By Mkuki Bgoya
It was supposed to be all about Fela. It was all about Fela, his politics, poetry, rants, music, struggles, pain and legend. The stage possesses the unmistakable potency of Fela’s shrine.
The story begins right before his departure from Nigeria for Medical school in London (where he studied music instead); his travels in the US and his eventual return to Nigeria; his political activism and countless clashes with the Nigerian Army, which eventually led to his mother’s murder by soldiers and how that affected him personally and musically.
Fela’s story unfolds via already well-chronicled chapters of his life and pages from the historical leaflets of Afrobeat, the genre he incubated; all interwoven between Coffin for Head of State, ITT and Army Arrangement amongst others.
Sahr Ngaujah’s portrayal of Fela is a theatrical resurrection of that restless spirit. He captures the strut, voice and that unmistakable showmanship and rebelliousness inherent in the Fela persona reigning supremely on this night. Ngaujah’s performance is enhanced by several projectors beaming images of life in Nigeria and footage of Fela that create a synergy of sounds and sights that can be best described as a holistic experience of Fela’s life and message. It is an immersion into his world. For the novices and uninitiated, it is a 3D experience that binds them to the story. New York meets Ikeja through Fela, at least on stage.
I suppose one can argue that it is a black thing and it just comes naturally when one considers that Fela was never a trained dancer. But, that is where Bill T. Jones, performer extraordinaire and the show’s choreographer steps in.
Jones, an astute observer and accomplished dancer finds inspiration for the numbers the footwork of Fela & his Queens, infusing them with a touch only a master of his stature can achieve thus bringing to life what I think is one of the best musicals about the African experience.
A poignant moment in the production is when Fela starts struggling with himself on whether or not to continue with music and activism shortly after his mother is killed. It captures Fela at his most vulnerable, an anomaly for the otherwise defiant and fearless musician. The bout ends when, not surprisingly, he decides to fight on with the help of his mother’s spirit. The rest is well chronicled.
Unfortunately, reality for most Africans is still a stark mirror of Fela’s lyrics. It is a world in which many corrupt officials and soldiers still do not value the lives of their people, a possible consequence of kolo mentality. Regardless, it remains a formidable impediment to our collective progress and individual growth.
Fela is a product of this reality. The central theme of his message, embedded in his music, revolves around the African condition. He challenges us to embrace our values and way of life. It is in that respect that I think Fela is an exception. It is a conscious choice he makes for himself.
Stubborn?
Yes.
But, beyond that stubbornness is genius. A genius that will bequeath upon us one the greatest musicians and human beings humankind has had the privilege of experiencing. His message is for Africans but appeals to humankind: his music African but entrenched with universal ideals and sensibilities. That is the source of his relevance yesterday. It is the reason for his relevance today.
Mkuki Bgoya is a graphic artist. He was also an eyewitness to Fela’s theatrical resurrection. He was born in Dar es Salaam. He resides in Dallas, TX.
Comments