Fuji music

2025-07-27T20:21:04Z

94.157.51.49:

{{Short description|Music genre}}
{{Infobox music genre
| name = Fuji
| stylistic_origins = {{hlist|[[Were music| Wéré music]]|[[sakara music|sákárà music]]|[[highlife]]|[[yoruba music]]| aró music}}
| cultural_origins = 1960s, [[Lagos]], [[Nigeria]]
| instruments = {{hlist|[[Gudugudu]]|[[talking drum|dùndún]]|[[congas]]|[[vocals]]|[[sekere|ṣẹ̀kẹ̀rẹ̀]]|[[agogô]]|[[bongos]]|[[guitar]]|[[Electronic keyboard|keyboard]]|[[bass guitar]]|[[talking drum|gángàn]]|[[Batá drum|batá]]|[[gbedu]]| aró drum| aró cymbal}}
| derivatives =
| subgenrelist =
| subgenres = {{hlist|Afro-Fuji|Bonsue Fuji|Fancy Fuji| Funk Fuji|Merengue Fuji| Okhlahama Fuji| Pata Olokun Fuji| Talazo Fuji| Wákà Fuji}}
| fusiongenres = {{hlist|Classical Fuji|Fuji Fusion| Fujipiano| Fuji Reggae|Neo-Fuji}}
| regional_scenes = Nigeria
| other_topics = [[Apala]]
}}

'''Fújì''' is a genre of [[Yoruba people|Yoruba]] popular music that emerged in [[Nigeria]] in the 1960s. It evolved from the improvisational [[Were music|wéré music]] also known as ajísari (meaning "waking up for [[Suhur|sari]]", performed to awaken [[Muslims]] before [[dawn]] during the [[Fasting in Islam|fasting]] season of [[Ramadan]]. Fuji music was named after the Japanese [[stratovolcano]]-mountain, [[Mount Fuji]] by [[Ayinde Barrister|Alhaji Sikiru Ayinde Barrister]] (pioneer of Fuji). It features energetic beats, diverse Yoruba rhythms, and [[Call and response|call-and-response]] vocals. Fuji's influence extends into contemporary music, with its hooks and rhythms frequently appearing in [[Nigerian hip hop]].<ref>{{Cite web |date=2023-01-12 |title=The birth of fuji fantasia (1/3) |url=https://pan-african-music.com/en/the-birth-of-fuji-fantasia/ |access-date=2024-12-23 |website=PAM - Pan African Music |language=en-US}}</ref>

In February 2024, professor and filmmaker [[Saheed Aderinto]] released the first episode of [[The Fuji Documentary]] titled "Mr. Fuji: Barry Wonder" which chronicles the story of Fuji music creator [[Sikiru Ayinde Barrister]].<ref>{{Cite web |last=Aderinto |first=Saheed |date=2024-04-01 |title=Fuji music in Nigeria: new documentary shines light on a popular African culture |url=https://theconversation.com/fuji-music-in-nigeria-new-documentary-shines-light-on-a-popular-african-culture-224976 |access-date=2024-12-23 |website=The Conversation |language=en-US}}</ref><ref>{{Cite web |last=Online |first=Tribune |date=2024-02-03 |title=Sikiru Ayinde Barrister's fans hold BarriFest 2024 in Ibadan |url=https://tribuneonlineng.com/sikiru-ayinde-barristers-fans-hold-barrifest-2024-in-ibadan/#google_vignette |access-date=2024-12-23 |website=Tribune Online |language=en-GB}}</ref>

