Arrest the Music!: Fela and His Rebel Art and Politics

General Index

General Index Page numbers in italics refer to illustrations. Abacha, Sani, 86, 101, 139, 187 Abeokuta, 19, 87 Abeokuta Women’s Union, 19 Abiodun, Dele, 177 Abiola, M. K. O., 147 Abuja, 89 Accra, 7 Acheampong, I. K., 125, 126 Achebe, Chinua, 74, 198n6 Adamson, Kenny, 134 Ade, Sunny, 162, 177 Adewale, Segun, 177 Adewusi, Sunday, 55 Adorno, Theodor W., 200n22 Adu, Sade, 177 Africa: “Africanism” (ideology) of Fela, 42, 50, 59–60, 76–81, 83; art music in, 11; artists and choice of subject matter, 67; and atavistic time, 67–68, 70; beginning consciousness of, in Fela, 24; Christianity in, 31, 48, 59–61; colonial curriculum in, 106; condition as postcolonial incredible, 2; crisis of the state, 96–97; decade of the 1970s in, 147; and enchanting modernity, 162–165; features, catalyzing Fela’s exertions, 158– 159; in ¤rst phase of Fela’s career, 19; history , 21, 48, 57, 80, 108–109, 177, 180, 187, 188, 190; independence from colonial rule, 21; and international Trade Fairs, 43; invested by Fela with essential content, 215n13; Islam in, 59–61; Malcolm X and, 31–32, 59; musicians from, popular in the United States in the 1960s, 25; racial subjection compared to African Americans, 197n37; relationship between languages and music, 33; repetition in music, 71–72; state and oppositional arts, 2; state as perambulator, 96–107 Africa Must Unite (Nkrumah), 78 Africa 70 (band), 47, 51, 52, 80, 109, 125, 126, 137, 162, 176 Africa Shrine, 17, 42, 51, 53, 68, 78, 116, 118, 132, 143 African Americans, 112, 177, 178, 180, 183; and inferiority complex, 31; and Islam, 31, 61–62; and Malcolm X, 29, 30–33; nationalism and civil rights, 25, 29; racial subjection , 195n22; racial subjection compared to Africans, 197n37; shift in the psychological constitution of, 30, 31 The African Origins of Civilization: Myth or Reality (Diop), 79 African Union, 78 Afrika Bambaataa, 177 Afrobeat Express, 178 Afrobeat! Fela and the Imagined Continent (Olorunyomi), 4 afrobeat music: aesthetics and features, 32, 46, 49, 56; as an attitude, 38; atypical album jackets of, 47, 124–137; as biography of the postcolonial African state, 5, 24; becomes political, 50–98; class-partisan themes in, 47; cosmopolitan nativism in, 157–165; dif¤culties of new entrants into the genre, 175–177; elitism in production, 176; factors of production, 176–177; Femi Kuti and, 178–184; Femi’s transformation of, 179– 180; ¤rst named by Fela, 25; ¤rst successful song, 36; ideology of tempo, 162; instrumental sampling by other musicians, 177; Lagbaja and, 184–190; Lagbaja’s recon¤guration of, 186–187; Lagos and, 87, 90–92, 131; musicians of, 108–112; new bands, 177–178; Ogun as ruling deity of, 152; pedagogy and pedagogic form in, 145–156; pidgin English as language of, 91–92; political classics of, 58, 71, 100, 150, 199n10; pool of oral-aural imagery, 38; as process, 108; relation to juju, 162; relation to Yoruba body language, 161– 162; role of marijuana in, 140–144; saxophone in, 10; sense of sound in, 166; sex in, 38, 41, 42, 51–52, 93, 126, 127; theatricality in, 47; transformation of sonic landscape, 38; urban masses and, 38, 46; urban performative styles in, 139; women in its production , 51–52, 112–119 Afrobeat . . . No Go Die: Trans-Global African Funk Grooves (Various artists), 177 afrocentrism, 79–80, 132 Afrodisiac, 129 Afropop Worldwide, 187 Afro-spot (club), 24, 35, 42 Agawu, Ko¤, 191n4, 192n2 AIDS (Acquired Immune De¤ciency Syndrome ), 104, 123, 139, 177, 182, 183, 187 Ajilo, Chris, 17 AK-47s, 1 Alagbon Close, 52, 55, 116, 126, 128, 131, 132 Algiers (Algeria), 77 Allen, Tony, 13, 110, 176, 177, 178 Amayo, Duke, 178 American Telephone and Telegraph (AT&T), 147 Amin, Idi, 43, 80 Ani, Marimba, 79 Anikulapo-Kuti (Ransome-Kuti), Fela, 99, 117, 138, 141, 149, 155, 160, 169; and absolute music, 4; on the African state as perambulator, 96–107; as Africa’s most controversial popular musician, 2; as afrobeat moral reformer, 3, 24–49; as afrobeat political activist, 3, 50–86; Afrocentrism in, 79– 80; album cover art of music of, 125–137; anti-nativist features in musical practice of, 161; antinomies of musical practice of, 157– 165; approach to musical repetition, 71–72; as apolitical avant-pop hustler, 3, 7–23; approach to sound, 70–71; biographical scholarship on, 4; class partisanship of, 81–83; on common sense, 84; cosmopolitan nativism in, 157–165; counterculture of, 52, 87, 93, 140, 166, 175, 193n35; cultural nationalism in the songs...