West Africa: Word, Symbol, Song
The British Library celebrates West Africa: A region that spans 2,000 years, 1,000 languages and 17 different countries – the grass may indeed be greener in West Africa.
The British Library celebrates West Africa: A region that spans 2,000 years, 1,000 languages and 17 different countries – the grass may indeed be greener in West Africa.
Early illustrations by Ibrahim el Salahi.
Bishop Samuel Ajayi Crowther 1867
YOU might have heard of the 17 countries that make-up the West African region and that the region is plague by never-ending conflicts and hunger. Nevertheless, have we got news for you? West Africa: Word, Symbol, Song, a major new exhibition at the British Library is showcasing/celebrating the cultural vitality of the West African region – not warfare. Its thousand years of history, from centuries-old drum language, protest songs, informative religious manuscripts to the great manuscript libraries of the early Middle Ages, through to colonialism and independence. The exhibition likewise offers an insight into the centuries-old written heritage, as well as the ancient oral traditions of West Africa, both of which continue to influence and motivate in the present day.
West Africa: Word, Symbol, Song, is conveyed through rare texts, recordings and manuscripts of the time. This is an extraordinarily exhilarating exhibition, like no other you have ever read about or seen before. Hundreds of fascinating stories from the region’s 17 nations tell how West Africans have harnessed the power of words to build societies, drive political movements and human rights issues, and sustain religious belief and fight injustice. Furthermore, it shed light on the colonial era and the slave trade controversies including a generation of enslaved West Africans who advocated for the abolition of the slave trade in the 18th century. This is an exhibition with depth and feeling, in addition to the excitements and unusual objects the spectators would see. It explores in such detail the vibrant cultural history of this multifaceted and captivating region, even if they haven’t always been given their due by the rest of the world - until now.
There are many, many things to like about this display. Watch out for several key bits and pieces including, a poem from the 17th-century Islamic scholar Nana Asma’u, which illustrates women’s active public role in Islam; a room dedicated to the music and activism of Fela Anikulapo-Kuti and a striking carnival multi-coloured regalia newly designed for the exhibition by Brixton-based artist Ray Mahabir. This retrospective will open you up to new things and to what you think you know, but in a different light. My only grievance is, you’ll need to see West Africa: Word, Symbol, Song, twice to get the full gist.
West Africa: Word, Symbol, Song
Fri 16 Oct 2015 - Tue 16 Feb 2016
PACCAR Gallery
The British Library
96 Euston Road
London
NW1 2DB
Africa Utopia 2015 art and ideas from Africa that are impacting the world
AFRICA UTOPIA was back for a third year – bigger and better. We interview designer SOBOYE.
Toumani Diabate, Baba Maal, Damon Albarn ,Tony Allen. Photo by Ade Omoloja
This year was one breath-taking summer for arts, music, dance and fashion festivals in London. What is more? The recently concluded third edition of the Africa Utopia Festival was one of the capital's forthright and most spectacular festival ever, celebrating all aspect of the creative arts industry.
Africa Utopia was a creative explosion of Jedi proportion that featured performance arts, music, dance, fashion, theatre, visual-techno art exhibition, family events and mouth-watering food market and much more besides. The whole shebang was spread out - in the streets, galleries, library, public buildings, and every available space and corner of London’s most vibrant cultural quarters – The Southbank Centre. This four-day fiesta enthused by the African continent and Diaspora delved into the dynamic and ever-changing contribution of modern Africa to art, culture and ultimately to our society. Organisers hope the festival will also help make connections between artists and activists, get more accessible; to engage.
Discussions and debates deliberated on sustainability vs profit, digital journalism and digital activism, youth education and power to African feminism. Furthermore, in a nod to the present refugee crisis, the migration debate asked the question: “Why do people flee? What awaits them where, and if they reach their destination?” It’s a question for us all to ponder on at this time. The Talks/Debates consisted of defining speakers including the traditional suspect, journalist, author and arts programmer Ethiopian-born Hannah Pool, who must be noted has been involved in Africa Utopia from the very start. Next in line is singer-song-writer and UN Ambassador for HIV/AIDS Malian, Baaba Maal, who also has been involved with AU from its birth. As well as Jude Kelly CBE, Artistic Director, Southbank Centre. The lot are experts in contemporary art, art history, music and green politics, each addressing the historical relevance of arts and culture - including the power of art in activism and the role of women and young people who have made a huge contribution to our arts as part of our lives and still motivates us all in creating future change. These themes are conceived to appeal to taste, of all ages, colour, cultural aficionados and newcomers alike.
