Name: SADARE AYOMIDE DIVINE

 

School: LAGOS STATE UNIVERSITY   

 

Course of study: LAW  

 

Essay question: CRITICAL THINKING   

 

“I, Dr. IYIOLA AIYEKU, President and the Forerunner of Aiyeku Foundation reiterated that the Foundation from the beginning perfectly understood; HELPING THE NEEDY or THE POOR or THE MARGINALISED with no strings attached in this presently CORRUPT communities in the world is our reward and happiness.  

 

In essence, we believe that the reward and happiness aren’t only earthly but eternal as well. As euphorically idealized by FELA ANIKULAPO RANSOME KUTI. Also, as scholars of the Foundation, what are your takes on these CRITICAL THINKING CONCEPTS?   

 

Based on Fela Anikulapo Kuti’s philosophical perspectives or his lyrics of songs or his influence on African music industry or as Activist or  

 

Socialite, compare to the vision of Aiyeku Foundation. “  

 

 

 

 

 

  

 

“We rise by lifting others.”- Robert Ingersoll. Some people lift us without lifting a finger—just by being there, guiding with grace, believing when we can’t. This is my acknowledgment of the quiet heroes in my life, Dr. IYIOLA AIYEKU and Dr. (Mrs.) JANET AIYEKU. They are an embodiment of the quote by FELA ANIKULAPO KUTI, where he states that, “I want peace. Happiness. Not only for myself. For everybody.” Fela Anikulapo Kuti, the legendary Nigerian musician and pioneer of Afrobeat, was not widely known for traditional philanthropy in the conventional sense of organized charity or foundations. However, his life and work were deeply rooted in a form of social philanthropy that focused on activism, empowerment, and justice for the oppressed.  

 

        Fela used his music as a tool to speak out against corruption and social inequality in Nigeria. His lyrics highlighted the struggles of the poor and criticized the exploitation of the masses by political elites. Through his commune, the Kalakuta Republic, Fela provided shelter, food, and a sense of community for many marginalized individuals, including young musicians, artists, and the homeless. He also offered free access to medical care at his compound, with his brother Beko Ransome-Kuti—a medical doctor—often assisting. Fela’s public defiance of injustice and his unwavering stand for human rights served as a powerful form of advocacy, inspiring generations of activists and ordinary people to speak up against oppression. Fela’s life was a continuous act of giving—through music, activism, and direct community support. His legacy lives on in the works of social justice movements and in the ongoing fight for equity in Nigeria and beyond. 

 

        The works of Fela can be likened to that of the pioneers of the AIYEKU Foundation who have dedicated their lifetime to an act of selfless service to the community by helping and empowering the poor, needy and marginalized with no strings attached in this presently corrupt society. The concept of helping with no strings attached is an act that I have experienced firsthand. I came in contact with the AIYEKU foundation in my second year in the university and was privileged to become one of the beneficiaries of the scholarship program it offers. I am currently in my fifth year and final year and by virtue of this program I have never had to worry about paying tuition ever since my first interaction with the foundation, despite having had no prior connection whatsoever with any of its pioneers or personnel. Over the years, the foundation has stuck to its mission of service to humanity and its motto which is “Faith with Actions for Humanity”. 

 

        The vision of the AIYEKU foundation very much aligns with the vision of the pioneer of Afrobeats, FELA ANIKULAPO KUTI. Fela’s vision was greatly influenced by the impact of his mother on his life. Just like Fela, she was also a great philanthropist.

 

His mother, Funmilayo Ransome-KUTI had an unwavering commitment to

 

community’s upliftment which inspired Fela’s philanthropic efforts. While Fela was more widely recognized for his music and political messages, he also created spaces like the Kalakuta Republic and the Afrika Shrine which were more than just living quarters or concert venues—they were sanctuaries for the poor, the marginalized, and the culturally inclined. Through these initiatives, Fela continued his mother’s legacy of grassroots mobilization and community service. Funmilayo Ransome-Kuti also instilled in Fela a deep sense of cultural pride and identity. She was a strong advocate for African values and self-determination. 

