Among several forms of indigenous music, Fuji and Juju are two of its most important sounds. Because they are born from Yoruba communities, there has been some misunderstanding about which is which, and whether Juju came first, or if it was the other way round.
The first Juju recordings were created in the 1920s by AbdulRafiu Babatunde King, who popularly went by Tunde King. The Iya Ilu, the talking drum, is Juju’s dominant instrument and even years later, artists like King Sunny Ade would make it a brand trademark. Sir Shina Peters was perhaps the genre’s most popular artist in the 90s, leading a charge aptly named “Shinamania”.
Whereas Juju music was popularized in Ibadan, Oyo state, and performed in mostly market zones, Fuji was conceived from the inner boroughs of Lagos Island. Alhaji Sikiru Ayinde Barrister is widely considered as its formal founder, having been its first superstar and credited for naming it after Japan’s Fiji mountain.
Other artists who popularized the style and explored its possibilities were Alhaji General Kollington Ayinla and Abbas Obesere. King Wasiu Ayinde Marshall (KWAM 1), the creator of one of the genre’s most significant albums “Talazo 84”, upholds the tradition of experimentation which marks several periods of both Fuji and Juju.
FUJI: A OPERA REIMAGINING FUJI FOR ANOTHER GENERATION
At Fuji: A Opera, special guest of honour K1 De Ultimate will be speaking with venerable writer Lehle Baldé on the origins of Fuji music, its relationship with Juju, and how well the genre can move into contemporary discussions, especially in this digital era. The discussion is facilitated through a partnership with the Fuji Musicians Association of Nigeria (FUMAN).
This historic 2-hour discussion will hold on Thursday, the 17th of December 2020 at the Cinema Hall, Alliance Francaise, The Mike Adenuga Center, Ikoyi, Lagos.
Click here to register. There are limited spaces available.
You can follow up on their social media @fujiopera.
