INTERSECTING PATHWAYS TO EQUITY: Juxtaposing the Roles of Fela Anikulapo Ransome-Kuti and Aiyeku Foundation

in Combatting Social inequality

 

 

 

Victor Feranmi, ILESANMI,

 

L.L.B. in Law-in View

 

University of Benin, Benin City, Edo State.

 

+2347083967567 / [email protected]

 

 

 

ABSTRACT

 

 

 

This essay explores social inequality through a comparative lens, juxtaposing how Fela Anikulapo Ransome-Kuti’s rhythmic and political activism nexus the intervention of the contemporary non-governmental philanthropic institution— Aiyeku Foundation—tackle systemic inequality. By examining Fela’s music, human rights activism, and political engagement the foundation’s humanistic-driven, yet non-profitable interventions, the essay highlights the decaying decadence of social inequality and marginalization in the Nigeria space, giving complementary accolades to the intervention of the two altruistic figures in tackling this and calls on all concerned parties to adopt their strategies and more for social change.

 

Keywords: Social inequality, Fela Anikulapo Kuti, Aiyeku Foundation

 

1.0. Introduction

1Social inequality is a putrefying phenomenon that taunts the supposed tranquility of every human society.¹ It is a global menace

 

that stratifies humans into unfavourable strata based on diverse factors ranging but not limited to age, class, ethnicity, tribe, religion, and country. Historically, in the ancient India, humans were divided into rigid caste (Brahmins, Kshatriyas, Vaishyas, Shudras, Dalits), with very limited mobility, making access to education, power, and religious rights highly stratified.² The apartheid regime in South Africa between 1948-1994 where the white minority had political and economic control over the Black majority, denying them voting rights, quality education, and access to certain areas also exemplifies the history and global trend of social inequality.³ Philosophically, Aristotle in his work on Citizenship while demystifying the concept of citizenship and capacity for its’ acquisition gave few exceptions of persons who should be denied citizenship by virtue of age, gender, social status and profession.⁴ Plato’s view of an ideal state in his work “the Republic” where he broke the State into three segment— the rulers, the auxiliaries and the producers—also adumbrates the epistemological view of social inequality and stratification. In Nigeria, social stratification is often channeled towards economic resources and ethnicity. Ethnically-induced inequality can be traced to the long-standing Osu Caste system prevalent among the Igbos, where Osus are stigmatized and denied marriage rights to freeborns as it is believed that such union brews misfortune. Till date, many

 

 

 

1 Harold Kerbo defined Social inequality is the condition in which members of a society have differing amounts of wealth, prestige, or power.

 

 

 

Tumin defined Social inequality as system of structured social inequality is a pattern where positions are arranged in terms of importance and individuals are unequally rewarded based on those positions.

 

but a few only agree that this practice is discriminatory and the persons born into this caste system had no gift of choice. Economically influenced inequality is clear among the rich— among persons holding political and economic power— and the poor, with mouthwatering opportunities made available to the former at the detriment of the latter irrespective of merit. Contracts, jobs, educational and medical facilities are systemically being enjoyed by the rich while the poor wears away in poverty, crime and hope. However, despite legal interventions to quash this social inequality, it seems to have become a hard nut. Section 42(2) of the 1999 Constitution5 provides that nobody should be discriminated against by way or reason of birth, age, gender, or class. Yet, the effectiveness and implementation of this legal intervention remains stagnant on black and white with little or no relevance, the menace, instead of depreciating rather appreciates in the Nigerian society. This lacuna therefore creates an understanding that tackling social inequality is beyond Laws but the need to adopt the tentacles of humanitarianism, altruism and philanthropy which are fundamentals of socialism and human activism. There is a need to understand that we are humans first before class or any factor of social inequality and treat one another as such. This work therefore uses the activism of late Fela Anikulapo Kuti as exemplified by Aiyeku Foundation as a referential benchmark.