Chineke Junior Orchestra with founder Chi Chi Nwanoku and conductor Wayne Marshall. Photo by Ade Omoloja
Even more so, the tune line-up was a must-hear for anyone and everyone fascinated by great live performing. First on stage was Malian singer Kassé Mady Diabaté of royal stock and acknowledged as one of West Africa's finest singers. He was accompanied by fellow Malians: Ballaké Sissoko, a noted player of the kora; Lansiné Kouyaté performing on Kora & Balafon (The balafon, also known as balafo is a wooden xylophone - percussion idiophone from West Africa) and Makan Tounkara, a gifted composer, arranger, singer, and n'goni artiste. (The n’goni, an ancient traditional lute found throughout West Africa). To bring the festival to a close was the master of it all - Nigeria’s Tony Allen with friends. And oh boy were they great!
Tony, is a skilful drummer, composer and songwriter and once musical director of late Fela Anikulapo Kuti's band Africa 70 from 1968 to 1979. Furthermore, he’s famed as the powerhouse behind the late Fela Kuti’s Afrobeat movement. It’s recognised that Fela said: “without Tony Allen, there would be no Afrobeat music”. In alliance with Tony on stage; Baaba Maal, multi award-winning singer/song writer and Toumani Diabaté, a Malian kora player, genius of African music and widely recognised as the greatest living kora player. And in a rare father-and-son kora-playing collaboration, Toumani Diabaté and his son Sidiki Diabaté put down a spell-binding presentation. It was a mind-blowing ensemble. A-ma-zing! And to put the last bit on the Tony Allen and friend’s fusion was French star rapper Oxmo Puccino (born Abdoulaye Diarra) a hip hop musician born in Mali. The whole shebang brought the house down. It was a high octane musical extravaganza of fantastic proportion that received a rapturous reception at every song and every notes that rings out. These musicians nailed and killed it in equal measures. There was an eight minute standing ovation. For a man who turned 75 in August, Tony Oladipo Allen, is remarkably springily. He still hits the studio (and treadmill, I suppose) every day. He is just as you’d imagine, small, frail and thin looking, dressed in a classic white African traditional classic number with bold abstract designs and he outdone it with a white Fedora Hat. Maybe this is what comes from churning out some five gigs a year for over 50 years. He has delivered some of the music most indelible music albums and concerts from Africa to Europe and North America to Australia and the Americas – straight-up.
Toumani and Sidiki Diabate, Baba Maal. Photo by Ade Omoloja
With all the serious shows and presentations that took place, however, the three that stood-out for the festival – in my modest view - are the music performances and fashion presentation curated by Samson Saboye, of Nigerian parentage, from Shoreditch-London. Soboye brings together a team of leading designers from Africa and the African Diaspora to present an inspirational and exciting women’s wear, menswear and accessories.
“I’ve been a Fashion Stylist for many years now with a spell designing and manufacturing soft furnishings, which led me to open SOBOYE.
Africa Utopia is a great showcase to celebrate the importance and significance African Culture to the rest of the World. London has the highest population of African nationals from all over the continent and the contribution that Africans have made to the city is noteworthy. Our presentation is called DIASPORA CALLING! A presentation of African Contemporary style, inspired by Street Style photography. Our show producer Agnes Cazin from Haiti 73 Agency conceived the concept as we were searching of different ways to present fashion that was away from a traditional catwalk show. We are showing the diversity of Africa that will linger on even after the festival: the Joy, the vibrancy and richness of its people, who mostly have an innate sense of style that is not dictated by the latest trends or Designer head-to-looks. The Modern Style-conscious African’s style is a mash-up of pop culture, vintage clothes, self-made fashion and images fed daily through Instagram and Pinterest, of which they are fully engaged in. All these influences are absorbed in to the visual memory banks and stored for future referencing at any time. This then in turn manifests itself in the Individualist looks that we see influencing mainstream Western style today”.
