has given us a profound and wonderfully built-in ebook which culminates in a persuasive interpretation of the connection among Fela’s it seems that incompatible presentational selves.... The book’s available and evocative prose is in itself one of those homage to Fela’s continuous skill to seduce and astonish.... this is often such an enticing booklet you are feeling like... ransacking your assortment for Fela tapes." —Karin Barber

"... an critical significant other to Fela’s tune and a wealthy resource of data for reports in sleek African well known music." —Akin Euba

Arrest the song! is a full of life musical research of Fela Anikulapo-Kuti, considered one of Africa’s so much recognizable, renowned, and arguable musicians. the flowery originator of the "Afrobeat" sound and self-proclaimed voice of the unvoiced, Fela used song, sharp-tongued lyrics, and derisive humor to problem the shortcomings of Nigerian and postcolonial African states. the social context, instrumentation, lyrics, visible artwork, humans, and agencies during which Fela produced his song, Tejumola Olaniyan deals a much wider, extra suggestive point of view on Fela and his impression on listeners in all elements of the realm.

Placing Fela entrance and middle, Olaniyan underscores vital social concerns similar to authenticity, racial and cultural identification, the connection of pop culture to radical politics, and the that means of postcolonialism, nationalism, and globalism in modern Africa. Readers attracted to track, tradition, society, and politics, whether they be aware of Fela and his tune, will locate this paintings important for figuring out the occupation of an African star and the politics of pop culture in modern Africa.

African Expressive Cultures—Patrick McNaughton, normal editor

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Additional info for Arrest The Music!: Fela and His Rebel Art and Politics (African Expressive Cultures)

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Many of the artists were also known for their antiracist civil rights views and actions. Fela never made any declaration against existing conventional highlife or disagreed with the dominant culture of music for social dancing. All he wanted to do was distinguish himself on the highlife scene by his incorporation of more jazz sounds and protocols. He articulated no express ideology to anchor the changes, so his practice lacked the self-re®exivity that characterized the “progressive jazz” artists.

I suppose then that Idonije means that highlife jazz is “progressive” in the sense in which “progressive jazz” is considered progressive. There is a lot to unpack here. The “progressive jazz” artists rebelled against the crass commercialization of jazz and introduced innovations of various kinds to dam that tide. Unlike the big band era, this form of jazz was emphatically not for dancing; the fast tempo made sure of that. Many of the artists were also known for their antiracist civil rights views and actions.

Although it was not yet the era of such successful trips by Nigerian juju stars— Fela was a kind of pioneer in this regard—a few African musicians such as Miriam Makeba and Hugh Masekela were already popular in the United States. S. and not Nigeria. Fela might ¤nally be able to secure a solid niche for himself in the Nigerian popular music scene after the trip. ”7 Not even Fela’s years in London prepared him for the shock of New York City. One enduring popular image of him is that of an immensely creative musician who is also a rascal and confused professional rebel with a Kilimanjaro-sized ego.

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