== Etymology ==
Sikiru Ololade Ayinde Balogun Barrister significantly popularized wéré music during the 1950s and 1960s and later coined the term "fuji" for his new innovation (fuji music) in an intriguingly unconventional manner.<ref>{{Cite book |last=Klein |first=Debra |title="Fuji" in Continuum encyclopedia of popular music of the world |publisher=Bloomsbury Academic |others=Shepherd, John, 1947- |year=2019 |isbn=978-0-8264-6321-0 |location=London |pages=145–151 |oclc=50235133}}</ref> According to Barrister, "I came up with it when I saw a poster at an airport, advertising the Mount Fuji, which is the highest peak in Japan."<ref>{{Cite book |last=LLC |first=SPIN Media |url=https://books.google.com/books?id=wbkGT02oWs4C&dq=fuji+mountain+Japan+Barrister&pg=PA82 |title=SPIN |publisher=SPIN Media LLC |publication-date=1991 |page=82 |language=en |access-date=2024-08-10 |archive-date=2024-08-11 |archive-url=https://web.archive.org/web/20240811153121/https://books.google.co.za/books?id=wbkGT02oWs4C&pg=PA82&dq=fuji+mountain+Japan+Barrister&hl=en&sa=X&ved=2ahUKEwi7iNDp6-mHAxWxW0EAHSm8AMcQ6AF6BAgEEAI#v=onepage&q=fuji%20mountain%20Japan%20Barrister&f=false |url-status=live }}</ref><ref name=":1">{{Cite book |last1=Salawu |first1=Abiodun |url=https://books.google.com/books?id=HS51EAAAQBAJ&q=Indigenous+African+Popular+Music,+Volume+2:+Social+Crusades |title=Indigenous African Popular Music, Volume 2: Social Crusades and the Future |last2=Fadipe |first2=Israel A. |date=2022-06-14 |publisher=Springer Nature |isbn=978-3-030-98705-3 |page=183 |language=en |access-date=2024-08-10 |archive-date=2024-08-11 |archive-url=https://web.archive.org/web/20240811153127/https://www.google.com/books/edition/Indigenous_African_Popular_Music_Volume/HS51EAAAQBAJ?hl=en&gbpv=1&dq=Indigenous+African+Popular+Music,+Volume+2:+Social+Crusades&printsec=frontcover |url-status=live }}</ref> Fújì should not be mistaken for the [[Yoruba language|Yorùbá]] words "fúja" (to flee) or "fáájì" (enjoyment or leisure).<ref>{{Cite book |last=Mawadza |first=Aquilina |title=Yoruba-English/ English-Yoruba Dictionary and Phrasebook |date=2019 |publisher=Hippocrene Books, Incorporated |isbn=978-0-7818-1389-1 |language=en}}</ref>

==History==
Wéré music is an Islamic-influenced Yorùbá genre of music invented by Muslim singers and musicians in Yorùbá towns and cities in southwestern Nigeria to awaken Muslims fasting during Ramadan.

{{Yoruba people}}

Toward the end of the colonial period during the 1950s, Alhaji Sikiru Ayinde Barrister, [[Ayinla Kollington|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.<ref>{{Cite book |last=Williams |first=Joseph E.R. |title=The Music of Nigeria |publisher=[[University of Washington Press]] |year=1980}}</ref><ref>W. Akpan, "And the beat goes on?", in M. Drewett and M. Cloonan, eds, ''Popular Music Censorship in Africa'' (Aldershot: Ashgate Publishing, Ltd., 2006), {{ISBN|0-7546-5291-2}}, p. 101.</ref> Throughout the 1950s and 1960s, numerous wéré performance groups emerged within Muslim communities in and around the cities of [[Ibadan]], [[Lagos]], and [[Ilorin|Ìlọrin]]. These early performers drew great inspiration from Yoruba [[sakara music|sákárà music]], featuring the [[sakara drum|sákárà drum]] (without the violin-like [[goje]] often played with an accompanying fiddle).<ref>{{Cite journal |last1=Babátúndé Yussuf |first1=N. |last2=Oladipo Olúbòmęhìn |first2=O. |date=2018-07-03 |title=Traditional Music and the Expression of Yoruba Socio-cultural Values: A Historical Analysis |url=https://www.tandfonline.com/doi/full/10.1080/18125980.2018.1554980 |journal=Muziki |language=en |volume=15 |issue=2 |pages=61–74 |doi=10.1080/18125980.2018.1554980 |s2cid=218637202 |issn=1812-5980|url-access=subscription }}</ref> Notable Lagos-based wéré performers during the early independence years 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, some performers played mouth organs ([[harmonica]]s) between wéré interludes within their compositions. Sikiru Ayinde Barrister was the lead singer and composer of the popular wéré group, Jibowu Barrister, under the leadership of Alhaji Jibowu Barrister. During the 1960s, Sikiru Ayinde Barrister, Kollington Ayinla and other young wéré groups rocked Lagos and its environs.<ref>{{Cite web |title=Unknown facts about Sikiru Ayinde |url=https://www.premiumtimesng.com/arts-entertainment/117934-unknown-facts-about-sikiru-ayinde-barrister-by-olayinka-olaribigbe.html#sthash.sZUtB1FO.dpbs |access-date=2024-08-07 |website=Premium Times NG |archive-date=2014-09-03 |archive-url=https://web.archive.org/web/20140903055358/https://www.premiumtimesng.com/arts-entertainment/117934-unknown-facts-about-sikiru-ayinde-barrister-by-olayinka-olaribigbe.html#sthash.sZUtB1FO.dpbs |url-status=live }}</ref>