 

1.1. Historical Background

Aiyeku Foundation is a non-governmental and non-profiteering organization set up in 2019 by highly distinguished

 

personalities— Chief (Dr.) Iyiola Aiyeku (President), Chief (Mrs). Janet Aiyeku (Vice President), Dr. Tolani Aiyeku (Secretary) and Pastor Segun Aiyeku (Treasurer)—with the sole aim of promoting social justice and equality through community service and development, notable among is empowering indigent tertiary institution students to achieve their dreams by providing them with the financial empowerment they need. The foundation do this by providing tuition fee scholarships and mentorship opportunities to students from less privileged houses and providing healthcare and other developmental community service to the public as a way of combatting social irregularities in the Nigeria. With her target audience being the Ikale community, particularly Ilaje, Okitipupa and Ese-Odo Local Government of Ondo State with Oke-Ogun Local Government Area of Oyo. The 2021 students’ scholarship award edition was held physically at Ondo State University of Science and Technology (OSUTECH) with an average of thirty beneficiaries. The Foundation has since then continued with this gesture and has now recorded more than fifty students who have benefitted from the scheme. The recent phenomenal phase of the scholarship award was held virtually on zoom 2024 with about twenty students benefitting from the Foundation of which I, Victor Feranmi Ilesanmi, a 500 level Law student of University of Benin who hails from Odolawe quarters, ÒdeErinje Kingdom in Okitipupa Local Government Area of Ondo State was a beneficiary. On this note, I will love to appreciate the Foundation and its’ Board for stretching their hands of benevolence to me and my family, by paying for my tuition fees. Coming from an average family, the institution has been of immense help by lifting heavy yoke off my parents’ shoulders and alternatively allowing me to focus on my academics. It is of importance to also state that the foundation has not only empowered me academically but also socially, bringing me in close proximity with like-minded students from my local government and its’ [1]environs, some of which I’ve made friends with, likewise orienting me on the need to reciprocate this gesture to my root community in the very near future.

 

On the other hand, Olufela Olusegun Oludotun Ransome-Kuti popularly known as “Fela Aníkúlápó Kútì” was a Nigeria born

 

international musician, a talented multi-instrumentalist and political activist. He is till date regarded as the fore innovator of Afrobeat, a Nigerian music genre that combines West African music with American funk and jazz.6 AllMusic even described him as “a musical and sociopolitical voice” of international significance.7 Fela was born at Abeokuta in Ogun State on 15 October, 1938 by Pa. Israel Oludotun Ransome-Kuti ( the first President of the National Association of Teachers) and Mrs Funmilayo Ransome-Kuti (the first Nigerian woman to drive a vehicle, a conservative feminist and women right advocate, one of whose remarkable advocacy was spearheading the Abeokuta Women’s Riots in 1946, which put an end to the imposition of stringent taxes on women).8 Essentially, the kind of family Fela was born into provides a picturesque of how adorable his silver spoon was, being born into one of the few influential Nigerian families during his time. In 1958, he studied Music at Trinity College of Music in London instead of medicine.9 His decision presumably was not only influenced by passion, but an engrained belief of impact in the music sector beyond what medicine could provide him, the same medicine all his siblings studied. His music and activism centered round fighting for the less privileged and marginalized in the Nigerian society, standing against oppression and the oppressors even when his family background afforded him opportunities to be benefit from such at the detriment of the masses.10 Fela through his music and political activism criticized the corruption of the Nigerian military government and the dreadful mistreatment of Nigerian citizens by way socio-economic inequality, particularly abuse of power, press censorship and violation of the fundamental human rights of citizens which characterized his days.11 He spoke of colonialism as the root of the socioeconomic and political problems that plagued the African people using music and called for Africans to embrace their roots.12 Corruption was one of the worst political problems facing Africa in the 1970s and Nigeria was among the most corrupt countries. Its’ government rigged elections and performed coups that ultimately worsened poverty, economic inequality, unemployment, and political instability, further promoting crime. This bitterness inspired many of Fela’s album and activism like the “Zombie” released in 1977, which heavily criticized Nigerian soldiers, and used the “zombie” metaphor to describe the Nigerian military’s methods. The album and more infuriated the government of Gen. Olusegun Obasanjo and caused Fela and his people grievous turmoil ranging but not limited to massive destruction of his studio, instruments, master tapes, imprisonment, assault and was even consequential to his mother’s death.13 In 1984, Muhammadu Buhari’s government, of which Kuti was a vocal opponent, jailed him on a charge of currency smuggling for twenty months, save for rigorous opposition municipal and international organizations which prompted General Ibrahim Babangida to release him14. Despite the oppressions, Fela maintained his obstinate and adamant voice for the voiceless. Several reports have it that on many occasions, Fela appeared on stage with bandages and fresh wounds from tortures, performing the same songs he was molested

