Oklahoma Doings! “I’m not your mate”: The politics of seniority in Fuji – By Saheed Aderinto

On Tuesday, “The Fuji Documentary” launched the new Global Africa Lecture Series at Oklahoma State University. In addition to screening the documentary, I used the occasion to reflect on the big question of what constitutes history and who has the right to narrate certain narratives.

In late 2024, a major crisis erupted in the Nigerian entertainment industry when Fujician Taye Currency claimed that Alabi Pasuma used to copy Abass Akande Obesere before he established his own distinct style. For Pasuma and his fans, this “revelation” is not only historically inaccurate, but a disrespect from Taye Currency, who rose to stardom on Pasuma’s back. For Obesere’s followers, the narrative is another reason their musical idol is a legend.

Yam pepper scatter scatter. Digital and real vahulence emerged. What began as a historical narrative derailed into a massive fracas. Friends and foes seized the opportunity to pursue their own interest. Taye Currency was forced to eat his own words when an “ordinary” story almost claimed him.

One would ask: if these artists are already successful, why should they care about events dating to the 1980s. For Fujicians, the past is not even past, not simply because of the common fact that the present is the product of the past, but also because the past legitimizes the present. The legitimacy value of the past could “weaponizes facts” and turn story telling into a war of supremacy. Because history and emotions are inseparable, any attempt to recount the past could evoke ambivalent emotive feelings.

This fracas compels me to reflect over how communities, like Fuji, define history, who has the right to tell certain stories, and the utility of history. In Fuji, not everyone is eligible to recount the past, not necessarily because they don’t have gerontocratic credibility or didn’t witness events, but because they lack the seniority legitimacy, which is determined by when an artist produced their first album/record. In Fuji, seniority translates to artistic superiority. Thus, to assign seniority is to accept or contest superiority.

Albums codify style and the emergence of a distinct innovation. Yet, from science to popular music, all inventions previously relied on existing forms at some point. They all copied from older forms before creating their own distinct style. How much credit should be given to pre-invention narrative and who has the right to recount the past is a big question in a neoliberal popular music economy where history empowers competition for material gains.

I’m grateful to Dr. Taiwo Bello for inviting me to Oklahoma State University, and making sure, with the help of his lovely family, that I ate a lot of amala. I thank colleagues and students for engaging the film and my lecture.

Yours Sincerely in Fuji:
Ìsòlá awón bí ogbón
The Okà ò sò’fò of Ibadanland

–Aderinto is a Professor of History and African and African Diaspora Studies, Florida International University.