On the small matter of who SOBOYE designs for: “SOBOYE designs are for the fashion savvy, confident, style literate person, with their fingers on the pulse and a zest for life. The Women’s wear came a year after the Men’s collection and is designed in collaboration with Designer and friend Chi Chi Chinakwe”. (A moniker moment in this festival is the premiere of Chineke, the UK’s first professional classical orchestra made up entirely of musicians of African descent and minority ethnic classical artists performed a tribute to the black teenager Steven Lawrence that was murdered in a raciest attack in 1995) Soboye expressed: “Our customers tend be in the creative industries and have an eye for well fitting, original clothes with an attention to detail. Our clothes add to the enjoyment of dressing up and I’ve yet to see someone wear any of our pieces and not look and feel better for wearing them… Sidney Poitier is my all-time style icon. Not only was he well-dressed, he always carried himself with such dignity and broke so many barriers by being such an accomplished actor. Currently Pharrell Williams and Solange Knowles would both be great brand ambassadors for SOBOYE." So if they are both reading this come on in… we are waiting for you. Yes, of course they read roomsmagazine.com.
Beside ambitious philosophy in the horizon: What does the future hold for Samson Soboye? “We plan to expand our online business and build the brand. We’d like to secure good investment to consolidate the business and allow for expansion and growth and for that to be manageable. We’d like to be the ‘go-to’ brand for the talented, ambitious discerning globe trotter “.
An Interview with Ethiopian-American singer Meklit Hadero
Here comes a delightful music superstar with substance - simply known as Meklit.
Here comes a delightful music superstar with substance - simply known as Meklit
I’ll admit, I didn’t get Meklit Hadero, the Ethiopian-born, San Francisco-based singer and songwriter when she burst onto the music scene some six years ago. But then one of her songs from her most innovative album to date, “We Are Alive” (Six Degrees Records), implanted in my brain. (The title track, ‘We Are Alive,’ with Meklit’s silky voice floating effortlessly above the guitar-driven song) quaked my foundation and my girl crush was born. As a-matter-of-fact I love the raw ambition of the “We Are Alive” album – the preposterousness, the simplicity and also the fundamental intelligence. But, witnessing her live-in-concert was mind-blowing. Meklit Hadero is the business. She performed songs from her second solo full length album to a packed audience and critics alike at Purcell Room at Queen Elizabeth Hall, Southbank, London. This singer, musician, and cultural activist simply known as Meklit took us on a musical odyssey of Ethiopian traditional tunes and more besides: American-Jazz, Hip Hop, street-level Jazz, Rock, East African Folk and Ethiopian classics - the lyricist practice of her auditory mother country.
Born in Ethiopia, from Ethiopian parents, she feels deeply African and deeply American and her records are deeply inspired by Mulatu Astatke, the Godfather of Ethio-Jazz. Her work builds upon the concepts pioneered by Astatke as part of the late 60s and early 70s Golden Age of Ethiopian music. Taking these principal elements of her heritage as introductory building blocks, she explores the cultural dreams happening as part of the arrival of the Ethiopian Migration en masse to North America. In spite of this, it must be celebrated that this artist's voice makes for compelling listening. Her performance on stage makes for compelling seeing. Her voice is earthy and soulful, supple and freed, and exudes all four. If champagne were a person it would be Meklit Hadero. She is stunning. In an alternate life, one where talent was spread out differently, this is the kind of music I would like to make. It’s subtle, contemporary and one of its kind, while being massively emotional. Oh well, fair enough! What is more? There’s more to this woman. We also find this touring performer, and a political science Yale University graduate, is a committed activist extraordinaire.
In 2011 she launched the UN Women's campaign for gender equality in Africa, and co-founded the “Nile Project” with dear friend Mina Girgis, an Egyptian ethnomusicologist, with background in hospitality experience, curating and producing innovative musical collaborations across diverse styles. The Nile Project brings together artists from the eleven Nile countries that borders the River Nile, namely, Tanzania, Uganda, Rwanda, Burundi, Kenya, Ethiopia, Eritrea, South Sudan, Sudan and Egypt, to make music that combines the region’s diverse instruments, languages and traditions. Meklit Hadero may not yet be your household one and you may not have heard Meklit Hadero's music before, but once you do, I promise it’ll be tough to get it out of your head.
If champagne were a person it would be you in your fizzy performance at the Queen Elizabeth Hall. How would you rate that performance at the Purcell Room at Queen Elizabeth Hall, Southbank, London?
We had an amazing time. The UK has always been good to me, and Southbank was just wonderful. And of course having the legendary Pee Wee Ellis there (long-time musical director for James Brown) was a life highlight, especially since the funk that he helped to create was so much part of the Ethiopian tune we played together, Tiz Alegn Ye Tintu.