 

 

 

for. He was arrested on over 200 different occasions and spent time in jail, his family, band members and properties weren’t spared from the humiliation15. Fela found the political party MOP(Movement of the People) in 1979 which he preached Nkrumahism and Africanism with and he declared to contest presidential election in 1983 but his candidacy was rejected for obvious reasons.16 After the rejection, Fela Kuti continued to record albums and tour the country criticizing bad governance, social inequality and neocolonialism, calling for social change, good governance and equal opportunities for all.17 He further infuriated the political establishment by implicating ITT

 

Corporation’s vice-president, Moshood Abiola, and Obasanjo in the popular 25-minute political screed entitled “I.T.T. (International Thief-Thief)”.18 His activism was highly instrumental to the transition from military rule to democratic rule in 1999 because his music educated and drive the people to speak and fight for their rights which the government denies them.19 Fela died on 2 August 1997 at age

 

 

1.2. Juxtaposing Fela’s advocacy against social inequality with Aiyeku Foundation’s Scheme

The vision of Aiyeku Foundation and that of Fela Anikulapo can be said to be engrained and engrossed in the principle of

 

humanity and altruism. The struggle for social equality, social change and social development even while in a position where one could have shown complacency is central and espoused in the activism of Fela as exemplified by Aiyeku Foundation. Fela came from a massive background where he had everything, he had no reason to be concerned about the masses or the oppression from the government or deceit from religious leaders. In every way, he had the leverage to benefit from it and materialize the idiom “monkey dey work, baboon dey chop”, yet, he picked to do the opposite, standing for his people as Moses stood for the Israelites despite the enjoyment he received in the Egypt palace. Fela fought for good governance and equality, calling on the people to speak up against the evildoers . In his 1977 song, “Suffering and Smiling”, he used his lyrics— Everyday My People dey inside bus, Them go pack themselves in like Sardine, Everyday na the same, Archbishop dey for London, Pope dey for Rome, Imam dey for Mecca, My brother wetin you say/my sister wetin you go hear?— to criticize the blind faith in religious and political leaders who exploit the masses.20 Fela encouraged critical thinking and self-empowerment as means to achieve societal progress.21 Fela also had a free clinic in his Kalakuta Republic—a compound he declared independent of military rule—where free medical services was rendered to people. Similarly, Aiyeku Foundation, a foundation made up of people who have been blessed by God, ordinarily should not be concerned about the masses or less-privileged but they decisively decide to use the opportunity to work towards the emancipation of the average man, creating different avenues to prove that academically, “what is good for the goose is equally excellent for the gander”, despite the restraints placed on the gander by the goose.

 

Fela courageously and confidently fought the oppressors whose way of deriving joy was by devouring the masses just as the

 

hawk devours the helpless chicks. He was “a voice for the voiceless”, speaking against state oppression, inequality, and foreign exploitation. Aiyeku Foundation understands the manipulative increment of the cost of education and healthcare services in Nigeria which is at the detriment of the less-priviledged, therefore steps in to suppress this unbearable realities and hardships by enhancing healthcare, and expand educational opportunities.22

 

Furthermore, Fela Kuti’s activism emphasized the need for cultural recognition and respect which are crucial for community

 

development, a theme which is also central to Aiyeku Foundation’s vision. The need for people to respect and recognize their cultural roots were focal to Fela’s activism.23 In his song, “Teacher, don’t teach me nonsense” released in 1986, Fela extols culture and tradition as the ultimate teacher and emphasizes the need to enshrine African culture and tradition.24 He pointed out that the use of the western system of education was erroneous seeing as African children are taught about foreigners who “discovered” indigenous geographical landmarks which were not previously hidden and by such knowledge, choose to abandon their roots and origin. Fela’s message was for Nigerians to embrace their culture despite Westernization25 To strengthen his stance, he changed his name to Anikulapo (meaning “He who carries death in his pouch”, with the interpretation: “I will be the master of my own destiny and will decide when it is time for death to take me”) He stopped using the hyphenated surname “Ransome” because he considered it a slave name.26 Aiyeku Foundation also stand for reminding her beneficiaries of the need to remember their root communities, being not beclouded by the frivolities of Western world or the shenanigans of Western education. The need to be receptive and aim for cultural, community development is crucial to the Foundation’s mission, coupled with the understanding that “there is no place like home”.