The advancement from wéré music to fuji music marked a profound transformation within Yoruba musical traditions. During the late 1960s and early 1970s, [[Ayinde Barrister|Alhaji Sikiru Ayinde Barrister (fuji music pioneer)]] began to innovate on the foundational elements of wéré music by integrating influences from diverse genres such as apala, juju and afrobeat, resulting in the introduction of a modernized approach to both instrumentation and performance. The amalgamation of traditional and contemporary elements gave rise to fuji music. Popularizers of wéré music, who played a pivotal role in its early development, adapted their musical practices to foster and popularize fuji music, effectively bridging traditional Yoruba sounds with a contemporary audience.<ref>{{Cite book |last=Chernoff |first=John Miller |url=https://www.jstor.org/stable/30249777 |title=African Rhythm and African Sensibility: Aesthetics and Social Action in African Musical Idioms |publisher=University of Chicago Press |year=1983 |jstor=30249777 |language=en}}</ref><ref>{{Cite book |last=Adegbite |first=Ademola Moses |url=https://books.google.com/books?id=AX6-twEACAAJ |title=Oriki: A Study of Yoruba Musical and Social Perception |date=1978 |publisher=University Microfilms |language=en |access-date=2024-08-10 |archive-date=2024-08-11 |archive-url=https://web.archive.org/web/20240811153132/https://www.google.com/books/edition/Oriki/AX6-twEACAAJ?hl=en |url-status=live }}</ref>

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 of music consisting of sákárà, [[Apala]], [[Jùjú music|jùjú]], [[Aró]], [[Afrobeat]], [[gudugudu]], and some elements of [[highlife]]. Sikiru Ayinde Barrister played a significant role in popularizing fújì music by introducing it to international audiences. In the 1970s, he began touring across Europe, with a notable presence in England, and continued to the United States throughout the 1980s.<ref>{{Cite book |last=Dada |first=Adelowo, E. |url=https://books.google.com/books?id=ma-QBAAAQBAJ&dq=apala+fuji&pg=PA384 |title=Perspectives in Religious Studies: Volume III |date=2014-08-23 |publisher=Modjaji Books |isbn=978-978-081-447-2 |language=en |access-date=2024-08-10 |archive-date=2024-08-11 |archive-url=https://web.archive.org/web/20240811153134/https://www.google.com/books/edition/Perspectives_in_Religious_Studies_Volume/ma-QBAAAQBAJ?hl=en&gbpv=1&dq=apala+fuji&pg=PA384&printsec=frontcover |url-status=live }}</ref><ref name=":2">{{Cite book |last=Ademowo |first=Paul 'Wale |url=https://books.google.com/books?id=rvjZAAAAMAAJ&q=Fuji:+A+Musical+History |title=The History of Fuji Music in Nigeria |date=1993 |publisher=Effective Publishers |isbn=978-978-32208-0-5 |language=en |access-date=2024-08-10 |archive-date=2024-08-11 |archive-url=https://web.archive.org/web/20240811153222/https://www.google.com/books/edition/The_History_of_Fuji_Music_in_Nigeria/rvjZAAAAMAAJ?hl=en&gbpv=1&bsq=Fuji:+A+Musical+History&dq=Fuji:+A+Musical+History&printsec=frontcover |url-status=live }}</ref>

Between 1970 and throughout the 1980s, other fújì musicians included Fatai Adio, Saura Alhaji, Student Fuji, Rahimi Ayinde (Bokote), Ramoni Akanni, Love Azeez, Waidi Akangbe, Sikiru Olawoyin, Agbada Owo, Iyanda Sawaba, Ejire Shadua, Wahabi Ilori, Wasiu Ayinde Marshall (K1 De Ultimate), Suleiman Adigun, Sakaniyau Ejire, and Wasiu Ayinla.