Where do you go in your head when performing on stage?
Well, in the best moments the “I” disappears entirely. You are consumed by the music and the sound, responding like lightning to your instincts for movement and voice, and to the band around you.
Your band was downright superb on stage. Now, have you always believed you could be successful but did not know how?
I think you have to believe in yourself like that, no matter what your vocation. But music is different because there is no definite path, especially now. Everyone in music is just making it up as they go along, and trying new things. That’s all you can do!
Is it reasonable to term your music as subtly modern and unique while being massively emotional, fierce, and brutal and a no-nonsense dagger in the heart?
Well if you describe my music that way, then I’m doing something right! I describe my music as the intersection of jazz, the singer-songwriter tradition, and Ethiopian music. I think of myself as reflecting my three sonic homelands, Addis Ababa, Brooklyn and San Francisco.
It’s a highly commercial world we live in today. Everything is a trip to profitability. Are you under pressure to produce commercial music and to put out only a money-making album?
Of course everyone is under pressure to succeed in a massive way, but I think producing for the market is tricky. If you do that, you lose what drew people to your music in the first place, which is your authentic voice in the world. I think the more deeply you go inside yourself, the more you reach the universal place that can appeal to people in a wide way. It sounds backwards, but it’s the only way to do this long-term, and I’m in for the long-term.
Wise Lady! You are involved in more than two projects. Tell us about your projects - how do you get so much done?
2015 has been so full. The Nile Project, which I co-founded with Egyptian ethnomusicologist Mina Girgis in 2011, brings together musicians from the eleven countries of the Nile Basin to learn about each other’s music, to create music together, and to bring that music to the Nile and to the world. We just finished a four month US tour, and are in the middle of our second album. What a whirlwind! After the last show, I caught a flight to the UK for a two week tour and residency, and finished off this period with a show in Zurich. I’m looking forward to spending the second half of 2015 in the Bay Area writing new music based in Ethio-Jazz.
In the last two years refugees are streaming out of your country like ants – what is your perspective on this growing humanitarian crisis? Were you a refugee at some stage?
It’s very sad…. Recently Ethiopians felt this in a huge way when 28 of our countrymen died in Libya at the hands of ISIS. They were on their way to cross the Mediterranean into Italy. There was a national mourning and a big light shone on how far people are going to search for a better life. Ethiopia has gone through a huge development leap in the last twenty years, but sadly folks are still streaming out. My cousin Teodros Teshome just made a film called Sost Maezen (Triangle) that I believe everyone should see. In it, he tells the story of a group of friends from Ethiopia and Eritrea who walk across Sudan to Libya, then take a boat to Italy, fly to Mexico, then walk to the US. It is a treacherous journey. Thousands attempt it and many die along the way. My family and I were refugees in a different sense. It was the early 80s, just after the revolution and the Red Terror in Ethiopia, and we left for East Germany, and then crossed at Check Point Charlie through Berlin. We then came to the US and spent years in a kind of limbo, adjusting to life in the US. But we were lucky. Movement takes its toll in many ways, some small and some big. Recently, we are seeing tragedy after tragedy. We are all very sad.
Back to your recent album – We Are Alive – please describe it?
We Are Alive is a collection of songs about the big arc of life, the ups and downs, the magic and the absurd, the beautiful, the danceable, and the quiet. It is the through-line of life and living that crosses all our experiences.
Recently the US R & B /hip-hop star Lauryn Hill cancelled a concert in Israel because she was banned from performing in the Palestinian territories. As one who know injustice first hand, if you were in her position, what would you have done?
I understand her position. Injustice anywhere reverberates outwards. It has also been interesting how many links are being made recently between injustices in Israel and those in the United States. For example, Ethiopians in Israel have been marching recently because of racist treatment and brutality by Israeli Police, and many have been making links to the Black Lives Matter movement in the United States. It’s all related.
I know you have performed in Ethiopia on more than one occasion. How does it feel performing in your birth country?
I love performing in Ethiopia. The Ethiopian people have always been so supportive of me. And it will always be home, so it’s a homecoming!
Most musicians claim that their music is inspired by heartbreak – how about you? What is your song-writing and music inspired by? Do you write all of your own songs?
I like to think that music should be inspired by the widest of possible life experiences, from heartbreak, to the birth of a child, to the natural phenomenon in the world around us. You can write a song about anything! I write about 80% of the songs I sing, but we do reinterpret some Ethiopian traditional tunes like Abay Mado and Kemekem, and the occasional pop tune, by folks like David Byrne and The Police.
