In recent times, there’s been a lot of controversy around the Fuji style of music in the gospel scene. Most religious gatherings, especially of the Christian faith, have a certain way of expressing their worship and praise to God, which is quiet or can be very conservative (depending on the influence of that environment).
Even though this genre was quickly embraced in a sect of Nigeria because of the influence of culture at its outset, some people believe the extremism of this genre have caused disorderliness for the core essence of the Christian faith, hence, the rebuttal to stop this genre. But the question is “will Fuji go into extinction because of these?”
Actually, Fuji music is a genre that is deeply rooted in Yoruba culture. It emerged in Nigeria during the 1960s. According to historical records, it originated from the improvisational wéré music performed to awaken Muslims before dawn during Ramadan. Fuji has evolved to incorporate elements from sákárà, highlife, and other Yoruba musical traditions. Characterized by its energetic beats, diverse percussion instruments like the dùndún and gángàn, and call-and-response vocals, Fuji has been a staple in Nigerian music for decades.
However, in the gospel industry, Fuji has found a unique expression, blending its rhythmic intensity with messages of faith and spirituality. Artists like Testimony Jaga have been at the forefront of this fusion, delivering gospel messages through the vibrant lens of Fuji music. His work exemplifies how Fuji’s traditional elements can be adapted to contemporary gospel themes, resonating with both older and younger audiences.
As said earlier, concerns have been raised about Fuji music’s relevance in today’s rapidly evolving music landscape, despite its rich heritage. The rise of Afrobeats and other modern genres has shifted mainstream attention, leading some to question whether Fuji, especially within the gospel sector, might face extinction. For example, Mike Abdul used to be a great fuji gospel singer, but in the last few years has been tilted towards afro-gospel songs and beat.
However, let’s see what the following factors suggest about the Fuji gospel music (whether it is on the brink of extinction or instead, undergoing a transformation):
- Adaptation by Contemporary Artists: Artists like Testimony Jaga are not only preserving Fuji’s core elements but are also innovating by integrating modern sounds and production techniques. This approach ensures that Fuji remains relevant to younger audiences while retaining its traditional essence.
- Cultural Significance: Fuji music is more than just a genre; it’s a cultural expression of the Yoruba people. So, this implies that Fuji music and Yorubas are inseparable. Its themes often touch on societal issues, morality, and spirituality, making it a powerful medium for gospel messages. This cultural depth provides a foundation that newer genres may lack, offering a unique space for Fuji in the gospel industry. Artists like Yinka Alaseyori are hugely contributing their impact to this.
- Live Performances and Community Engagement: Fuji’s energetic and interactive nature makes it ideal for live performances, which are central to many religious gatherings and events, and so, the communal experience of Fuji gospel music fosters a sense of unity and shared spirituality — even aspects that are irreplaceable by studio-produced tracks alone.
This is why even nonbelievers of the Christian faith find our songs relatable. How transformative that can be, is now dependent on the relationship between God and whoever the singer is, such that the seemingly exciting currency can be converted to an actual profit for the Kingdom.
- Mentorship and Legacy: Veteran Fuji artists continue to mentor emerging talents, ensuring the transmission of skills and knowledge. This mentorship cultivates a new generation of Fuji gospel musicians who are equipped to innovate while honoring tradition. We can see this kind of relationship between Alaseyori and other bands coming after her.
In conclusion, while Fuji gospel music faces challenges in a dynamic musical environment, its deep cultural roots, adaptability, and the passion of its artists and audiences suggest that it is not heading towards extinction. Instead, it is evolving, finding new expressions and audiences, and continuing to enrich the gospel music landscape with its distinctive rhythms and messages.
But we’d like to hear from you as well. What do you think about the Fuji music style going into extinction?
