Tag Archives: police brutality

Topeka musician navigates society through lyrics, activism and joy

This article was written by Sam Bailey and originally published on the Kansas Reflector webpage under a Creative Commons license CC BY-NC-ND 4.0.

Marty Hillard appears for a July 12, 2023, recording of the Kansas Reflector podcast in downtown Topeka. (Sherman Smith/Kansas Reflector)

TOPEKA (USA)— Marty Hillard has seen firsthand the ways systemic racism can destroy and consume lives, but the Topeka musician, who writes about resilience and advocacy as he holds a lyrical mirror to the Midwest, is determined to experience joy and help others do the same.

Hillard, director of community engagement at Kansas Children’s Discovery Center in Topeka, has worked in the community to combat police brutality and is a member and lyricist of the hardcore hip-hop trio Ebony Tusks, whose music often speaks on resilience and advocacy.

“Freedom is very important to me; joy is very important to me,” he said during an interview for the Kansas Reflector podcast. “These are things that I’m actively seeking out, despite what I might have experienced in the past, or what I may continue to experience as a Black man in America. I am resolute in finding joy, in as many experiences as possible for all of the years that I was sort of lost in my indignation.”

Through his work at the discovery center, he helps provide children and families learning opportunities through play. One partnership is with the Kansas Department of Corrections: Every few weeks, women who are incarcerated can spend the day and play with their children. Additionally, sensory friendly Sundays allow children on the autism spectrum to experience the center if they are unable to attend during regular hours.

“While the primary goal is for there to be an environment of play where learning can occur, it’s just really exciting to see people engaged in joyful experiences … and ones that they see themselves reflected in,” Hillard said.

Activism against violence

On Sept. 28, 2017, two Topeka police officers shot and killed Dominique White, a Black man. The officers were responding to a report of a disturbance in a park when they confronted White and noticed he had a gun in the pocket of his shorts. The officers shot White in the back as he ran away from them, and the district attorney cleared them of any wrongdoing.

Hillard, who knew members of White’s family, said the community was frustrated with not only White’s death but the level of violence in the city. In 2017, Topeka recorded 29 homicides, breaking the previous record from 1994, according to a Topeka Capital-Journal article.

The list includes homicides that were considered to be justified — such as police shootings.

“A big personal concern is knowing that as much as violence occurs in our society, at the hands of one citizen to another, I think it’s of the same importance that we recognize the violence that’s enacted by our local police department,” he said. “And so I think that’s a big part of why I wanted to get involved.”

From December 2017 through April 2018, Hillard helped organize No Confidence, a series of workshops allowing for members of the community to share their experiences with local law enforcement and give honest feedback.

Growing up in central Topeka, Hillard said he has a personal history of negative interactions with past iterations of the Topeka Police Department. He said being a part of a marginalized group can be all-consuming, but a lot of that has changed for him as he focuses on joy.

“There’s a point where you get exhausted being on fire all the time, being angry and feeling like you have to carry the weight of how you’re being perceived in the world around you,” Hillard said.

Hillard said while he can’t withhold realities of being a Black man in America from his child, he is grateful to be able to raise an emotionally intelligent child who can draw their own conclusions based on observation.

“We are very determined that as much as it’s a priority to want to protect your child’s innocence,” he said, “we also have to equip our child in a way that they can navigate the world as it exists, and they can have a better understanding of not only the world around them, but the world that my wife and I were raised in and the experiences that we’ve had.”

Marty Hillard, director of community engagement at Kansas Children’s Discovery Center and member of Ebony Tusks, uses music to spread messages of activism and resilience. In 2017 and 2018, Hillard worked in the community to try to combat systemic racism after the death of Dominique White. (Sherman Smith/Kansas Reflector)

Reflecting society through music

Hillard and his sister grew up singing songs on the radio and worship songs in church. When he was 11, Hillard and his brother started a rap group, and soon after, Hillard learned how to play guitar and began writing folk music and poetry.