 

In “Beast of No nations” released in 1989, Fela condemned oppressive regimes and dehumanization of citizens by the political

 

regime of Gen. Muhammadu Buhari referring to Buhari as an animal using Nigerian Pidgin: “No be outside Buhari dey ee / na craze man be dat / animal in craze man skin”.26 Fela used vivid imagery to depict the brutality of military and political leaders, urging communities to recognize and resist such oppression.26 This is evident in today’s Nigeria where insecurity thrives and out-of-school children increase exponentially while the children of the rich attend the best schools in foreign countries with the country’s funds.27 Tuition fees are being increased, frustrating the children of the masses’ right to education while politicians squander the country’s funds to pay on their children’s fees in advance.28 Aiyeku Foundation provides the medium to fight this oppression through empowerment and making sure education which is the best legacy doesn’t evade the household of the less privileged.

 

The need to do what is right without expectation of earthly gain was central to Fela’s activism. He stood for the rights of the

 

1. people without any honorarium from them. Fela’s aim was to criticize and educate the government and people respectively and foster a better country for all, not to make profit or enlarge his coast. Aiyeku Foundation exemplifies this through her non-profiteering schemes and activities, reiterating that her reward is in heaven. The Foundation charges no fee whatsoever before rendering assistance or stretching her hands to provide community service to her target audience, just as Fela’s activism wasn’t premised on an hidden agenda to get ambassadorial deal or huge donations from international organizations.

 

Essentially, the positive impact of these two figures in combatting social inequality can not be overemphasized. Fela’s legacy

 

is cultural and revolutionary centered on political oppression, religious deceit and economical inequality. Aiyeku Foundation’s legacy is institutional and developmental being a systemic powerhouse which protect the interest of the less privileged in the Nigerian society. Fela Anikulapo Kuti followed a sustainable approach that reshaped the political and economical lacunas in his time using music while Aiyeku Foundation uses community development mechanisms such as scholarship opportunities to balance the imbalances created by the avaricious elites in the Nigerian society. This is testamentary to the fact that fighting inequality in every form is not the sole responsibility of the government, there’s a need for adoption of alternative mechanisms through collective engagements from institutions and individuals to fight and mitigate the effects of social inequality in the society.

 

1.4.Conclusion

In juxtaposing Fela Anikulapo Kuti’s music-driven activism with the structured philanthropy of the Aiyeku Foundation, it becomes evident that both actors, though with vastly different mechanism contribute significantly to the fight against social inequality. Fela used music and opposition as tools to awaken consciousness, challenge oppressive systems, and empower the marginalized in postcolonial Nigerian society. Conversely, Aiyeku Foundation leverages on funding and community development programmes to address systemic inequalities in health and education primarily. While Fela’s approach was culturally rooted and confrontational, the Foundation’s is institutional and reformist—yet both illuminate the diverse pathways through which equity can be pursued. Ultimately, the juxtaposition underscores the importance of combining grassroots resistance with individual partnerships in the ongoing struggle for equity and social transformation. I use this medium to therefore appreciate and commend the undisputable impact of this Foundation once again in every sphere of my life, exemplifying what it means to be a blessing to ones’ generation and acting as an agent of social change and development.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

1.5. References

¹.Kerbo, H. R. (2003). Social stratification and inequality: Class conflict in historical, comparative, and global perspective (5th ed.).

 

McGraw-Hill.

 

².Dumont, L. (1970). Homo hierarchicus: The caste system and its implications. University of Chicago Press.

 

³.Mandela, N. (1994). Long walk to freedom: The autobiography of Nelson Mandela. Little, Brown and Company.

 

⁴.Aristotle. (1992). Politics (T. A. Sinclair, Trans.; T. J. Saunders, Rev. ed.). Penguin Books. (Original work written ca. 350 B.C.E.) 5

 

.Federal Republic of Nigeria. (1999). Constitution of the Federal Republic of Nigeria (as amended). Government of Nigeria.

