Mabinuori Kayode Idowu
Fela Kuti – Lotta continua

As often happens in Italy, we like to alter the original titles of films and books with new meanings that are completely distant from the originals. As in this case, where “Fela le combattant” becomes “Lotta continua”, with a fiery red cover as if there were a need to find a possible correspondence between Fela Kuti's African political struggle and some party present here in Italy.

A man who for many was the inventor of Afro Beat and leader of the Africa 70, the orchestra composed also of his own children, but who for others was also the political leader in the fight against colonialism, corruption, and the man who tried to keep African culture alive.
Fela Anikulapo Kuti is also the one who made his home the “Republic of Kalakuta” (in homage to the name of one of the cells where he had been imprisoned), a place of unity, of struggle, where the inhabitants themselves worked together in harmony trying to create an African force in line with their progressive ideological beliefs.
And then there was the “Africa Shine”, formerly “Africa Spot”, his venue where he performed and preached his word, trying to sensitize his people to fight by exploiting the teachings acquired in America from the Black Panther.

Written by one of his close collaborators and friends, as well as a musician of Africa 70 and member of the board of YAP (Young African Pioneers Movement), Mabinuori Kayode Idowu retraces Fela's life among musical successes, political ones, and the countless clashes with the Nigerian military junta. From the death of his mother thrown out of the window during one of the many military uprisings in his house, to death caused by the HIV virus, passing through a period of mental decline, almost close to madness, which led to the self-destruction of his free and independent republic.

Translated into Italian, in correspondence with the tenth year of his death, “Lotta Continua” is certainly a good read to learn about the life and character of Fela, but which, in my opinion, leaves out important information about his musical production.
In fact, what's missing is a detailed section dedicated to his discography, and even if some original lyrics with translations are often present, unfortunately, the discographic and temporal references are missing.
The “appendix” at the end of the 110 pages is interesting, where individual songs are examined and explained in their meaning (also here, unfortunately, discographic references are missing) and the short “glossary” of terminology related to African culture and that of the Republic of Kalakuta. Unfortunately, there is not a single photo, except for the cover one.

The political path and his ideologies are carried on today by his children, particularly by Femi Kuti who fortunately manages to express himself more freely, and who has managed to reopen the Africa Shrine, which has become a place for young Nigerians to exchange ideas, reflect and campaign for the change of African society.