In 2010, Hillard, Daniel Smith and Geese Giesecke formed Ebony Tusks. The hardcore hip-hop group often writes about resilience and activism through the lens of Kansas and Missouri, Hillard said.

Hillard said as a poet and rap writer, what he says is more than just words, so sometimes lyrics take years to write.

“I recognize a deep sense of responsibility to the words that I say,” he said. “And so I just want to make sure that I’m saying things that are really meaningful.”

Hillard said the words in Ebony Tusks songs are not only a reflection of the world around them but themselves, and he hopes that if there’s a message to be found in his lyrics, it’s that “our music becomes a vehicle for people to do that same analysis on themselves.”

Their music is available on Apple, Spotify, YouTube and other streaming platforms.

In April, Hillard’s friend Jeff Ensley, 45, died by suicide. Ensley was an important factor in Hillard pursuing music and a huge positive force in Hillard’s life. Hillard is designing a tattoo for a lyric in the song “You are Invited” by The Dismemberment Plan, a band Ensley showed Hillard a few years before he died.

“The lyric is: ‘You are invited by anyone to do anything. You are invited for all time,’ ” Hillard said. “And as I reflect on his life and the permission that he gave me to be the person that I am today, that lyric has become really important.”

The Kuti Clan Protesting Through Music, And Other Nigerians Who Sang Against Apartheid

Femi and Seun Kuti, have kept Fẹlá’s protest music alive.

Orlando Julias’ band (Nigeria). Image by Steve Terrell, September 26, 2015 (CC BY 2.0)

This article was written by Nwachukwu Egbunike and originally published by Global Voices on 31st of March 2022.


Nigerian musicians have been very vocal about social injustice in the country. The term protest music as a genre, which gained popular cultural validity in the 1970s, has continued to date. These songs fought military dictatorship, apartheid in South Africa, and police brutality, as part of the youth-led #EndSARS protests.

The father of Nigerian protest music

An artistic representation of Fẹlá Aníkúlápò Kútì. Image by Danny PiG uploaded to Flickr on September 11, 2012. (CC BY-SA 2.0)

Fẹlá Aníkúlápò Kútì (1938–1997), the father of protest music in Nigeria, employed his distinctive Afrobeat genre with lyrics that were replete with “sarcastic humor, rebellion against authority, and political consciousness” as a means of fighting social injustice, notes Titilayo Remilekun Osuagwu, a culture scholar in Nigeria’s University of Port Harcourt.

Fẹlá’s genius lied in his conceptualization of the root causes of oppression. That’s why his music has remained — to date — a powerful tool in the “sustenance of ongoing protests,” asserts Olukayode ‘Segun Eesuola, a political science scholar in Nigeria’s University of Lagos. In the course of his over three decades-long musical career, he heightened the political consciousness of generations of Nigerian citizens. However, this attracted brutal visitations from security agents of successive Nigerian governments.

Understandably, most of Fẹlá‘s music was directed against the excesses of successive military governments in the country. Nigeria was under military dictatorship for 29 years (from 1966 to 1979 and 1983 to 1999).

At the time of his death in 1997, Fẹlá fiery musical body of work had earned him a place “in global consciousness as a quintessential ‘political musician,’” asserts Tejumola Olaniyan, professor of African Languages and Literature at the University of Wisconsin-Madison in his seminal book “Arrest the Music! Fela & His rebel art and politics.”

Femi and Seun Kuti, like father like sons

Fẹlá’s two sons, Femi and Seun, have inherited and “carried forward” their father’s passion for social justice through music.

Femi Kuti, performing at Warszawa Cross Culture Festival. Image by Henryk Kotowski via Wikimedia Commons, 25 September 2011 (CC BY-SA 3.0)

Femi Kuti, Fẹlá’s eldest son, is an accomplished Afrobeat musician and saxophonist in his own right. Femi’s songs like “Sorry Sorry“, “What Will Tomorrow Bring” and “’97” — do not spare Nigeria’s corrupt and incompetent rulers. For instance, in “Sorry Sorry”, Femi laments the hypocritical attempt by the ruling elites, who in secret destroy the nation but pretend at finding solutions in public:

“Politicians and soldiers hold meetings/they want to repair our country/ they behave as though/ they don’t know/ that they are the ones who spoilt our country.”