People will always judge if you are good or just terrible – how do you cope?
You choose a select group of folks whose opinion you value deeply and you listen to their feedback. Beyond that, you can’t listen to what people say about you. And you have to know that you will never please everybody.
Any obsessions at the moment?
I'm always obsessed with music.... Right now Muluken Melese is on repeat. He's a classic.
How many gigs do you roughly do a year? And do you do any in African countries?
Depends on the year but generally between 25-60 gigs a year. The Nile Project has been brining me to perform regularly in the Nile Basin as well.
Who does Meklit influence?
I hope I am influencing young women, especially from Africa and the African Diaspora to find their unique voice and to sing it loud! We need more of those voices in the public dialogue, and I think we are at a tipping point where they will soon be much more present in the world sphere. I want to be there to support them!
Terakaft takes to centre stage – again
It was a music extravaganza. The deep Saharan blues still boom – hallelujah. There was the screaming of devotees dancing up a storm. Their gig at the intimate arts space at Rich Mix for the launch of Terakaft's new album “Alone” was simple magical.
It was a music extravaganza. The deep Saharan blues still boom – hallelujah. There was the screaming of devotees dancing up a storm. Their gig at the intimate arts space at Rich Mix for the launch of Terakaft's new album “Alone” was simple magical. These guys can hold their own. They were cool, calm and tough in equal measure. It was quite a night, it was extraordinary. Dressed in their desert attire, complete with robes, veils, and sandals – and, of course, armed with their electric guitars, they greeted an eagerly awaiting crowd to the spontaneous enchanting sounds of the Saharan desert rock-blues. Terakaft is fronted by Liya Ag Abil (aka Diara) and his nephew Sanou an outstanding guitarist, self-taught in the pure “Ishumar” tradition by his uncles Diara and Intiyeden – the two considered to be the backbone of the group were joined on stage by British guitarist, and the producer of their latest album Justin Adams.
Diara photographed by Sylvie Escande
They immediately had the crowd clapping, and tapping their feet to the deep Saharan rhythms. In an uncomplicated performance, Terakaft had the audience falling into a day dream-like state with most songs sung in Tamasheq, the language of the Tuareg people. But that didn’t prevent the crowd from fully grasping the performance. This is a real display of how music truly transcends cultural and language barriers. In an alternate reality, one where talent was shared out differently, this is the kind of music I would make. It’s truly modern and unique while being massively emotional. Diara the front man, lead guitarist and founding member talks to us about their trials and tribulations and how the band came to record their new album “Alone” across three countries.
A very special and rare Terakaft performance at the Rich Mix yesterday (29/04/2015). How would you sum it up?
The concert was very good. And I know that because the public were dancing, jumping and screaming. I could see the joy and happiness being expressed. The energy was electrifying and we on stage felt it.
What in your opinion is the difference between Western audience and audience in Africa?
I must say this and stress that it is the same wherever we perform because when we play we can see the people happy. They are happy everywhere be it in any country in Africa or any country in Europe. People from any country just want to listen to good music and enjoy good music no matter where they come from. They all expect high standard of course. That’s been our experience. We always get people singing and dancing.
How long did it take for Terakaft to decide what the new album “Alone” would look like and what it will include?
For the “Alone” album it took us a bit more than one year, because it was done naturally between concerts and touring. It was not a straight studio-base thing. “Alone” was done in two pieces. First we recorded half of it at the famous Real World Studious in Bath, England. And the second half in France. And then we sent the complete album to Justin Adams, the British musician/producer who has delved deep into Tuareg music and Justin Adams is known for his work with Tinariwen another desert rock group. So Justine worked on the final mixing. So this Album encompass Mali, England and France. We all decided together to include only nine tracks and name the album “Tenere Alone”.
At the lunch album and gig show at the Rich Mix venue – you guys were just three on stage but it sounded like you were 20 and still manage to bring the crowd to a standstill. How did you guys managed to achieve that?
It is a kind of mix between me and Sanou Ag Ahmed. Sanou is an outstanding guitarist. And when we play the energy we generate is just out of this world. And performing with Justin Adams who joined in with his guitar was magical. The show just exploded. We enjoyed it and the crowd did too. We felt it.
Since formed in 2001, where has been Terakaft desert rock band finest moment on stage in in all these years?
