IN many African cultures, particularly in West Africa, griots—poets, musicians, and storytellers—are revered as custodians of oral history, entrusted with preserving knowledge and delivering social critique through lyrical storytelling. These virtuosos, serving as oral historians, poets, musicians, and genealogists, educate younger generations about their ancestral culture, values, and societal norms, fostering communal harmony. Their words, imbued with spiritual, social, and political significance, are believed to hold transformative power, capable of shaping societies, healing divisions, and invoking ancestral blessings. The griot tradition, originating in West Africa, has profoundly influenced global culture, particularly within the African diaspora, where its dynamic storytelling and rhythmic narratives are recognised as precursors to hip-hop and spoken-word art.
In Nigeria, this legacy is vividly embodied by the Kuti family—Fela Kuti, the Afrobeat pioneer, his sons Femi and Seun, and grandson Made—alongside rappers like Eedris Abdulkareem and Ruggedman, who connect their artistry to the griot’s role as cultural commentator and storyteller. The Kutis are more than musicians; they are griots of fire and prophets of rhythm, using their music to inspire revolution and ignite consciences. Their work, steeped in resistance, prophecy, and catharsis, serves as a testament to the transformative power of music and activism.
Born on October 15, 1938, into a family of anti-colonial activists, Fela Kuti’s early life was shaped by intellectual pursuits and a deep connection to his Yoruba heritage. His father, Reverend Israel Ransome-Kuti, was an Anglican priest, while his mother, Funmilayo Ransome-Kuti, was a renowned feminist and labour activist. Initially pursuing medicine at Trinity College London in 1959, Fela instead became captivated by music, immersing himself in jazz and rock, playing piano in various bands. In 1961, he formed Koola Lobitos, establishing his presence in London’s nightlife. Returning to Nigeria in 1963, he transformed the band into Africa 70, later Egypt 80, birthing Afrobeat—a vibrant fusion of Yoruba melodies, American funk, jazz, and soul.
Influenced by figures like Malcolm X and the Black Panthers, Fela’s music became a platform for social critique. Songs like Zombie, Monkey Banana, Beasts of No Nation, and Upside Down boldly condemned Nigeria’s military junta, corruption, and mismanagement, earning him the title ‘Griot of Fire.’ His outspokenness led to repeated raids on his Kalakuta Republic, a 1977 imprisonment, and the tragic death of his mother in 1978 following a military raid. Fela’s music transcended entertainment, serving as a powerful vehicle for addressing societal struggles and advocating for justice.
Fela’s legacy lives on through his sons, Femi and Seun, and grandson, Made, who embody his philosophical and musical heritage. Raised in a family that openly expresses emotions, Femi and Seun use Afrobeat to retell the stories of Nigerians, embracing their culture and aspirations. As the leader of The Positive Force, Femi advocates for justice and equality, using his music to combat societal inequities. Seun, fronting Egypt 80, delivers raw, unapologetic lyrics addressing corruption and injustice, leveraging his music, social media, and radio platforms to inspire change. With his saxophone, he crafts narratives of defiance and renewal, preserving his father’s legacy and the Kuti cultural heritage.
Made, Fela’s grandson, represents the future of Afrobeat with his band, The Movement. Blending traditional sounds with modern flair, he tackles issues like corruption, police brutality, and social disparity, creating music that is both reflective and revolutionary
.As griots of fire and prophets of rhythm, the Kutis harness music’s transcendent power to challenge entrenched systems, champion social equity, and celebrate African heritage. Beyond entertainment, they educate, mobilise, and empower audiences to drive positive change, illustrating the profound impact of art on culture while fostering unity and self-expression.