 

           The pioneers of the AIYEKU foundation are like parents to every of its beneficiaries and everyone they extend a helping hand to. The foundation is keen and committed to helping the poor, upholding our culture and passing it on to the next generation. The foundation has shown its love for culture in every step of its journey, as evident in its awards ceremonies and at every keynote event where the leading traditional leaders of the Ikale community are always recognized and celebrated. This act reflects the deep love and appreciation of the AIYEKU foundation for culture and its drive to impact such love into the lives of coming generations. 

 

           The philanthropic works of Fela ANIKULAPO KUTI are clearly evident in every aspect of his life, especially in his musical works. In everything he did during his lifetime, he demonstrated his love for humanity and made philanthropic contributions whether directly or indirectly. When Fela established the Kalakuta Republic—a communal compound that served as his home, recording studio, and a safe haven for marginalized individuals and the homeless, —although not funded in the traditional sense, Kalakuta was a sanctuary and an experiment in alternative living. He housed, fed, and supported many who had no other place to go, providing direct aid through community support. Furthermore, the original Afrika Shrine, which Fela founded, was a place of radical free expression and social gathering. It became a cultural hub where people from all walks of life could come to hear his music and messages of liberation. 

 

This space encouraged education through art, social awareness and unity. 

 

          Moreover, Fela was involved in the provision of both medical and legal aid. Fela’s activism extended into organizing health services and legal defense for his followers. After arrests and beatings, he often sought legal redress and funded medical care for victims of state violence. Although not an NGO, Fela often used his resources to support those targeted by police or military brutality — especially after the many attacks on his mom’s house, his community and Kalakuta Republic. 

 

          Fela ensured continuity of his legacy and philanthropy by passing this on to his children and family as a whole and today his name remains relevant and ensues LEGACY. While Fela himself was more of a radical cultural philanthropist than a conventional one, his children – especially Femi Kuti and Seun Kuti – who he passed the baton to, have continued the legacy through actual foundations, educational programs, and more structured social work tied to Afrobeat. 

 

           The AIYEKU Foundation is, indeed, a LEGACY. The foundation, in line with its vision, has provided financial support to many students in various institutions around the world by paying tuition fees thereby, providing direct legal aid to the community. The Foundation is a preacher and staunch advocate for education and has consistently encouraged its beneficiaries to work hard so as to be the best version of themselves and, in turn, be able to give back to their communities. Amongst the foundation’s numerous achievements and exploits, it also renders medical aid to persons in need, with no strings attached. 

 

           FELA ANIKULAPO KUTI is widely known for expressing himself and speaking his mind through his music without mincing his words—he feared nobody. Through his songs, he shows how the poor were treated badly and how the voiceless were further silenced. In one of his most popular songs “Zombie”, there is a line which says, ”no break, no sense, no job” — signifying the corrupt persons and how they are controlled by the bourgeoisie without having a mind of their own .He uses the song to demonstrate the ways of the corrupt officials in the society and how they make evil decisions that negatively affect the poor and marginalized without thinking of the repercussions— they victimize the poor and marginalized. Fela goes ahead to make his stance on oppression of the poor known when he sang in another song titled “No Agreement ” “I no go gree make my brother hungry (make I no talk), I no go gree make my brother homeless, make I no talk”.  

 

        The lyrics of this song show that Fela has no tolerance for corruption and oppression of the poor and as such will not sit back and watch them be oppressed by the more privileged people in the society and government. In his track titled “Confusion Break Bones”, he states in pidgin English, “How country go Dey make -ee money make people of country no see money”. The lyrics of this song criticize the actions of the government or people in position of power who steal or manipulate the funds for schemes intended to help citizens and develop the community as a whole. He sings about how they put the money in their pocket and use it for themselves, their immediate families and for the purchase of many unnecessary personal things. He also mentions that when these schemes are implemented by the government, they are underfunded and not sufficiently invested in or equipped in a way that benefits the people. They are done merely for the sake of doing, as Fela mentioned in another song titled “International Thief Thief”. Whether directly or indirectly, he expressed himself through his songs and never kept quiet when it came to oppression of the poor or marginalization of those in dire need. Some of his other songs where he expressed this are, Shuffering and Shmiling, Government Chicken Boy, Coffin for head of state, Sorrow Tears and Blood, and many more. 

