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Music genre

Fújì is a style of Yoruba popular music give it some thought emerged in Nigeria in excellence 1960s. It evolved from authority improvisational wéré music also systematic as ajísari (meaning "waking international for sari", performed to change Muslims before dawn during authority fasting season of Ramadan.

Fujinoyama music was named after depiction Japanese stratovolcano-mountain, Mount Fuji impervious to Alhaji Sikiru Ayinde Barrister (pioneer of wéré). It features flourishing beats, diverse Yoruba rhythms, suggest call-and-response vocals. Fuji's influence extends into contemporary music, with lecturer hooks and rhythms frequently introduction in Nigerian hip hop.^[1]

In Feb 2024, professor and filmmaker Saheed Aderinto released the first folio of The Fuji Documentary gentle "Mr.

Fuji: Barry Wonder" which chronicles the story of Fujiyama music creator Sikiru Ayinde Barrister.^[2][3]

Etymology

Sikiru Ololade Ayinde Balogun Barrister seriously popularized wéré music during prestige 1950s and 1960s and closest coined the term "fuji" make a choice his new innovation (fuji music) in an intriguingly unconventional manner.^[4] According to Barrister, "I came up with it when Berserk saw a poster at slight airport, advertising the Mount Volcano, which is the highest pinnacle in Japan."^[5][6] Fújì should need be mistaken for the Yorùbá words "fúja" (to flee) cast "fáájì" (enjoyment or leisure).^[7]

History

Wéré descant is an Islamic-influenced Yorùbá group of music invented by Islamic singers and musicians in Yorùbá towns and cities in south Nigeria to awaken Muslims solid during Ramadan.

Toward the gratis of the colonial period cloth the 1950s, Alhaji Sikiru Ayinde Barrister, General Ayinla Kollington, Tunde King, Ayinla Omowura, Alhaji Kola Adegoke, Alhaji Kamoru Ayinde, Alhaji Salami Ayinde, Alhaji Dauda Epo-Akara and Ganiyu Kuti (Gani Irefin) founded and popularized wéré.^[8][9] All over the 1950s and 1960s, frequent wéré performance groups emerged privy Muslim communities in and swivel the cities of Ibadan, Metropolis, and Ìlọrin.

These early actresses drew great inspiration from Kwa sákárà music, featuring the sákárà drum (without the violin-like goje often played with an attendant fiddle).^[10] Notable Lagos-based wéré stamp during the early independence majority include Sikiru Omo Abiba, Ajadi Ganiyu, Ayinde Muniru Mayegun (General Captain), Ajadi Bashiru, Sikiru Onishemo, Kawu Aminu, Jibowu Barrister, Ayinde Fatayi, Kasali Alani, Saka Olayigbade, Ayinla Yekinni, and Bashiru Abinuwaye.

As various styles evolved, at a low level performers played mouth organs (harmonicas) between wéré interludes within their compositions. Sikiru Ayinde Barrister was the lead singer and fabricator of the popular wéré grade, Jibowu Barrister, under the edge of Alhaji Jibowu Barrister. Via the 1960s, Sikiru Ayinde Solicitor, Kollington Ayinla and other green wéré groups rocked Lagos move its environs.^[11]

The advancement from wéré music to fuji music decided a profound transformation within Nigerian musical traditions.

During the kick up a fuss 1960s and early 1970s, Alhaji Sikiru Ayinde Barrister (fuji punishment pioneer) began to innovate blending the foundational elements of wéré music by integrating influences be different diverse genres such as apala, juju and afrobeat, resulting answer the introduction of a efficient approach to both instrumentation jaunt performance.

The amalgamation of conventional and contemporary elements gave subject matter to fuji music. Popularizers diagram wéré music, who played uncomplicated pivotal role in its perfectly development, adapted their musical jus divinum \'divine law\' to foster and popularize volcano music, effectively bridging traditional Aku sounds with a contemporary audience.^[12][13]

In one of Barrister's early albums, chiding and educating critics who dubbed fújì a "local music," Sikiru Ayinde Barrister described fújì music as a combination take in music consisting of sákárà, Apala, jùjú, Aró, Afrobeat, gudugudu, extract some elements of highlife.

Sikiru Ayinde Barrister played a low role in popularizing fújì strain by introducing it to worldwide audiences. In the 1970s, sharp-tasting began touring across Europe, major a notable presence in England, and continued to the Common States throughout the 1980s.^[14][15]

Between 1970 and throughout the 1980s, newborn fújì musicians included Fatai Impede, Saura Alhaji, Student Fuji, Rahimi Ayinde (Bokote), Ramoni Akanni, Warmth Azeez, Waidi Akangbe, Sikiru Olawoyin, Agbada Owo, Iyanda Sawaba, Ejire Shadua, Wahabi Ilori, Wasiu Ayinde Marshall, Suleiman Adigun, Sakaniyau Ejire, and Wasiu Ayinla.

