The Role of Popular Music in Nigeria’s Democratic Struggles-Mopelolade Ogunbowale

In Nigeria, where political instability and military rule were long-standing challenges, music has often served as a potent tool for social change.

While Fela Kuti’s Afrobeat is widely recognized for its role in resisting dictatorship, the contributions of reggae and dancehall music to Nigeria’s democratic struggles remain largely overlooked.

Dr. Mopelolade Ogunbowale, an Assistant Professor at the University at Buffalo specializing in African Popular Music Studies, is revisiting this lesser-known history through her research on reggae and dancehall music from Ajegunle, a prominent slum in Lagos.

In this interview, Dr. Ogunbowale sheds light on her research and how popular music contributes to conversations around democracy in Nigeria.

 
Could you tell us about your journey to becoming a popular music scholar in the United States?

My passion for academia began in my childhood, growing up in Nigeria. My father, a university lecturer, was an avid reader and music lover, and he introduced me to a wide variety of music, from Fela Kuti to Bob Marley and James Brown, when I was as young as 11.

At that time, I didn’t think I would become a music scholar. I simply loved the rhythm and messages in the music, and I would often use my knowledge of global music to assert my feminist ideals and challenge patriarchal norms.

It wasn’t until graduate school in Canada that my interest in music research really took hold. During my studies, I encountered many narratives portraying African urban slums as sites of poverty and decay, with no consideration of their creative and cultural contributions.

Having grown up visiting Ajegunle, where some of Nigeria’s most legendary musicians come from, I was determined to push back against these stereotypes.

My master’s thesis focused on the music industry in Ajegunle, and since then, I have dedicated my career to documenting the stories of music-makers from Nigeria’s urban poor neighborhoods.

Can you tell us more about your current book project?

My forthcoming book, The Spirit is the Music: Creativity, Power, and Resistance in Nigerian Reggae-Dancehall Music, delves into the socio-political activism, transnational influences, and gender resistance within reggae and dancehall music in Ajegunle.

I’ve spent years conducting oral interviews, reviewing archival sources, and mapping the history of this music against the backdrop of military rule, economic recessions, and popular music revolutions in Nigeria.

What I’ve found is that Ajegunle’s music scene didn’t just serve as entertainment; it was a powerful commentary on the nation’s struggles—whether it was military dictatorship, economic hardship, or social marginalization.

Reggae and dancehall from Ajegunle became a platform for challenging the status quo, with musicians drawing inspiration from Black youth movements in Jamaica and London.

This book will be the first comprehensive study of reggae and dancehall in Nigeria, and it sheds light on how marginalized communities use music as a means of resistance and nation-building.

How does your research show the role of reggae and dancehall in Nigeria’s civil rights organizing, particularly during the 1980s?

When people talk about music and democracy in Nigeria, FelaKuti’s Afrobeat often dominates the conversation. Fela’s music, of course, was groundbreaking in resisting military dictatorship and neocolonialism.

However, during that same period, a vibrant reggae and later dancehall scene was emerging in Lagos, particularly in Ajegunle.

Musicians from this community, like Majek Fashek, RasKimono, and The Mandators, used their music to challenge not only local political oppression but also global injustices like apartheid and racism.

These artists were inspired by pan-African liberation politics and Rastafarian theology, which fueled their covert resistance against the dictatorial regime in Nigeria.

Later generations of Ajegunle musicians, such as Daddy Showkey, African China, and Oritsefemi, focused more on the socio-economic and environmental struggles of their communities, using their music to demand the benefits of democracy for Nigeria’s urban poor.

What challenges did you face while conducting research among reggae and dancehall musicians in Lagos?

Conducting research as an outsider always comes with challenges, but I had a positive experience in Ajegunle.

Once I built trust with the community, they welcomed me, and many of the musicians became my teachers, guiding me through their music, struggles, and stories. Gaining their trust took time, but it was worth it because I learned so much from them.

It was truly a life-changing experience, and it’s deepened my interest in continuing this type of research.

Afrobeats is currently dominating global music charts. Do you think it can have the same political impact as reggae and dancehall did in the past?

I love Afrobeats, not just as a scholar but as a fan. I’ve witnessed its rise and global dominance, but I think Afrobeatsdiffers from reggae and dancehall in its political approach. While reggae and dancehall artists were deeply invested in resistance and socially conscious music, Afrobeats tends to focus more on feel-good vibes.

As Tems said, Afrobeats can serve as an escape from Nigeria’s harsh realities. It doesn’t engage with politics directly, but rather reflects the rhythms of street life and cosmopolitanism.

That said, Afrobeats is still significant in its own way. We’ve seen its presence in youth-led protest movements like End SARS, but its impact is more subtle. It’s providing jobs, attracting foreign investment, and offering new opportunities for Nigerian youth, which is a form of liberation in itself.

How do you hope your research will influence political conversations in Nigeria?

My work aims to show that democratic consolidation can come from the grassroots. Musicians from urban poor communities like Ajegunle are actively contributing to this process through their music.

By documenting their stories, I hope to rewrite Nigeria’s political history from the perspective of popular music and show the world that these musicians are important agents of change.

 
Through her groundbreaking research, Dr. MopeloladeOgunbowale is uncovering the untold stories of Nigeria’s reggae and dancehall movements, positioning music as a key player in the country’s ongoing journey toward democracy.

Her work not only reshapes our understanding of Nigeria’s musical history but also highlights the power of marginalized communities to influence nation-building through creativity and resistance.