DISCOURSE OF IDENTITY IN SELECTED FELA ANIKULAPO-KUTI’S SONGS: A CRITICAL PERSPECTIVE

Abstract

This paper investigates critically the discourse strategies adopted by Fela Anikulapo-Kuti in the discursive construction of African identity in his selected songs. The data collection procedure adopted for this study was purposive sampling method. The three songs selected purposively as data for analysis are Lady (1972), Gentleman (1973), and Colo-Mentality (1977). The theoretical framework for analysis is undergirded by van Dijk’s critical discourse theory of Ideological Square. Our findings reveal that African identity is positively constructed, but Western identity is stereotyped and negatively represented in the selected songs. Fela utilises discourse strategies such as positive self-presentation and negative other-presentation, metaphors, comparison, lexicalization, contrast and pronominalisation to instantiate legitimization of Self-identity and representation of Other-identity. Of importance is that the analysis reveals how African identity is positively constructed, but Western identity is stereotyped and negatively represented in the selected songs. Fela’s discursive construction of identity suggests implicitly that Africans, who courts Western identity, are in bad faith, while Africans who espouse indigenous identity demonstrate good faith. This paper argues that such categorisation of identity crisis in Africa is a function of Fela’s ideological persuasions, as an ‘original African man’. The study therefore concludes that Fela’s songs are deployed to uphold his construction of African identity and shape the orientations of his audience.

Introduction

There is a growing concern about the gradual disappearance of African cultural identity, particularly with the overbearing presence of Western ideological values. This concern has ignited the necessity of raising awareness about the continuing displacement of African cultural identity. A Yoruba proverb says that “a river that forgets its source will surely dry up”. It is in line with this wise saying that Fęlá Anikulapo-Kuti, through his songs, not only exposes the acts, but also condemns the deeds of Western-oriented Africans, who aid the promotion of Westernization of Africans to the detriment of their cultural identity, particularly in post-colonial African societies. Using van Dijk’s concept of Ideological Square, this paper therefore analyses and explicates the discourse strategies deployed by Fęlá in the selected songs in the construction of African cultural identity. It is intended that this paper would serve two related purposes: theoretical and practical. Theoretically, it hopes to underscore the cultural signification of a people’s self-worth and source of pride. Since “consciousness is the first step towards emancipation” (Fairclough, 1989, p.1), the selected songs practically tend to raise awareness about how Africans aid and albeit Western machineries in the wilful suppression of Africa’s cultural identity.

Literature Review

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