Femi, a multiple Grammy nominee, is as brash and impatient as his late father. In an interview with Vanguard, a Nigeria newspaper, in February 2011, he decimated Nigeria’s corrupt class: “It is very evident that things are very bad in our country; politicians keep stealing money, we don’t have good roads, proper education, and potable water and so on. I can’t accept that. The majority of Nigerians are suffering. I don’t accept this and my father showed us a way to complain through music and that is what I am doing.”

Seun Kuti at the 2008 Marsatac Festival in Marseille, France. Image by Benoît Derrier via Wikimedia Commons (CC BY-SA 2.0).

Fẹlá’s youngest son, Seun Kuti is a musician and social justice advocate. Seun was an active participant in the 2012 #OccupyNigeria protests against the gas price hikes. He was also involved in the 2020 #EndSARS protests.

Seun has been described as the “Prince of Afrobeats,” in the footsteps of his father, the king of Afrobeat. Toyin Falola, Nigerian historian and professor of African Studies further asserts that: “Seun’s alignment did not start recently. He showed an early interest in music, especially the type of music his father sings, and he started to perform alongside Fela and the Egypt 80 band when he was just nine years old. It would not be out of place to call that a prodigious act.”

Nigerian voices against Apartheid in South Africa

Cover of Sonny Okosun’s Vinyl record

Critical music against political leadership was not limited to military dictatorship alone.

Nigerian musicians like Sonny Okosun, Majek Fashek, Onyeka Onwenu — and many others — also protested against apartheid in South Africa, calling for the release of Nelson Mandela.

Sonny Okosun (1947—2008), Nigeria’s highlife and reggae star, in “Papa’s Land” (1977) and “Fire in Soweto” (1978) condemned the suppression of black South Africans by their apartheid governments.

Following in Okosun’s footsteps was Nigeria’s guitarist and reggae star, Majek (Majekodunmi) Fashek (1963-2020) dedicated his song “Free Africa, Free Mandela” to South Africa’s Nelson Mandela, whom he described as a prisoner of conscience.

Onyeka Onwenu (Image credit from Onyeka Onwenu Facebook Fan Club)

However, one of the most endearing and emotional protest renditions against apartheid came from Nigeria’s singer, actress, and journalist Onyeka Onwenu in her song, “Winnie Mandela.” Onwenu described Winnie Mandela as the “soul of a nation, fighting to be free!”

Onwenu explained that she wrote the song after watching a documentary about the Mandelas, which moved her to tears. She “identified” with Winnie’s “loneliness and some of her pain.” During the sleepless night that followed, the Nigerian musician put her “pain to a song” to “give something back to Winnie for the sacrifice of her life to the Apartheid struggle,” Onwenu wrote in April 2018.

Other Nigerians who sang against the social injustice of apartheid were Victor Essiet and the Mandators in the song “Apartheid.”


Banned Songs From Nigeria And Uganda Which Represent The Voices Of The People

These songs challenged governments and oppression alike

Fela Kuti Birthday Tribute” Image by Lucy Anne, October 15, 2010 (CC BY-ND 2.0).

This article was originally published by Global Voices on 21st of March 2022 and is republished here with permission of the authors, Richard Wanjohi and Nwachukwu Egbunike.


A little over 6o years ago, African states gained independence from their colonial masters. It was assumed the wind of change would bring with it a new sense of nationalism, common good, and identity. However many of the heads of state and governments almost immediately broke their promise to promote a different form of governance.

Music has always been integral to Africa’s liberation and freedom struggles. In South Africa, anti-apartheid music faced significant censorship Similarly, in Nigeria, musicians stood in solidarity with South Africans, calling for the release of Nelson Mandela or calling out police brutality, while being the voices of protests. These African musicians felt they could not go on dancing when everything around them was not worth celebrating.