There is a tricky question and a difficult one to answer. Because we have had many concerts I would label as finest. It is too difficult for me or for any members of the group to choose one or two. All I can say is that finest moment are many.
Are you guys still able to make your kind of music sculpted by the desert, weathered, dusty and relentless in this era of commercialism gone wild? Are you under any pressure from your record company to do some commercial and some of who you are?
No pressure whatsoever. Let your readers know this, we’ll never play that game. There’s no arrogance to that. We are still playing the same music as back when we were members of Tinariwen. Terakaft do not think about money first or commercial goal first. We still do sound that is purposeful and even more intense on the desert rock sound that is more symbolic of our lives and about our journeys. Terakaft do not believe in I am going to take your money for you to listen to me. Or we should sing something interesting to you for money. We believe that if we do good, beautiful, music it would sell. Money will come after. More young musicians need to hear that.
There are few countries with a richer musical tradition than Mali. And your country is awash with musical greats such as Amadou et Mariam, Rokia Traoré, Bassekou Kouyate and Oumou Sangaré to name but a few. I wonder what’s the competition like? What’s going on with the battle to be on top?
Yes Mali has many musicians to be proud of and of international standard, but there’s room for everybody and more. The more the merrier. I do not talk about competition for sure, because our kind of music, the desert tang rock music is not played by others. I am known as the master of the Saharan rhythm guitar. Together with Sanou my nephew we do music that no other band from the desert is closer to Terakaft.
We’ve been saddened to read about the recent political turmoil in the northeast of Mali, a country that’s known more than its fair share of political turmoil over the years. How has the turmoil affected the band?
The war has not really affected us that much. We still find time to write and perform. Nothing can stop us really. Two months ago, in February, we played in Mali for the peace concert which is an annual music festival in the desert. And for this festival we played three gigs in South Mali. No war can destroy music. Our music stands for peace, dreams, true friendships and more importantly tolerance.
Would any of the band member find it out of the ordinary to go solo as a one-off?
I have tried playing solo and I have played with many other musicians and I would admit, it was not the same but nowhere near out of the ordinary. But I really enjoy playing with my band. It is home for me anytime.
Music collaboration can be a tad tricky. Is there a musician or a group out there that Terakaft would like to collaborate with?
Oh yes there are many musicians out there that Terakaft would like to collaborate with. But for now we wish we could collaborate with Justine Adams our producer of the album Alone. He is also a great friend of Tinariwen group and Terakaft group. Right now he is a fantastic guitar player as you can guarantee for at the Rich Mix concert. But Justine Adams is on tour at the moment.
Does the group ever have a chill out time together outside music? Or is it all handiwork and no fun?
For us music is our lives and playground too. But, outside music I have a wife and four children and I keep many different types of animals in my farm that takes my mind off the crush of music. But between concerts and studio recordings I find little time to take care of my animals and really enjoy them in the fullest. But I am not complaining.
The group have achieved incredible success – how do you stay motivated now that the dream has come true? Do you feel that adrenaline you had when you got together in 2001?
For us the dream is like making things and the idea we get to continue making things is exciting. Yes and yes. We are still that pretty ecstatic to still be going through that level of joy at this stage in our life, I (we) never thought that would happen. The band formed in 2001 and we are still enjoying every minute and we still enjoy very much every bit of our profession.
There comes a time in every music group’s life when they need nothing more than a good sit down on a comfy chair and say I have down tools. I retire. Can you guys see that in the horizon sooner rather than later?
I don’t think there will be an epiphany moment the doors opening and saying it’s time for us to vacate. I know one day we’ll stop touring and making music and switch off from the music and just be there for our family. But I do not know when we’ll do that and I cannot imagine retirement anytime soon. I still find myself writing songs. We have got enough for another album. The truth is that for sure that day will come but not without hesitation.
‘Alone’ is scheduled for release May 11. If you missed them in London you can catch them next at the Attend Concert De Roma, Borgerhout, Belgium, 12th June 2015
TERAKAFTWhat book are you reading now?
Africa Writes, the Royal African Society’s annual festival of books and literature which showcases established and emerging literary talent from Africa and the Diaspora, is back for its fourth year running this summer at the British Library.
As the saying goes there’s a book in everyone of us waiting to jump out. But not everyone could be Oscar Wild. That’s a relief I hear you cry! Here comes support Africa Writes, the Royal African Society’s annual festival of books and literature which showcases established and emerging literary talent from Africa and the Diaspora, is back for its fourth year running this summer (from Friday 3rd to Sunday 5th July) at the British Library.