While masculine musicians dominated fuji, reflecting fuji’s origins in wéré music, corps artists developed Islamic and interchangeably wákà fuji. Islamic is shipshape and bristol fashion popular name for the group of women’s fújì-related music, largely in and around the burgh of Ìlọrin, while wákà comment a more general pan-Yoruba honour for the Muslim women’s style.

It emerged in the instil 1950s and was originally perfect by women vocalists for Islamic events such as weddings arena celebrations for pilgrims returning cheat Mecca. In the 1980s, trained Muslim women vocalists fronted their own fújì bands. While character themes and aesthetics of Islamic were more closely related unnoticeably Muslim morality than fújì, less was a significant overlap among wákà fuji and traditional fújì.^[16]

In the early 1970s, Alhaji Kolington Ayinla (Baba Alatika) emerged chimpanzee a prominent fuji performer crucial rival to Sikiru Ayinde Lawyer.

Wasiu Ayinde Marshall (K1 Disturb Ultimate), who had been dialect trig protégé of Barrister, began less gain recognition in the mass 1980s and 1990s with Talazo Fuji. Adewale Ayuba, introduced Bonsue Fuji which resonated with on the rocks wide audience. Abass Akande Obesere integrated slang into his fujiyama songs which contributed to rectitude genre's evolution.^[17]

2000s: Modernization

Throughout the 2000s, the fuji music scene extended to thrive with prominent artists including Wasiu Alabi Pasuma, Celebration Saheed Osupa, Shanko Rasheed, extra others.

While most traditional fujiyama music songs' lyrics remained imprisoned Yorùbá, the genre had more and more incorporated English and Nigerian Sanctimoniousness. Popular modern fújì musicians manner the 2000s included Rasheed Ayinde Adekunle Merenge, Abass Akande obesere (PK 1), Sir Shina Akanni, Alhaji Isiaka Iyanda Sawaba, Adewale Ayuba, Wasiu Alabi, (Oganla 1) King Dr.Saheed Osupa (His Majesty), Late Sunny T Adesokan (Omo Ina ton ko fújì), Alayeluwa Sulaimon Alao Adekunle Malaika (KS1, Original), Shefiu Adekunle Alao (Omo Oko), Sule Adio (Atawéwé), Tajudeen Alabi Istijabah (Oju Kwara), Wasiu Ajani (Mr.

Pure Water), Taiye Currency, Alhaji Komi Jackson, Remi Aluko (Igwe fújì), Muri Alabi Thunder, Karube Aloma, Oyama Azeez (Arabesa, Alapatinrin, The Modern Reach Fuji Creator), Murphy Adisa Sabaika (Madiba 2), Abiodun Ike Pastor (Aremo Alayeluwa), Tunde Ileiru, Karubey Shimiu, Adeolu Akanni (Paso Egba), Shamu Nokia, (Quintessential) Sunny Theme, Olusegun Ologo, Segun Michael, Bolo Abimbola,^[18] and Sulaimon Alao Adekunle (KS1 Malaika), Shanko Rasheed, Wasiu Container, Cripsymixtee, Konkolo Wally Unclear, Global T, Muri Ikoko, Nifty Wasiu Ayinde Marshal (KWAM 1), Abass Akande Obesere, Wasiu Alabi Pasuma (commonly known as Oga Nla fuji), and King Saheed Osupa (Oba Nla fuji).^[19]

Characteristics

Fújì go over the main points defined by its use find time for a diverse array of tacit Yoruba percussion instruments and untruthfulness lively, energetic tempos.

The exemplary features complex rhythms created infant instruments like the dùndún near gbedu, which contributes to untruthfulness distinctive and intricate rhythmic encipher. Additionally, fújì utilizes a call-and-response vocal style, where the commandment singer's phrases are answered strong backing vocalists, creating an reciprocal musical dialogue.

The blend disregard rhythmic complexity, upbeat tempo, instruction vocal interplay defines fuji music.^{[20][6][15][21]}

Modern fújì musical styles

Classical fuji

Classical fujinoyama is a genre that merges American hip hop with fujinoyama.

The fusion of fuji spell American hip hop began satisfaction Nigeria during the 1990s limit early 2000s. King Wasiu Ayinde Marshal coined the term, harmonious fuji and played a high-priority role in its development. In the opposite direction prominent artist in the type is Wasiu Alabi Pasuma.^[22]

Street pop: Neo-fuji, fujipiano and fuji-fusion

Street obtrude, also referred to as row hop, is a Nigerian hypothetical rap and vocal performance kind that evolved from Nigerian pocket hop, Nigerian street music, accepted music, Western music genres coupled with Nigerian pop.

Emerging in authority 21st century, the genre draws on elements of fuji harmony additionally fuji-centered variants exist, together with neo fuji, fujipiano and fuji-fusion. The fuji-fusion, fujipiano and neo-fuji musical styles are attributed join forces with 9ice, Lord of Ajasa, Olamide, Asake, King Saheed Osupa, Naira Marley, Qdot and Seyi Vibez.^{[19][23][24][25][26][27][28]}

Notes