In early December 2025, Nigerian dancer Korra Obidi visited the grave of legendary Afrobeat pioneer Fela Anikulapo-Kuti and shared a video of herself twerking at his graveside calling the act a tribute to “Baba” and saying, “We all know that one thing Fela loved was a woman with gyrating hips, so I decided to pay Baba a homage.”
In the footage, Korra is seen dancing and twerking at the tomb, after reportedly spending time with Fela’s son, Seun Kuti. According to reports, Seun was present during the visit and even expressed support for the gesture saying it aligned with what his father “liked.” Korra described the dance as her “offering,” claiming she could “feel the spirit” of Fela enjoying the tribute.
Almost immediately, the video ignited a fierce debate on social media and beyond. Some applauded the tribute as bold, vibrant, and true to Fela’s flamboyant legacy arguing that it reflected the expressive spirit he championed in life. But many others condemned it as disrespectful, arguing that a grave is sacred ground, not a stage for performance and that such acts cross cultural and spiritual boundaries. Critics questioned whether intent matters when the act itself violates norms around death, respect, and remembrance.
At the heart of the backlash lies a deeper tension: the clash between reverence for the dead and creative, unconventional modes of tribute. For some, this act challenges long‑held traditions about what constitutes “appropriate” mourning or homage. For others, it raises questions about the commercialization and spectacle of grief in the social‑media age.
Whether you view Korra’s dance as a heartfelt homage or a cringe‑worthy stunt, the episode exposes how differently people especially in culturally diverse societies like Nigeria’s interpret respect, memory, and legacy.