While male musicians dominated fuji, reflecting fuji''’''s origins in wéré music, women artists developed Islamic and interchangeably wákà fuji. Islamic is a popular name for the genre of women’s fújì-related music, particularly in and around the city of [[Ilorin|Ìlọrin]], while wákà is a more general pan-Yoruba term for the Muslim women’s genre. It emerged in the late 1950s and was originally performed by women vocalists for Islamic events such as weddings and celebrations for pilgrims returning from [[Mecca]]. In the 1980s, professional Muslim women vocalists fronted their own fújì bands. While the themes and aesthetics of Islamic were more closely related to Muslim morality than fújì, there was a significant overlap between wákà fuji and traditional fújì.<ref>{{Cite journal |last=Klein |first=Debra L. |date=2020 |title=Allow Peace to Reign: Musical Genres of Fújì and Islamic Allegorise Nigerian Unity in the Era of Boko Haram |url=https://www.cambridge.org/core/product/identifier/S0740155820000053/type/journal_article |url-status=live |journal=Yearbook for Traditional Music |language=en |volume=52 |pages=1–22 |doi=10.1017/ytm.2020.5 |issn=0740-1558 |s2cid=225125939 |archive-url=https://web.archive.org/web/20240807212701/https://www.cambridge.org/core/journals/yearbook-for-traditional-music/article/abs/allow-peace-to-reign-musical-genres-of-fuji-and-islamic-allegorise-nigerian-unity-in-the-era-of-boko-haram/FDC174C5422B3AF6DEF95224E98682C7 |archive-date=2024-08-07 |access-date=2020-12-31 |via=|url-access=subscription }}</ref>

In the early 1970s, Alhaji Kolington Ayinla (Baba Alatika) emerged as a prominent fuji performer and rival to Sikiru Ayinde Barrister. Wasiu Ayinde Marshall (K1 De Ultimate), who had been a protégé of Barrister, began to gain recognition in the late 1980s and 1990s with Talazo Fuji. Adewale Ayuba, introduced Bonsue Fuji which resonated with a wide audience. [[Abass Akande Obesere]] integrated [[slang]] into his fuji songs which contributed to the genre's evolution.<ref>{{Cite book |last=Barlow |first=Sean |url=https://books.google.com/books?id=BCzaAAAAMAAJ&q=Abass+Akande+Obesere+slang+fuji |title=Afropop!: An Illustrated Guide to Contemporary African Music |date=1995 |publisher=Chartwell Books |isbn=978-0-7858-0443-7 |language=en |access-date=2024-08-10 |archive-date=2024-08-11 |archive-url=https://web.archive.org/web/20240811153144/https://www.google.com/books/edition/Afropop/BCzaAAAAMAAJ?hl=en&gbpv=1&bsq=Abass+Akande+Obesere+slang+fuji&dq=Abass+Akande+Obesere+slang+fuji&printsec=frontcover |url-status=live }}</ref>

=== 2000s: Modernization ===
Throughout the 2000s, the fuji music scene continued to thrive with prominent artists including Wasiu Alabi Pasuma, [[Saheed Osupa|King Saheed Osupa]], Shanko Rasheed, Remi Aluko (Igwe1 Fuji) and others. While most traditional fuji music songs' lyrics remained in Yorùbá, the genre had increasingly incorporated English and [[Nigerian Pidgin]]. Popular modern fújì musicians in the 2000s included Rasheed Ayinde Adekunle Merenge, Abass Akande obesere (PK 1), Sir Shina Akanni, Alhaji Isiaka Inyanda Sawaba, Adewale Ayuba, Wasiu Alabi Pasuma (Oganla 1), King Dr.Saheed Osupa (His Majesty), Late Sunny T Adesokan (Omo Ina ton ko fújì), [[KS1 Malaika|Alayeluwa Sulaimon Alao Adekunle Malaika (KS1, Original)]], Shefiu Adekunle Alao (Omo Oko), Shanko Rasheed, 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 Real Fuji Creator), Wasiu Container, Konkolo Wally G, Murphy Adisa Sabaika (Madiba 2), Abiodun Ike Minister (Aremo Alayeluwa), Tunde Ileiru, Karubey Shimiu, Adeolu Akanni (Paso Egba), Shamu Nokia, (Quintessential) Sunny Melody, Olusegun Ologo, Segun Michael, [[Bola Abimbola]],<ref>[http://worldmusiccentral.org/artists/artist_page.php?id=4001 World Music Central Bola Abimbola] {{Webarchive|url=https://web.archive.org/web/20160304025822/http://worldmusiccentral.org/artists/artist_page.php?id=4001|date=2016-03-04}} Retrieved 25 December 2020</ref> and, Cripsymixtee, Global T, Muri Ikoko.<ref name=":0">{{Cite web |last=Ihejirika |first=Uzoma |date=2023-02-07 |title=For Its Next Lap, Nigeria's Street Pop Is Pushing Into Experimental Fields |url=https://thenativemag.com/street-pop-next-experimental/ |url-status=live |archive-url=https://web.archive.org/web/20230609222509/https://thenativemag.com/street-pop-next-experimental/ |archive-date=2023-06-09 |access-date=2024-08-07 |website=The NATIVE |language=en-US}}</ref>

