Fela Kuti’s ‘Zombie’ and Its Lasting Impact on Nigerian Society

In 1976, Nigerian teenager Yunusa Yau and his friends grew frustrated with how soldiers behaved at their school. They turned to Fela Kuti’s satirical song Zombie from his album released that same year. By that time, the military had controlled Nigeria for ten years following a coup. A civil war had claimed at least three million lives, destabilizing the young democracy after its independence from Britain in 1960. Military ruler Olusegun Obasanjo had sent soldiers to schools to enforce discipline, illustrating the harsh nature of successive juntas. Fela Kuti frequently clashed with authorities through outspoken commentary and challenging lyrics, but the release of Zombie marked a shift in their conflict.

The lyrics of Zombie mocked the obedience demanded by the military. It portrayed soldiers as following orders without thinking for themselves, a critique mirroring how rulers commanded the public. The song’s release signaled a confrontation between Fela and the military. “In a way, we saw him as a symbol of our own nascent attempt to protect our limited horizon of freedom,” said Yau, now a political activist at 66, to the Associated Press. The song became a tool for students to protest not only against soldiers but also against their disliked teachers.

Born in 1938 under colonial rule, Fela Kuti ranks among Nigeria’s most influential artists, his career spanning over four decades from the late 1950s to the 1990s. He passed away in 1997 but received a posthumous Lifetime Achievement Award at the Grammy Awards in February. Afrobeat, created by Fela and drummer Tony Allen, incorporates West African rhythms with jazz and funk influences.

Fela chronicled life under military rule from 1966, as coups occurred with brief intervals of civilian governance, until democracy returned in 1999. Music critics consider Zombie highly distinctive among Fela’s political works. The album also included the track Mister Follow Follow, touching on blind obedience to authority. “It was his definitive album. It was one of his boldest moments on record,” said Lemi Ghariokwu, a collaborator who designed the album cover. “He was very much vexed by the actions of the military government.”

The global concept of a zombie, rooted in West and Central African mythology as a figure controlled by spirits, influenced Michael Jackson’s choreography in his Thriller video in 1982.

Nigeria gained independence in 1960, hopeful for prosperity due to its vast oil deposits, especially in the Niger Delta. However, the oil boom didn’t improve economic conditions for most citizens. The military leaders who took power in 1966 used the civilian government’s failure to manage wealth as justification to hold on to power. Today, military influences still overshadow public life. Six individuals, including soldiers and police officers, face charges of an attempted coup against President Bola Tinubu’s government. Military rule left a legacy of political dominance and underdevelopment, issues that Fela fiercely opposed.

According to Nigeria’s Bureau of Statistics, 63% of Nigerians live in multidimensional poverty. They face not only financial scarcity but also lack basic amenities, coupled with a high youth unemployment rate. The nation grapples with complex security challenges from militant and criminal groups. “Fela was ahead of his time, predicting the military class would leave Nigeria in poor condition,” noted music critic Dami Ajayi. “He warned that allowing ‘zombies’ to be in charge would ruin the country.”

Releasing Zombie had serious ramifications for Fela. The military sent a thousand soldiers to destroy his residence, which he declared independent from Nigeria. The raid led to injuries for both Fela and his activist mother, Funmi Ransome-Kuti, who later died due to her wounds. The government banned Zombie from airplay, arresting those who defied the ban.

Fifty years after its release, Zombie remains unparalleled in its impact. “The consequences of that record are well-documented, and I don’t think anybody is that brave to critically criticize the government like that,” commented music critic Ayomide Tayo. “The epic scale at which Fela did it has not been replicated.”