Ekwe-Ekwe no doubt has Nigeria centrally in mind when he concluded his excellent study by stating: "The African 'nation-state' has now run the course of its bloody trail in history. The greatest challenge facing Africans in the new millennium is to dismantle this state and create new state forms based on Africa's critical re-engagement with its rich cultural heritage." Clearly, the author calls for an extensive decentralisation of the African political landscape "away from the murderous over-centralising ethos of the present 'nation-state.'" In such an outcome of Africa-wide "decentring of existing socio-economic life," Ekwe-Ekwe continetalises the validity of Biafranism as localised, grassroots/community empowerment and democracy across Africa. These new state forms, imbued with an organic sensibility that replaces the widespread alienation of the present, is better placed to build an "advanced civilisation for the people" -- to feed, clothe, educate, house and provide peace and security, and create the enabling environment for the development and enhancement of the human potential.
Olaniyan does several things at the same time. He captures the movement of Fela from an artist who imitates to an artist who has found his own distinctive voice that becomes Afro Beat. If Fela was many things, he was first a musician committed to developing his craft and its form. Olaniyan also traces the movement of Fela from an artist who at first created art for its sake, to entertain or for that matter for money, then to one who merely raised questions of morality (a benign humanism or reformism if you will) and finally to an artist who was socially committed. As a socially committed artist, Fela put his creativity, his music and its form in the service of African and Nigerian socio-political issues. Olaniyan in the introduction writes that in Fela’s development to becoming a socially committed artist, there are “three distinct stages that are recognizable: the apolitical hustler, the moral reformer, and the dissident political activist” (3).