He fought Babylon with his lyrics:Life and times of Ras Kimono 1958-2018
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This book examines the importance of popular culture most especially reggae music as an essential tool of challenging bad leadership. The lyrics of Ras Kimono actually did. Ras Kimono was born on 9 May 1958 and was named Oseloke Augustine Onwubuya. He hails from Onicha Olona in Delta State and died on 10 June 2018 in Ikoyi, Lagos, Nigeria. He was a Nigerian reggae artiste whose debut album ‘Under Pressure’ was released on the Premier Music label in 1989. The album had other hits such as Rhumba Stylee, “Under Pressure” and “Natty Get Jail”. He later released other hit albums that challenged western imperialism, slavery, colonialism, neo-colonialism, and African identity. He was an advocate of the poor, inequality, and social justice. His lyrics such as Under Pressure, Rhumba Style, What’s Gwan? Gimme Likkle Sugar, Kimono De Want, Rastafari Chant, Natty Get Jail, Kill Apartheid, Rub A Dub Master’ and Jah Guide reflects his fight against tyranny, African root, freedom, and self-realization. This book historicizes the importance of music as an essential tool of confronting tyranny.
UCHE UWAEZUOKE OKONKWO holds a PhD degree in History and Strategic Studies from the University of Lagos, Nigeria. He was appointed Associate Professor of History and Diplomatic Studies at the Federal University Wukari, Taraba State, Nigeria and was later appointed Becker Freidman Visiting Senior Research Associate and Scholar in residence at Kelly Centre Harris School of Public Policy at the University of Chicago, USA. He was a Pre-Conference Guest Lecturer at the Centre for Africana Studies 2024 at Marquette University Milwaukee, Wisconsin, USA. He is the author of over 20 books, 100 articles in journals and chapters in book and over 200 conference papers. Uche’s research interest is in the field of Social and Imperial History, an area of study he had acquired expertise in teaching and research at the University of Nigeria, Nsukka. Uche have received travel grants and fellowships to many countries and Universities from esteemed organizations such as the United Nations Environment Programme, Spencer Foundation, Volvo Foundation, University of Bayeruth African Multiple Cluster, the Dutch Foundation for the History of Technology, the Society for the History of Technology in Africa (SHOT) and the University of Lagos Graduate Fellowship.
TABLE OF CONTENTS
Foreword……………………………………………………..I
Acknowledgements…………………………………………….iii
Dedication …………………………………………………..v
Notes on Contributors………………………………………………..vii
Tributes on Ras Kimono…………………………………………………….ix
Preface…………………………………………………….xi
CHAPTER ONE:
Ras Kimono: Background and Career
Uche Uwaezuoke Okonkwo
Ras Kimono: Background and Career…………………………………………………….1
Kimono Revolutionary Songs…………………………………………………….4
References…………………………………………………….10
CHAPTER TWO:
Ras Kimono: Revolutionary Songs for Social Justice and Equality
Duro Oni
The Rise of Ras Kimono and the Fight Against Social Injustice …………………………………………………….12
Conclusion…………………………………………………….16
References…………………………………………………….17
CHAPTER THREE:
Costuming to Express: Exploring Meaning and Identity in Ras Kimono’s Dressings
Cindy Anene Ezeugwu and Godstime I Eze
Factors to Consider in Choosing Stage Costume…………………………………………………….21
Relevance of Costume to Music Performance…………………………………………………….22
An Overview of Reggae Costume…………………………………………………….24
Semiotics of Artist’s Costumes and Accessories…………………………………………………….24
Perspectives on Kimono and his Choice of Costume…………………………………………………….26
Relevance of Costume and Accessories in “UNDER PRESSURE”…………………………………………………….30
Relevance of Costume and Accessories in “Natty Get Jail”…………………………………………………….30
Relevance of Costume and Accessories in
“Gimme Likkle Sugar for me Tea” …………………………………………………….30
Relevance of Costume and Accessories in “Babylon Burning” …………………………………………………….31
Conclusion …………………………………………………….32
References …………………………………………………….34
CHAPTER FOUR:
Reggae Music: Retrospecton the Singing Performance Technique of Ras Kimono
Timothy P.U Nwokolo
African Popular Music/Nigerian Popular Music…………………………………………………….38
Growth and Spread of the Genre …………………………………………………….40
Ras Kimono…………………………………………………….41
The Structure of Reggae Music …………………………………………………….42
Ras Kimono’s Singing Technique …………………………………………………….43
Application of reggae Singing Approach to the
interpretation of Nigerian art Songs …………………………………………………….43
Conclusion …………………………………………………….44
References …………………………………………………….45
CHAPTER FIVE:
The Dialectics of Sociolect and Patois on EndSars Protest: Through the Lens of
Selected Songs of Ras Kimono
Cindy Anene Ezeugwu, Oguejiofor V. Omeje and Uche-Chinemere Nwaozuzu
Sociolect and the Dialectics of Patois…………………………………………………….49
An Overview of Patois and Reggae…………………………………………………….49
Perspectives on the Ideology of Ras Kimono’s Music …………………………………………………….51
An Overview of Some Select Songs of Kimono …………………………………………………….52
Conclusion …………………………………………………….58
References …………………………………………………….59
CHAPTER SIX:
Ras Kimono’s ‘Kill Apartheid’ and the Rise of Xenophobia Against Nigerians in South Africa
Victor Ukaogo
Foreign Landlords and Indigenous Aliens:
The Arrival of Boers to South Africa …………………………………………………….62
Legal Foundations and the Implications of Fighting the Obnoxious Policy…………………………………………………….65
Nigeria and Apartheid Debacle …………………………………………………….67
South Africa and the Rise of Xenophobia: Poor Sense of History or Weak Reciprocal Attitude? …………………………………………………….69
Xenophobia Eruptions in South Africa …………………………………………………….70
Conclusion: Xenophobia and the Paradox of Hate…………………………………………………….72
References…………………………………………………….74
CHAPTER SEVEN:
Ras Kimono and the Structural
Adjustment Programme in Nigeria
Mathias Chukwudi Isiani, Ngozika Anthonia Obi-Ani and Paul Obi-Ani
IMF Policy in Nigeria: Structural Adjustment Program (Sap)…………………………………………………….78
Ras Kimono Lyrics and Structural Adjustment Programme…………………………………………………….86
Conclusion…………………………………………………….89
References…………………………………………………….90
CHAPTER EIGHT:
Pan Africanism and Historical Awareness through the Lens of Ras Kimono: A Neglected Theme in School Curricular in Nigeria
Ngozika Anthonia Obi-Ani, Okwuchukwu Justice Nzubechi
& Uche Uwaezuoke Okonkwo
The African Identity and Pan Africanism …………………………………………………….99
Historical Awareness …………………………………………………….102
Pan Africanism and African Languages…………………………………………………….104
Pan Africanism and the African Diaspora …………………………………………………….106
Pan Africanism through the Lens of Ras Kimono …………………………………………………….107
Conclusion …………………………………………………….111
References …………………………………………………….113
Index…………………………………………………….115