Freedom, democracy, human rights: those are the values that define the modern world. They are also increasingly regarded, as vital elements in the workings of democratic states.
Even non-democratic states, such as China, find it difficult to disregard the fundamental values, as they embrace international trade and global markets. Many African states also struggle mightily, to institutionalize those values. In many respects, the constant problem of political conflict, and disarray we see in many African states highlights varying degrees, of failure in the institutionalization of freedom, democracy and human rights in Africa. We see the devastating consequences in places such as the Sudan and Mali, for example. Anytime celebrities such as U2's Bono and international actors such as the United States and the United Nations rush in, with aid to African populations in dare crisis, we are reminded that these stories matter to the entire international community. That is why those Africans, who stand up for those values, should be recognized and celebrated, in the same way that the Western world celebrated dissenters in the now defunct Soviet Union.
We are all familiar with the story of the great South African leader, Nelson Mandela and his triumphant struggle against apartheid. We are less familiar with the struggles of whom we should regard as the Solzhenitsyns of Africa, who are always one step away from being crushed by the despotic politics of their countries.
One of those people in Nigeria, was the late Fela Anikulapo-Kuti. Fela was a giant of the music scene in Africa. He was also a political activist, and a thorn in the side of despotism in Nigeria. The musician, who was celebrated in the 2009 Broadway production, by the rapper and megastar Jay-Z, was in many ways Nigeria's Solzhenitsyn. He was also a friend of mine.
The story presented here highlights the heavy price the musician had to pay, for standing up to despotism, even though his colorful lifestyle was also relevant. It is the story of a military-police raid on the musician's residence, which he called Kalakuta Republic. By the end of the raid, the place was in flames. Fela, and many members of his band, the Africa '70 were detained. His Africa Shrine, where he staged regular performances in the then Nigerian capital city, Lagos, was sealed off by soldiers.
However, Fela refused to become one of the dead men, whom the Nobel laureate, Wole Soyinka saw in his 1973 book, The Man Died. I think his ability to survive and thrive was a testament to the inevitable survival of society, even when it is under direct assault by despotism. It was also a testament to the profound value of the arts as a universal language of forms, emotion, and intelligence.
Even non-democratic states, such as China, find it difficult to disregard the fundamental values, as they embrace international trade and global markets. Many African states also struggle mightily, to institutionalize those values. In many respects, the constant problem of political conflict, and disarray we see in many African states highlights varying degrees, of failure in the institutionalization of freedom, democracy and human rights in Africa. We see the devastating consequences in places such as the Sudan and Mali, for example. Anytime celebrities such as U2's Bono and international actors such as the United States and the United Nations rush in, with aid to African populations in dare crisis, we are reminded that these stories matter to the entire international community. That is why those Africans, who stand up for those values, should be recognized and celebrated, in the same way that the Western world celebrated dissenters in the now defunct Soviet Union.
We are all familiar with the story of the great South African leader, Nelson Mandela and his triumphant struggle against apartheid. We are less familiar with the struggles of whom we should regard as the Solzhenitsyns of Africa, who are always one step away from being crushed by the despotic politics of their countries.
One of those people in Nigeria, was the late Fela Anikulapo-Kuti. Fela was a giant of the music scene in Africa. He was also a political activist, and a thorn in the side of despotism in Nigeria. The musician, who was celebrated in the 2009 Broadway production, by the rapper and megastar Jay-Z, was in many ways Nigeria's Solzhenitsyn. He was also a friend of mine.
The story presented here highlights the heavy price the musician had to pay, for standing up to despotism, even though his colorful lifestyle was also relevant. It is the story of a military-police raid on the musician's residence, which he called Kalakuta Republic. By the end of the raid, the place was in flames. Fela, and many members of his band, the Africa '70 were detained. His Africa Shrine, where he staged regular performances in the then Nigerian capital city, Lagos, was sealed off by soldiers.
However, Fela refused to become one of the dead men, whom the Nobel laureate, Wole Soyinka saw in his 1973 book, The Man Died. I think his ability to survive and thrive was a testament to the inevitable survival of society, even when it is under direct assault by despotism. It was also a testament to the profound value of the arts as a universal language of forms, emotion, and intelligence.