They felt a responsibility to use their voice to speak to the times they were living. In the same vein, many countries found their voices with popular groups and musicians, though initially accepted by the authorities, they ended up being sanctioned and/or banned altogether.

In this two-part series, we go into the history of various musicians around the continent whose music was deemed too political and explore why their music was considered so ‘dangerous’ by their governments.

Nigeria

In his lifetime, the late Afrobeat legend, Fẹlá Aníkúlápò Kútì witnessed quite a number of sanctions, court cases, police brutality, and a radio ban on his revolutionary music. Despite the state pressure, he never ceased to dish out the melodies that many Nigerians and Africans all over the world relate to.

In the then military era of Nigeria, it was forbidden for any radio station to play Kútì’s songs and any citizen seen associating with the revolutionary musician either in person or through his songs was deemed an enemy of the state. Once upon a time, Fẹlá’s residence, in Lagos, Nigeria’s commercial capital, known as the Kalakuta Republic was attacked by a thousand soldiers, who committed various wicked acts like raping, stealing, and beating citizens. During the assault, his elderly mother was thrown from a tall building, an incident that led to a broken leg and eventually her death. After that military invasion of his house, Fẹlá released “Zombie” and “Unknown Soldier” in 1981, both songs, dedicated to the soldiers that invaded his house. 

An artistic representation of Fẹlá Aníkúlápò Kútì. Image by Danny PiG uploaded to Flickr on September 11, 2012. (CC BY-SA 2.0)

In 2004, former Nigerian president, Olúṣẹ́gun Ọbasanjọ́ banned the popular themed song of the poverty-stricken nation titled “Jàgà-jágá.” In Jàgà-jágá, a song that went viral even outside Nigeria, Eedris Abdulkareem sang in anger, lamenting the state of the suffering of Nigerians and also the social ills that ensued as a means of survival in the face of abject poverty. The controversial album led to the ban of the song on radio and television, it secured him an invitation to the presidential villa (Aso Rock) in the Federal Capital Territory where the president warned him to desist from releasing songs that ridicule the country and place it in a bad light to the outside world. The artist remained obstinate and aired the president’s request in another song titled “Letter to Mr. President” released the following year.  

Uganda

In 2017, Robert Kyagulanyi Ssentamu also known as Bobi Wine while serving as a Member of Parliament in Uganda’s Parliament released a song titled “Freedom.” Using his platform as a local leader and influence among the urban youth in the country, Bobi’s song sought to address the country’s challenges of overstaying leaders. He mentioned Uganda’s Bush War of the 1980s that saw current president Yoweri Museveni oust Milton Obote. He asked why Museveni is practicing what he fought against — comparing the current government to slavery and the tension to South Africa’s apartheid system.

Bobi Wine by Mbowasport is licensed under CC BY-SA 4.0 

Bobi also questioned the purpose of the Ugandan constitution which he calls the country’s last hope. He mentioned the lack of freedom of expression in the country, urging Ugandans to speak up against injustice with freedom being for all — regardless of age, social class, religion, or education.

One of his more popular songs, “Ghetto,” talks about police brutality against people residing in the slums of Kampala and the inadequate services delivered to them. In April 2019, Bobi Wine under went house arrest, and during this time, he composed another multilingual song about police brutality entitled “Afande,” a Swahili word for an officer.

Since 2018, some of his songs have been banned from being performed, or even played on-air, as state functionaries believed he would use his music for political and promotional purposes. Shortly thereafter, he declared his interest in running for the country’s presidency in elections that took place in early 2021.

Joining him in the elections circuit was another popular musician Joseph Mayanja also known as Jose Chameleone. His entry into politics by declaring his candidacy for the mayoral position of Kampala, saw his concerts canceled. In 2016, the artist turned politician assaulted a journalist and DJ resulting in his music being banned by Trace TV, a French-based music TV channel that airs music across the globe.

Please see part two of this series here.

Find Global Voice’s Spotify playlist highlighting these and other banned songs from around the world here. For more information about banned music, see our special coverage, Striking the Wrong Notes.