This work focuses on exploring the concept of Marxism through Nigerian music and by examining how artists have been able to use the institution of music as an instrument of evaluating society. Music is not regarded as entertainment alone but it is seen as an instrument of revolution and a tool through which artistes proffer solutions to various societal problems. Music and society are inseparable entities and the latter is a great reflection of the former. Music, in several ways, depicts the culture of a society; it is a reflection of the total way of life of a certain milieu. It does not exist in a vacuum but within the cyclic continuum of the communal life of the people.
This discourse looks into the songs of two musicians. They are Segun Akinlolu (Beautiful Nubia) and Folarin Falana (Falz). The songs examined are Ominira, Revolution Time, Everybody Knows, We Live Here Too, Matters Arising, Masters of the Earth, Locust Season, The People Are Ready, The Small People’s Anthem, Harvest Time, Higher Steps, Boosit and Wehdone sir.
Table of Contents
1. CHAPTER ONE
1.1 General Introduction
1.2 Background of Study
1.3 Statement of Problem
1.4 Research Questions
1.5 Aim of Study
1.6 Significance of Study
1.7 Scope of Study
1.8 Theoretical Framework
1.9 Research Methodology
1.10 BACKGROUND OF SELECTED ARTISTES
1.10.1 Segun Akinlolu
1.10.2 Folarin Falana
2. CHAPTER TWO
2.1 INTRODUCTION
2.2 SOCIOLOGICAL SCHOOL OF THOUGHT
2.3 Importance of Marxism to Sociological School of Thought
2.4 Importance of Marxism to Literature
2.5 FUNDAMENTAL PRINCIPLES OF MARX’S THOUGHT
2.5.1 Critique of Capitalist Society
2.5.2 Adaptation to Hegelian Dialectic
2.5.3 The Materialistic Conception of History
2.5.4 The Dialectical Movement of History
2.5.5 Economic Base and Superstructure
2.5.6 The Division of Labour
2.5.7 Marx’s Conception of Ideology
2.5.8 Marx’s Economic Views
2.5.9 The State and Marxism
2.5.10 Defining the term Music
2.5.11 Music and Emotions
2.5.12 Music as a tool for entertainment
2.5.13 Music and Identity
2.5.14 Marxism and Music
2.6 Conclusion
3. CHAPTER THREE
3.1 THEMATIC EVALUATION OF THE SONGS OF SEGUN AKINLOLU AND FOLARIN FALANA
3.2 General Introduction
3.3 A CRITICAL ANALYSIS OF BEAUTIFUL NUBIA’S AND FALZ’S MUSICAL STYLE
3.4 IMOREMI
3.5 MATTERS ARISING BY BEAUTIFUL NUBIA
3.6 Recklessness and Dishonesty of Government
3.7 BOOSIT BY FALZ AND COBHAMS
3.8 WE LIVE HERE TOO
3.9 Revolutionary Tool of the Proletariat
3.10 MASTERS OF THE EARTH
3.11 HARVEST TIME
3.12 HIGHER STEPS
3.13 REVOLUTION TIME
3.14 THE PEOPLE ARE READY
3.15 War between Bourgeoisie and Proletariat
3.16 Exploitations by the Government on the Masses
3.17 OMINIRA
3.18 EVERYBODY KNOWS
3.19 Characteristics of a Marxist Society
3.20 LOCUST SEASON
3.21 THE SMALL PEOPLE’S ANTHEM
3.22 WEHDONE SIR
3.23 Conclusion
4. CHAPTER FOUR
4.1 Summary and Conclusion
4.2 Summary
4.3 Conclusion
Research Objectives and Core Themes
This research aims to analyze selected musical works by Segun Akinlolu (Beautiful Nubia) and Folarin Falana (Falz) through the lens of Marxist theory. It investigates how music transcends its entertainment function to act as a socio-political tool that exposes economic imbalances, government exploitation, and class struggles within the Nigerian context, ultimately seeking to understand the role of music as a catalyst for awareness and revolutionary thought.