 

         Meanwhile, in as much as he sang songs which depicted the oppression of the poor, he also sang songs of commendation for persons who regardless of the corrupt nature of the society have stood out and ensured that they impact lives and make a difference wherever they find themselves. He sang about persons who ensure that the voiceless are heard, the poor are helped and the needy are provided and catered for. In his very popular song titled “Water no get enemy”, he used water to depict the Black man’s Power and the inevitability of success of a resilient, impactful man. He speaks about how one of water’s most remarkable traits is its adaptability and malleability— water takes the form of any container it gets into; it does not resist barriers; instead, it finds a way around them. A river encountering a boulder does not stop— it flows over, around, or even beneath the obstacle, continuing its course of journey. This flexibility reflects a core principle of resilience, the ability to adjust to changing circumstances without losing direction or purpose. Water teaches us that progress does not always require force; it often requires patience and creativity. 

 

         Water’s resilience is also demonstrated in its ability to transform. Despite these changes, it remains water at its core. This capacity to evolve while maintaining essence is a vital lesson in resilience. To survive and thrive, individuals and communities must often transform, adapt to new challenges and wave obstacles. In moments of renewal, water emerges as a force of healing. Water reminds us that recovery is possible, that even after destruction, growth can return. This restorative quality makes it not only a symbol of endurance but also a symbol of hope. FELA ANIKULAPO KUTI uses this to illustrate the resilience of a philanthropic person and how they thrive and succeed, regardless of the situation. 

 

        The AIYEKU foundation is indeed like water as no one can make himself an enemy of such outstanding commitment to philanthropy and community service. Through their unwavering dedication, compassion, and generosity, the foundation has made a meaningful and lasting impact on the lives of countless individuals. The tireless efforts of the foundation to support education of the marginalized, poor and needy exemplify the true spirit of giving and civic responsibility. By selflessly sharing their time, resources, and vision, the foundation has inspired others to act with kindness and purpose, fostering positive change within our community and beyond. Most

 

importantly, giving to the community so the beneficiaries can in turn give back to their communities, making empowerment a continuous cycle and subsequently creating a community with stable economy. I celebrate the AIYEKU FOUNDATION and its pioneers for being a beacon of hope and a powerful force for good. Your contribution to humanity does not go unnoticed—and your legacy of giving will continue to uplift others for years to come. 

 

      Fela in his song “Gentleman” describes such men as Original African Men who ensure that they are not carried away by the pleasures of the white man but gather his knowledge to impact their community positively and make it greater than the White Man’s land. He believes that their reward is their ability to help the poor and needy with no strings attached. Some of his other songs that portray and give kudos to the resilient African Man who makes impact and gives voice to the voiceless are “Go Slow”, “Mr. Follow Follow ” and many more. 

 

       In addition, the impact of a man who helps others and impact lives positively cannot be overemphasized. Dr. IYIOLA AIYEKU and Dr. (Mrs.) JANET AIYEKU, have 

 

imparted so many lives and not only have they positively affected the lives of many, but they have also made their family name into a LEGACY by ensuring that even their children and other members of their family are actively involved in this groundbreaking journey of impartation. 

 

       Reflecting on FELA ANIKULAPO KUTI and the AIYEKU foundation, it is clear that true impact comes from selfless service, not fame or status — it lies in consistent, unwavering selfless service to humanity. Fela’s music and activism, like the AIYEKU Foundation’s mission to uplift and empower, show a shared commitment to justice and compassion. Both legacies urge us to act boldly, fight corruption, and serve others with integrity. In a self-centered world, they remind us that the greatest legacy lies in transforming lives and uplifting communities through pure, unconditional humanity — no strings attached. These humanitarian actions with no strings attached are the earthly rewards of the AIYEKU foundation, while the heavenly reward —which is certain— is left for God in heaven to decide. As a beneficiary of this foundation, it is my duty to recognize and celebrate such efforts and embody them in my life. The AIYEKU foundation, like Fela’s legacy challenges me to think beyond myself, to act boldly in the face of corruption and to invest in humanity with integrity and purpose. Legacy lives forever. 

 

 

 

LONG LIVE THE AIYEKU FOUNDATION!!!