== Characteristics ==
Fújì is defined by its use of a diverse array of traditional Yoruba percussion instruments and its lively, energetic tempos. The genre features complex rhythms created by instruments like the dùndún and gbedu, which contributes to its distinctive and intricate rhythmic patterns. Additionally, fújì utilizes a call-and-response vocal style, where the lead singer's phrases are answered by backing vocalists, creating an interactive musical dialogue. The blend of rhythmic complexity, upbeat tempo, and vocal interplay defines fuji music.<ref>{{Cite book |last=Omojola |first=Bode |url=https://books.google.com/books?id=_K0mAQAAIAAJ&q=fuji+call+and+response+vocal |title=Popular Music in Western Nigeria: Theme, Style, and Patronage System |date=2006 |publisher=IFRA |isbn=978-978-8025-11-5 |language=en |access-date=2024-08-10 |archive-date=2024-08-11 |archive-url=https://web.archive.org/web/20240811153625/https://www.google.co.za/books/edition/Popular_Music_in_Western_Nigeria/_K0mAQAAIAAJ?hl=en&gbpv=1&bsq=fuji+call+and+response+vocal&dq=fuji+call+and+response+vocal&printsec=frontcover |url-status=live }}</ref><ref name=":1" /><ref name=":2" /><ref>{{Cite book |last=Ademowo |first=Paul 'Wale |url=https://books.google.com/books?id=YusTAQAAIAAJ&q=fuji+music+dundun |title=The King of Fuji Music: Dr. Wasiu Ayinde Anifowoshe Marshal |date=1996 |publisher=Effective Publishers |isbn=978-978-32208-9-8 |language=en}}</ref>

== Modern fújì musical styles ==

=== Classical fuji ===
Classical fuji is a genre that merges American hip hop with fuji. The fusion of fuji and American hip hop began in Nigeria during the 1990s and early 2000s. King Wasiu Ayinde Marshal coined the term, classical fuji and played a pivotal role in its development. Another prominent artists in the genre are Wasiu Alabi Pasuma, Saheed Osupa, Remi Aluko and many others.<ref>{{Cite web |last= |first= |date=2024-07-26 |title=Fuji Meets Hip-Hop: The birth of Afrobeat by Olaitan Salaudeen |url=https://guardian.ng/arts-2/fuji-meets-hip-hop-the-birth-of-afrobeat-by-olaitan-salaudeen/ |access-date=2024-08-07 |website=The Guardian Nigeria News - Nigeria and World News |language=en-US |archive-date=2024-08-07 |archive-url=https://web.archive.org/web/20240807212603/https://guardian.ng/arts-2/fuji-meets-hip-hop-the-birth-of-afrobeat-by-olaitan-salaudeen/ |url-status=live }}</ref>

