Ufahamu: A Journal of African Studies

Although Fela Anikulapo Kuti’s musical career began in the 1950s, it was in the 1970s that he emerged as a formidable force on the scene. This was not just because of the multifaceted Afrobeat genre that he generated, or his versatility as an instrumentalist, but because he used his music, incomparably, to expose corruption, confront the excesses of government and slam the acquiescence of the larger populace. Sadly, however, his greatest hit, “Zombie” (1976), has been widely misconstrued as an attack on Nigeria’s military, particularly the army. While the zombie theme may, in part, scoff at military regimented traditions, it disseminates a much wider message that condemns complicity and docility in the face of subjugation. This is despite the display of army personnel on the jacket of the original album, and recurring cynical commands that have been erroneously restricted to military parade protocol. To describe “Zombie” as an attack on the military is to relegate Fela’s message to a narrow social context. Ironically, the denunciation of robotic compliance, which is the focal point of “Zombie,” is a theme that Fela also captures in another song on the Zombie album, “Mr. Follow” (1976). The motif is repeated in other songs by Fela, including but not limited to “Shuffering & Shmiling” (1978) and, in part, “Sorrow, Tears & Blood” (1977). It was not Fela’s style to shroud his message in telling images, as he was known to audaciously call the proverbial spade a spade. When he decided to castigate the army, he did so unashamedly in songs like “Army Arrangement” (1984) and “Unknown Soldier” (1979). To analyze Fela’s “Zombie” effectively, therefore, it is necessary to do so in relation to other songs he released and within the context of his wider vision as a musician.