A legal battle is underway between Grammy-winning South African music composer Lebohang Morake, known as Lebo M, and Zimbabwean comedian Learnmore Jonasi over a disputed translation of the iconic opening chant from Disney’s 1994 animation film The Lion King.

The dispute centres on the film’s unforgettable opening sequence, ‘Circle of Life’, widely regarded as one of the most powerful in modern animation, where the sun rises over the African savannah as animals gather to witness the presentation of the newborn lion cub named Simba.

A controversial translation

The moment is made iconic by the soaring chant performed by Lebo M, with the lyrics “Nants’ingonyama bagithi Baba.”

While Disney’s official interpretation frames the chant as a proclamation of reverence—“All hail the king”—Jonasi told audiences it simply meant “Look, there’s a lion. Oh my god,” a line that drew laughter but, according to the lawsuit, also caused reputational harm.

The case, filed in Los Angeles, seeks $27M in damages in a jury trial against Learnmore Jonasi, who equally has professional ties in the US.

"Jonasi’s reduction to 'Look, there’s a lion. Oh my god' is not a simplified translation—it is a fabricated, trivializing distortion, meant as a sick joke for unlawful self-profit and destruction of the imaginative and artistic work of Lebo M," the complaint says.

Jonasi denies this, telling followers on social media that he is being sued for “telling a joke” and pushing back against the composer’s reaction, claiming it overlooks the broader context of his critique.

Background of personalities

Lebo M’s legal team contends that the performance was not clearly framed as comedy but instead presented as a factual translation, thereby misleading audiences and undermining an African artistic work grounded in Zulu and Xhosa traditions.

Lebo M is globally recognised for his work tied to themes of cultural pride and African storytelling, and the opening chant remains one of the most recognisable pieces of music associated with the continent in global popular culture.

Jonasi, on the other hand, represents a new generation of African comedians using humour to interrogate identity and representation.

Known for his sharp, observational style, Jonasi has built a following through stand-up performances and digital platforms, often critiquing how Africa is portrayed in Western media. In the routine at the centre of the controversy, he extended his joke into a broader critique of Hollywood depictions of the continent, questioning everything from accents in The Lion King to narratives in other blockbuster films.

His argument, he says, was not to diminish the original work but to highlight how African culture is simplified for global audiences.

Since the lawsuit was announced, Jonasi has struck a mix of surprise and defiance while still emphasizing he remains an admirer of Lebo M’s work.

In a video message, he suggested the controversy serves as a teaching moment, saying comedy often sparks conversations that allow deeper cultural understanding to emerge.