 

https://www.nigerialii.org 6 .Oikelome, A. (2013). Stylistic analysis of Afrobeat music of Fela Anikulapo Kuti [PDF]. Analysisworldmusic. Archived from the original (PDF). Retrieved January 27, 2013, from https://www.analysisworldmusic.com 7 .Fela Kuti. In AllMusic. https://www.allmusic.com 8 .Nigeria Union of Teachers. Origin of NUT. nut-nigericfca.org. Archived from the original on September 26, 2020. Retrieved January 13, 2020. 9 .Barrett, L. (2011, September). Fela Kuti: Chronicle of a life foretold. The Wire (No. 169). (Original work published March 1998). Retrieved June 13, 2015. 10

 

.McKinnon, M. (2005, August 12). Rebel yells: A protest music mixtape. Canadian Broadcasting Corporation. Archived from the original on July 3, 2015. Retrieved November 22, 2009. 11

 

.Tewksbury, D. (2011, December 13). Fela Kuti’s lover and mentor Sandra Smith talks about Afrobeat’s L.A. origins, as Fela! musical arrives at the Ahmanson. L.A. Weekly. Retrieved April 3, 2016. 12

 

.Grass, R. F. (1986). Fela Anikulapo-Kuti: The art of an Afrobeat rebel. The Drama Review, 30(1), 131–148. https://doi.org/10.2307/1145717 13

 

.The Guardian Nigeria. (2018, October 12). Loving Fela: A tale of two Kalakuta queens – Part 1. The Guardian Nigeria News – Nigeria and World News. Retrieved October 8, 2023. 14 .Adenekan, S. (2006, February 15). Obituary: Dr Beko Ransome-Kuti. The Guardian. London. 15 .Darnton, J. (1977, July 24). Nigeria’s dissident superstar. The New York Times. 16 .Collins, J. (2015, June 5). Fela: Kalakuta notes. Wesleyan University Press. 17 .Barrett, L. (2011, September). Fela Kuti: Chronicle of a life foretold. The Wire (No. 169). (Original work published March 1998). Retrieved June 13, 2015. 18 .Barrett, L. (2011, September). Fela Kuti: Chronicle of a life foretold. The Wire (No. 169). (Original work published March 1998). Retrieved June 13, 2015. 19

 

.Grass, R. F. (1986). Fela Anikulapo-Kuti: The art of an Afrobeat rebel. The Drama Review, 30(1), 131–148. https://doi.org/10.2307/1145717 20 .Abdulkareem, F. (2015). Smiling and suffering. 21 . Abdulkareem, F. (2015). Smiling and suffering. 22 .Achebe, C. (1983). The trouble with Nigeria. Heinemann Educational Books. 23 .Sahara Reporters. (2019, May 18). FLASHBACK: Four songs of ‘Abami Eda’ Fela Anikulapo-Kuti that prophesied about present day

 

Nigeria. https://saharareporters.com 24 .Olaleye, O. A., & Osuagwu, D. C. (2020). Fela Anikulapo Afrobeats music as a driving force for social transformation. Journal of Women in Technical Education and Employment (JOWITED), The Federal Polytechnic, Ilaro Chapter, 1(1), 150. 25 .Olorunyomi, S. (n.d.). Fela and songs of the leash [PDF]. African Agenda, 3. (Publisher details needed) 26 .Denselow, R. (2015, April 1). Nigeria’s new president Muhammadu Buhari – the man who jailed Fela Kuti. The Guardian. Retrieved October 4, 2016. 27 .Oyadeyi, O., Ukoli, K., Chandiramani, A., Rosas, J., Luo, J., & Oyadeyi, O. A. (2024). The cost of living crisis in Nigeria: The impact of food and commodity prices on household purchasing power and their implications for economic wellbeing. SSRN.

 

https://ssrn.com/abstract=4866006 28 .News Central. (2025, March 6). School confirms Bello paid over $845,000 for children’s fees. https://newscentral.africa/schoolconfirms-bello-paid-over-845000-for-childrens-fees/

 

[1] Many today refer to Fela as living foundation of his time and an indescribable legend as his impact in the music and political arena cannot be estimated