A Nigerian filmmaker based in the United States, Saheed Aderinto, who also teaches History and African Diaspora Studies, has launched the second installment of the Fuji documentary series titled ‘Women of Fuji’ in Lagos.
The premiere event was held on March 8, coinciding with International Women’s Day, at the J. Randle Center for Yoruba Culture and History located at Onikan Roundabout, Lagos Island.
This second episode follows the initial launch in February 2024, which centered around the late Fuji music icon, Sikiru Ayinde Barrister.
Filming for the documentary took place in various locations, including Nigeria, the United States, London, Belgium, Ghana, and Italy, with the Lagos premiere highlighting its significance.
During the launch, Aderinto, who is both the producer and director, discussed the documentary's role in connecting modern society with the roots of the Fuji music genre.
He remarked, “We need a space where scholars, artists, and students can gather to reflect on the essence of this civilization. Fuji music has a rich and relatively respectable history.”
The documentary’s materials were sourced from Nigeria’s leading radio stations and libraries, aiming to underscore the presence and creativity of women musicians in Fuji music.
A notable contributor to the documentary, Apeke Ajobata, who received a 'Distinguished Entertainer Award' at the event, emphasized the importance of acknowledging women's capabilities in the Fuji music industry.
Ajobata, known as a Yoruba chanter, encouraged women to persist in their endeavors and seize opportunities to excel.
She expressed, “They will be delighted to know their efforts are recognized, and their journeys are still acknowledged, ensuring that women remain active in the Fuji scene.”
Another veteran in the industry, Bukola Amoke, popularly referred to as Bukola Omo Daddy, expressed her enthusiasm about the documentary's impact in motivating more women to enter Fuji while honoring those already established.
The documentary investigates the hurdles women have faced before and during their involvement in Fuji music, such as societal stigma, harmful stereotypes branding female performers as prostitutes, marital pressures, and sexual harassment.
It illustrates how many pioneering women transitioned from Waka and Awurebe music to Fuji during the 1970s and 1980s, highlighting individuals like Mutiat Amope, who integrated various Fuji instruments and established the Iganmode record label as the first female Fuji artist to do so.
The film further highlights the significant role that women play in the financial success of male Fuji artists, noting that female attendees often provide monetary support during performances, earning recognition and praise in the process.
Prominent female figures such as Bolajoko Kadiri, Asake Cotonou, and Sariyu Cooper are acknowledged for their influence on the Fuji music landscape. The documentary portrays the active engagement of many Nigerian women abroad, especially in the United States, who support Fuji artists.
Additionally, it points out that women have contributed important roles beyond singing within the Fuji space, including establishing businesses like lounges and restaurants that host Fuji performances.
Women are also recognized as custodians of ‘oríkì’ (Yoruba praise poetry), an art form many Fuji artists utilize to honor and celebrate their patrons during performances.
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