Fela and Women
Fela Aníkúlápó-Kútì was a wild and fearless innovator in the music world, whose sense of justice and devotion to Nigeria left him adored by the masses and loathed by the government. Heavily critical of Nigeria’s then-military regime and British colonial influence, his music strongly derided both. Songs like “Gentleman,” “Beasts of No Nation,” and “Zombie” reflected the sociopolitical issues that were prevalent at the time.
Referring to himself as ‘Abami Eda,’ which roughly translates as ‘the strange one’ in Yoruba, Fela was charismatic, unorthodox, and boldly political. However, despite such strong qualities, Fela was often accused of being sexist, as his values seemingly clashed with feminist principles, especially as those principles started taking off in the 60s.
For a man who fought determinedly for progress and was keenly aware of the sociopolitical dynamics in his society, it is striking that he retained a regressive attitude toward women – an attitude openly reflected in his music. Songs like “Mattress” and “Lady” seem to unfavourably depict women. At the same time, the latter’s album, Shakara, features topless women arranged in the shape of the African continent and the number 70 on the album cover.
Ironically, Fela’s relationships with the women in his life seemed to counter this supposed misogyny. There were numerous women in and around his life who were fierce, independent, and intelligent – just as he was, if not more. His mother, women’s rights activist Funmilayo Ransome-Kuti, was most likely the foundation of his activism. His first wife and mother of his three oldest children, Remilekun Aníkúlápó-Kútì; Sandra Izsadore, a Black Power activist, his friend and ex-lover, who conscientized him; and fellow musician and Nigerian icon Onyeka Onwenu, who stood up for him when he potentially faced jail time – they all played significant roles in his life. There were also his daughters, Yeni and Sola, dancers who grew up to become successful in their own right and strong women whom he raised.
Then there were his famed 27 wives: back-up singers, dancers, disc jockeys; female performers who worked and lived with him in Kalakuta Republic. They are famously known for all marrying Fela on the same day. Contrary to popular belief, he married these women, who eventually became known as his queens, out of dignity, respect, and affection, as well as to save their reputations.
It seems likely that Fela associated the feminist movement with Western traditions, which he passionately opposed. Nonetheless, he developed his own distinct outlook on what he believed was right for people, especially Nigerians. He embodied the paradox of being both a typical and unconventional African man, flawed yet deeply complex, with a multifaceted and often contradictory relationship with women.