World musicians, indeed, have played a marked and commendable role, intuitively with valour, to accelerate the attainment of political freedom through their unfailing disparaging of their respective, oppressive rulers or governments. In South Africa, for example, immortalised Miriam Makeba hardly needs emphatic mention. She applied telling singing-nail into the coffin of then dreadful South African apartheid white regime. She had to do that at her own perils and consequences: got compelled to flee from her motherland South Africa and sought political exile in Guinea, West Africa, and the United States of America (US). She only returned to South Africa in 1994 when the Nelson Mandela-led African National Congress (ANC) ended apartheid minority rule. In Zambia similarly, Zambian musicians were not only seen in the centre-stage of the political ring but, demonstrably, composed and sang political songs to supplement emancipation of Zambia from British colonial rule. They were highly valued, required, and sought after, for this reason, by Zambian politicians as co-partners in the bitter struggle for freedom.
They played a double-role: blasting the colonial masters through blaring political songs, day in day out: and by entertaining the Zambian political masses with singing and dancing during political rallies freely.
Continental African super-heavyweight musician, Fela Anikulapo Kuti of Nigeria, is long dead and gone, but still remains, in his interment, more esteemed than ever before.
His popularity went beyond the summit of music virtuosity; he drew national idolisation from all-inclusive Nigerian fraternities and ethnics; pure international figure he was.
Betting on him politically in retrospect, Kuti would have triumphed swimmingly over given opponents in Nigerian presidential election. For he was the ultra-darling of Nigerian masses all fraternities put together.
Musically, he is survived by his son, Femi Kuti, famously idolised on par with his interred father who was a music powerhouse in Nigeria with no comparison.
In the Democratic Republic of Congo (DRC), music "Elephant" Franco attained national esteem indisputably 50-50 on par with former president Mobutu Sese Seko. Politically and unforgettably, the Congolese people are highly indebted to Franco for the indelible part played in thrusting out the Belgian colonialists in 1960. Almost in every African country, there are tales to be told about African music heroes and heroines who starred to enable their respective countries to get political freedom and independence. Some are dead, others are still alive.
But, to the chagrin and dismay of a large number of African music legends, nothing or very little has been done by their respective governments in recognition of their note-worthy contributions to independence attainment.
Upon attaining independence, they have found themselves discarded in self-pity, much like street Arabs! Fame and Heroism, it is said, attracts friends and idolisation nation-wide; but a nobody attracts nothing. This is the fate that has befallen many African music heroes and heroines. Abused and then dumped into economic wilderness! What else can one say? It is more than a tragedy to see, unbelievable and unthinkably, once Africa 's music legends gripped in miseries. Given today's post-independence economic hardships, it would have been a befitting gesture of appreciation expressed in practical terms by African governments, not only honouring African bygone musicians, but to pass legislation providing the expression of music Freedom covering the music industry. This has become inevitable to counter or weather the music censorship law, written and unwritten, that obtains virtually in every African state. It takes those in music pursuit - the music fraternity - to feel the pinch of having restricted music freedom in Africa.
In Africa, it is dead certain to say that a praise-worthy musician is one who keeps grovelling to the ruling government musically: a musician who expresses sentimental, political ripples against the ruling government risks incurring the wrath of the government forthwith. A number of musicians waded through political ordeals and escapades in Zambia during United National Independence Party (UNIP) government under the presidency of Dr Kenneth Kaunda. They were standing accused of destabilising "peace and tranquillity" in the nation through their anti-UNIP songs. The government was unleashing reprisals in varying degrees: banning the song from the air: prohibiting the musician from staging performances live in government-owned halls and arena; or to: clip the wings " of the musician concerned through physical intimidation. Spokes Chola, the folk-music grand master, was a typical victim. He became the music-darling of the Kaunda government on account of the songs he was singing in praise of the government. The government paid him back in kind by providing him with a set of musical equipment. All was well for both parties, and the music lovers inclusively.
But, suddenly and shockingly, when Chola released a new song casting aspersions against the UNIP government under the freedom of music expression, the government ordered the confistication of the music equipment forthwith, too strong an action by government on a blind musician.
In Nigeria Fela Kuti endured government incarceration, in and out, in defence of music freedom. Even when the government bungled politically, he hammered away head-on-collision. In the case of Franco similarly, wrestling with awe-inspiring Mobutu Sese Seko, he had risky times: one ordeal led him to another; worst of all, he had his very beloved girlfriend snatched by the president. Franco died after warning of SIDA (Beware of AIDS) song.
Music freedom restriction in Africa has ultimately, compelled the Southern African Development Community (SADC) music fraternity to form Freemuse body - a well - meaning association based in Johannesburg, South Africa, to crusade against music freedom restriction in the region.
In fulfilment of its vision and targeted ambitions, Freemuse hosted a two-day workshop in Johannesburg on March 16-18 for music writers drawn from SADC countries. They hammered with candid presentations the imperatives to apply in SADC region to pursue music career free from censorship, let alone music restriction. Democratic governments, on the contrary, should institute pragmatic measures, through legislation, advocating and fostering music freedom. It is common knowledge that the highest quality of human life is expressed fully in music, in music expression free from government censorship, intimidation or victimization in one way or another.
(Sila Press Agency)