- The application of Marxist critique to popular Nigerian music.
- The analysis of socio-economic delineation and class-based exploitation.
- The identification of ideological state apparatuses within societal structures.
- The role of the musician as a "societal crusader" and voice of the proletariat.
Excerpt from the Book
A CRITICAL ANALYSIS OF BEAUTIFUL NUBIA’S AND FALZ’S MUSICAL STYLE
Apart from being good as a veterinary doctor, another thing which Beautiful Nubia does very well is music. He is known for his use of African proverbs, and on many occasions, he indiscriminately draws strength from the rich Yoruba Oral Folklores. This, on some occasions, serves as the background to some of his songs. He channels this richness into his music and he, mostly, seems to take the position of a storyteller performing to a group of audience.
Beautiful Nubia addresses various societal issues in his songs and he does this effectively through the efficient use of oral forms of literature. He is an Afro legend as his music is resourceful and rich in his African heritage and culture. He is not ashamed of his African descent and does not give room for intimidation and this makes him to always reiterate this known fact his songs always.
Summary of Chapters
CHAPTER ONE: This chapter introduces the study, outlines the research problems, objectives, and questions, and establishes the theoretical framework of Marxism as a means to evaluate societal imbalances.
CHAPTER TWO: This chapter reviews the Sociological School of Thought and Marxist principles, exploring concepts such as economic base, superstructure, ideology, and the relationship between music, identity, and emotions.
CHAPTER THREE: This chapter provides an intensive thematic analysis of selected songs by Beautiful Nubia and Falz, evaluating how their musical styles address political exploitation and economic inequality.
CHAPTER FOUR: This chapter provides a final summary of the research findings, concluding that music serves as a powerful, multi-functional tool for mirroring society and fostering critical awareness.
Keywords
Marxism, Proletariat, Bourgeoisie, Class Struggle, Exploitation, Socio-Economic, Ideology, Music, Nigeria, Revolution, Sociological Criticism, Cultural Studies, Political Corruption, Subjugation, Emancipation
Frequently Asked Questions
What is the core focus of this research?
The work examines how music is used beyond mere entertainment to expose socio-economic imbalances and the exploitation of the masses by the ruling class in Nigeria.
What are the primary thematic fields covered?
The research explores themes of class conflict, government dishonesty, systemic oppression, the role of religion in ideological manipulation, and the potential for revolution through artistic expression.
What is the main research objective?
The primary aim is to analyze how the selected songs by Beautiful Nubia and Falz reflect Marxist concepts and expose the ideological state apparatuses used to marginalize the proletariat.
Which scientific method is employed?
The study utilizes both content analysis and thematic analysis to evaluate lyrics, literary texts, and recurrent socio-political patterns found within the selected music.
What content does the main body address?
The main body systematically applies Marxist literary theory to analyze the lyrics of specific songs, categorizing them based on their critique of government, class disparity, and capitalist structures.
Which keywords characterize this work?
Key terms include Marxism, Proletariat, Bourgeoisie, Class Struggle, Exploitation, Socio-Economic, Ideology, and Music.
How does the author define the role of the musician in this study?
The author considers the artist as a "societal crusader," capable of using their platform to challenge colonial vestiges and advocate for an egalitarian society.
How do Beautiful Nubia and Falz differ in their approach to social critique?
Beautiful Nubia is portrayed as a traditional storyteller who utilizes rich Yoruba folklore and proverbs, whereas Falz is noted for his use of sarcasm, comedy, and a blend of contemporary hip-hop with accented lyrics to address the same societal ills.
- Citar trabajo
- Omogbolahan David Abiola (Autor), 2017, Marxism through Nigerian music. An analysis of selected songs of Segun Akinlolu and Folarin Falana, Múnich, GRIN Verlag, https://www.grin.com/document/1133701