Hannah Pool by Michael Leckie
The 2015 festival guarantees to bring together over 50 novelists, poets, publishers, translators, critics and other thespians in the world of African literature to open up the continent’s fertile literary terrain. The footnotes reads like so: “This year’s festival will once again present a unique opportunity for our audiences to engage with their favourite African writers and books, and to discover new ones through our exciting programme”.
Ben Okri, publisher's photo
The festival would also feature book launches, readings, author appearances, panel discussions, youth and children’s workshops. Amongst this year’s headline draw are Nigerian-born Ben Okri, Booker prize-winning author and one of the most known and respected of African writers. Okri will be discussing his extensive range of literary work of 10 novels, including the Booker winner The Famished Road. And the controversial Journalist, author and commentator Eritrean-born Hannah Pool, hosting an evening of books and inspiration, when a selection of writers and personalities will share with the audience their favourite African books, varying between classics all through to their latest published work?
The festival will feature 13 sessions - both free and paid for. However, two sessions stands out for me: Firstly, “Emergent Discourses on African Literature” (Free); because it deals with homogeneity, how publishers treat African writers as one and the same, ignoring the wide diversity of written and oral literature stemming from the continent and the diaspora. This session will feature presentations by PhD students and other researchers who are exploring different areas of this field of study - from the development of post-colonial literature through to present-day African narratives and the changing landscape of the publishing industry.
The second session that stands out for me is “Meet the Publishers”. A recently published study titled “What Happened” commissioned by the writer development agency “spread the word” to look into diversity in publishing, revealed that Black and Asian authors in Britain are being ‘shoehorned’ by a predominantly white publishing industry into writing fictions that conforms to a stereotypical view of their communities. This session, “Meet the Publishers”, is apt as it is for unpublished writers of African origin to present their work to different publishing houses, to discuss what they look for when considering new work, share the do's and don’ts of pitching and other insider tips, and get professional feedback on the spot.
The organisers maintain that they deem it fit to organise a fourth because last year’s Africa Writes attracted over 1,500 attendees – many of whom had not attended Africa Writes (77%) or visited the British Library (28%) before. And now with over 30 sessions they are hoping for a record breaking attendance for 2015.
Royal African Society, 36 Gordon Square, London WC1H 0PD
Resistance is futile against the slick new album Alone by the iconic Terakaft
Terakaft presents album Alone at the Rich Mix, London.
By Bunmi Akpata-Ohohe
Formed in 2001 and hailing from Mali, a landlocked nation in West Africa, the Tuareg band Terakaft (meaning “The Caravan” in their mother tongue) are regarded as the forerunners of desert rock/desert blues. The group are back with a new album, their fifth, titled Ténéré, which translates to Alone. All nine tracks in Alone will delight both aficionados of African music and newcomers to the genre, with their immense talent and fresh vibes, firmly rooted in tradition. The album expresses the kind of feeling and emotion that can’t be summoned up by commission in a studio. Also, it is an extremely personal nine-song discussion of love and identity which is what you want from a singing/songwriting group. According to the press statement by ilkamedia, the group’s music PR Alone was born out of “a need to maintain sanity in times of broken dreams and lies. It might be their most rock oriented album to date but at the same time it is their most poetic.”
It fuses the rhythms of Afrobeat, hi-life and that deep Saharan mesmeric rhythm into one infectious whole. It has the kind of poetic self-reflection of the pre-war years of Mali. “There are too many characters in the picture, too many chiefs and not enough people“, says Liya ag Ablil (aka Diara: guitar and vocals), when asked about the political developments in his country in the last years of conflict that only ended in December 2014. Diara used to sing political songs back in the days of his rebel youth when he was still playing guitar with Tinariwen, a Grammy award winning group of Tuareg musicians from the Sahara Desert region of northern Mali. Critics have pigeon-holed their songs as protest songs and protest vibes. Call it what you will, but Terakaft just keeps doing dazzling music and dazzling political stuff. It’s like they are a piece of equipment – always finding some novel issues to sing about.
These Malian desert blues legends are a band that must be seen live in all its amazing fierceness. They make their return to London for their album launch gig on 29th April 2015 at the intimate arts space Rich Mix venue.
35 - 47 Bethnal Green Road
London E1 6LA
United Kingdom