=== Street pop: Neo-fuji, fujipiano and fuji-fusion ===
Street pop, also referred to as street hop, is a Nigerian experimental rap and vocal performance genre that evolved from Nigerian hip hop, Nigerian street music, popular music, Western music genres and Nigerian pop. Emerging in the 21st century, the genre draws on elements of fuji music additionally fuji-centered variants exist, including neo fuji, fujipiano and fuji-fusion. The fuji-fusion, fujipiano and neo-fuji musical styles are attributed to [[9ice]], [[Lord of Ajasa]], [[Olamide]], [[Asake]], King Saheed Osupa, Remi Aluko, [[Naira Marley]], [[Qdot]] and [[Seyi Vibez]].<ref name=":0" /><ref>{{Cite web |last=Adebiyi |first=Adeayo |date=2024-01-17 |title=Can the growing presence of melancholy in Street music make it Nigeria's foremost genre? |url=https://www.pulse.ng/entertainment/music/examining-the-growing-presence-of-melancholy-in-street-music/2qf5fyf |access-date=2024-08-07 |website=Pulse Nigeria |language=en |archive-date=2024-06-21 |archive-url=https://web.archive.org/web/20240621145318/https://www.pulse.ng/entertainment/music/examining-the-growing-presence-of-melancholy-in-street-music/2qf5fyf |url-status=live }}</ref><ref>{{Cite web |last=Adebiyi |first=Adeayo |date=2023-09-11 |title=Asake dazzles at landmark 'Work Of Art' New York concert |url=https://www.pulse.ng/entertainment/music/asake-dazzles-at-landmark-work-of-art-new-york-concert/gts5w9y |access-date=2024-08-07 |website=Pulse Nigeria |language=en |archive-date=2023-10-21 |archive-url=https://web.archive.org/web/20231021223818/https://www.pulse.ng/entertainment/music/asake-dazzles-at-landmark-work-of-art-new-york-concert/gts5w9y |url-status=live }}</ref><ref>{{Cite web |date=2023-01-18 |title=The fight for fuji king goes on (3/3) |url=https://pan-african-music.com/en/the-fight-for-fuji-king/ |access-date=2024-08-07 |website=PAM - Pan African Music |language=en-US |archive-date=2023-09-28 |archive-url=https://web.archive.org/web/20230928134233/https://pan-african-music.com/en/the-fight-for-fuji-king/ |url-status=live }}</ref><ref>{{Cite news |last=Ajayi |first=Dami |date=4 February 2023 |title=Afrobeats in 2023: Olamide, Asake, Ruger, Burna Boy |url=https://www.theafricareport.com/281259/afrobeats-in-2023-olamide-asake-ruger-burna-boy/ |access-date=7 August 2024 |work=The Africa Report |archive-date=8 December 2023 |archive-url=https://web.archive.org/web/20231208233216/https://www.theafricareport.com/281259/afrobeats-in-2023-olamide-asake-ruger-burna-boy/ |url-status=live }}</ref><ref>{{Cite web |last=Okwuego |first=Oluchi |date=2023-12-21 |title=Spotify hails Olamide as top street pop influencer |url=https://von.gov.ng/spotify-hails-olamide-as-top-street-pop-influencer/ |access-date=2024-08-08 |website=Voice of Nigeria |language=en-US |archive-date=2024-01-01 |archive-url=https://web.archive.org/web/20240101220326/https://von.gov.ng/spotify-hails-olamide-as-top-street-pop-influencer/ |url-status=live }}</ref><ref>{{Cite web |last=Ezema |first=Patrick |date=2024-07-14 |title=The Timeless Resonance of Nigerian Music: How Nigeria's Gen Z is Reviving Fuji, Apala, and Highlife |url=https://culturecustodian.com/the-timeless-resonance-of-nigerian-music-how-nigerias-gen-z-is-reviving-fuji-apala-and-highlife/ |access-date=2024-08-07 |website=The Culture Custodian (Est. 2014.) |language=en-GB |archive-date=2024-08-07 |archive-url=https://web.archive.org/web/20240807212603/https://culturecustodian.com/the-timeless-resonance-of-nigerian-music-how-nigerias-gen-z-is-reviving-fuji-apala-and-highlife/ |url-status=live }}</ref>

==Notes==
{{Reflist}}

{{Genres of African popular music}}

{{DEFAULTSORT:Fuji Music}}
[[Category:Yoruba music]]
[[Category:20th-century music genres]]
[[Category:21st-century music genres]]
[[Category:Music with dedications]]
[[Category:1960s in music]]
[[Category:1970s in music]]
[[Category:1980s in music]]
[[Category:1990s in music]]
[[Category:2000s in music]]
[[Category:2010s in music]]
[[Category:2020s in music]]

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