Though African music is primarily rooted in rhythms and polyrhythms, it also serves a purpose beyond entertainment. In addition to being a vehicle for oral traditions, African music has historically acted as a rallying cry for political change, social justice, and cultural identity throughout the continent.

In scenarios where the media is weak and the opposition party is frail, music has served as the voice of the voiceless, offering subtle and sometimes daring, avenues for expression.

From the griots who preserve the history marches of our forefathers, to the soulful Aluta ballads of Miriam Makeba to the fiery Afrobeat anthems of Fela Kuti, music in Africa is an indispensable tool for inspiring and provoking social and political consciousness.

During Africa’s anti-colonial movements, music became a weapon of resistance and a means to push reforms. In Guinea, the nation’s first president, Ahmed Sékou Touré, post-independence reforms rejected foreign music influences. To rejuvenate the nation’s traditional art, instill national pride, and strip the country of all Western influence, music groups that played imported dance styles were disbanded. Furthermore, radio stations were banned from playing Western music.

Similarly, in Zimbabwe, Thomas Mapfumo revolutionized local music by creating Chimurenga music which translates to struggle. This genre, adapted from the Shona mbira rhythms with its politically charged lyrics, became the soundtrack of Zimbabwe’s liberation movement.

Across various countries, popular music genres have emerged as a response to the difficult social and political climates.

For instance, Afrobeat, which originated in Nigeria, was born out of Fela’s contempt for corruption. The lyrics of the music genre—a blend of jazz, funk, highlife, and traditional rhythms—were used to address issues like military oppression, social injustice, poverty, and government corruption.

Similarly, Egyptian Mahraganat, while not primarily created to address political issues, became a powerful tool of expression during the 2011 Egyptian revolution. Artists in this genre began composing lyrics that reflected the political turmoil and rising police brutality.

In Liberia, Hipco and Trapco—often performed in English and kolokwa slang—address issues of bad governance, human rights violations, and the aftermath of the civil war.

Meanwhile, in South Africa, music played a vital role in the struggle against apartheid. Artists like Hugh Masekela and Miriam Makeba used their music to speak out against the oppressive apartheid regime and inspire people to take action. In Miriam Makeba’s song Aluta Continua (1990), she urges freedom fighters not to stop fighting for the liberation of their people with the line, ‘My people, my people, open your eyes, and answer the call of the drum.’ Also, Masekela’s song “Bring Him Back Home” became a rallying cry for the anti-apartheid movement.

These and many other examples reveal the relationship between African music and politics. It also demonstrates African musician’s effort to constantly use their platform to amplify political messages and challenge oppression, inspiring their followers to do the same.

As we grow politically as a continent, so does our music. Music and song will not bring freedom in and of themselves. They are not a substitute for mobilization to fight for freedom but only serve to cultivate a ready ground. So as we look to the future, it's clear that music will continue to play a role in shaping the continent’s political landscape, because in Fela Kuti’s words, Music is the weapon of the future.

The cover blog art for the blog post titled African Music as a Political Voice

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