Fuji, in the early 1990s, was a melting pot. It was a national language. Dance moves from their fuji music videos were widely imitated by all young and old, of all classes and ethnicity.
There is no denying the influence of fuji music in modern-day celebration culture; fuji music invented praise-singing. From the late 70s, fuji artists sang to influential men; they were the original marketers of politicians and industry captains. For as long as the genre has been in existence, it has always provided a platform for agenda-setting.
Fuji music is rather pervious and identity-defining. The yellow buses that limn the landscape of Lagos suburban landscape all carry lingos, symbols, memorabilia, and images of the Fuji music genre. These create a permeable subculture immune to trends and cultural shifts but tolerant to use as a reference for onward creative production. Fuji music is like a granddad with a grand house with behemoth fences, yet he keeps his pearly gates wide open.
The new rave of Nigerian music artists such as Kizz Daniel, Zinolesky and Portable, are all lending from the rich effervescence of the fuji music genre. The world still seems to turn a blind ear. It is convenient to think of the world music category as a tribute to the creation myth, which alludes to Africa as the cradle of man. The world music category at the Grammys jumbles and sounds misunderstood by Western music critics. Over the years, the world music category has come across as forced inclusivity.
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