PHOTOGRAPHY: Book Review: Malick Sidibe vs Dash Snow. On the occasion of the recent release of Malick Sidibe’s latest book, art photography critique site Conscientious juxtaposes two things that should not go together. Jörg M. Colberg posits that art should transport/transform; it is the unalloyed joy and humanity in Sidibe’s images that are core of the images appeal. Conversely, Dash Snow’s VICE magazine-style party polaroids of the tortured/alienated artist NYC do not. Providence allowing, one day I will own this Malick Sidibe print.
PHOTOGRAPHY:Carnaval: Surreal Selves. In 1987 famed Brazilian documentary photographer Rogerio Reis took portraits of “counter-carnaval” participants on the back streets of Rio de Janeiro. What he found were people who for one day were trying to escape the social/cultural strictures they lived under the rest of the year. It makes me think of the lyrics of Antonio Carlos Jobim’s “A Felicidade”.
A felicidade do pobre parece
A grande ilusão do carnaval
A gente trabalha o ano inteiro
Por um momento de sonho
Pra fazer a fantasia
De rei ou de pirata ou jardineira
Pra tudo se acabar na quarta feira
translated…
The happiness of a poor man is like
The grand illusion of Carnaval
People work the whole year long
For one moment’s dream
To play the part of
A king or a pirate or a gardener
And all of that is ended on [Ash] Wednesday
To that effect, black female artists exhibiting more rebellious styles are consequently shunned by black audiences for being “too weird,” and ignored by other audiences as not being authentic rock musicians. This is where the Afro-punk movement comes in: a blindingly boisterous collection of musicians whose general style makes them “misfits of society.” However, in the eyes of many, their style of dress and sound simply makes them copycats of white musicians. In other words, with the argument that rock music originated with people of color, some believe that black females choosing to go the Afro-punk route are ultimately suppressing their African-American roots.
What makes me really root for black women who rock is their willingness to carve out their own niche, to follow their artistic muses despite all the expectations, private and public, of what a black woman should and shouldn’t do. Artists like Santi(o)gold, Janelle Monae, Meshell Ndege’ocello have achieved a measure of success and recognition, but most black female rock artists (random sample below) do their thing away from the attention and approval of mainstream of black culture.
SHINGAI SHONIWA: Zimbabwe-born, UK-raised bassist and frontwoman for The Noisettes.
The band’s rapidly growing audience has a special significance for Ms. Shoniwa, who said her father wanted her to be an ambassador. “My private achievement is when I look out at the crowd and see a rainbow tribe, all different ages and colors,” she said. “Music should be about breaking down contrived divisions.”
Singer/Songwriter/Rapper/Violinist, “JOYA BRAVO” is a New York native born in Queens and raised in Atlanta, Georgia. Conceived by Jamaican parents, Bravo’s upbringing was conservative, but musically charged. Bravo began playing the violin at age nine. Her success eventually earned her a chair in the Metropolitan Atlanta Youth Symphony Orchestra (a highly accredited youth ensemble in the southeast region).
But tonite mi just wah dagga
I’m a straight forward kind of bredda
Mi know mi seh wi coulda just chill tonight
But when mi see your body
Girl mi cyah badda
Mi just wah dagga
And leff all a di talking fi tomorrow
Tonite I wanna make you my baby madda (wooooh)
Tonite mi just wah dagga
Censorship: Busy Signal – Beep (Indiscretions Riddim)
just through di beep(beep)
I and I cyaan speak
warn to freedom of speech
just through di beep(beep)
we nah express weself inna di song
and now di beep fulfill it
just through di beep(beep)
I and I cyaan talk
cyaan tell mi fans everything inna mi thoughts
dem only waan mi music play pon sidewalk
certain things dem nah bright cause
“The BLK JKS homecoming slideshow” audio slide show from the Mail & Guardian site.
Music:BLK JKS are back in the States to tour in support of the debut album “After Robots” out now. Rolling Stone has called them “Africa’s best new band” and artists to watch in 2009. Here is a sampler track from their new album:
Photographers I Like: Speaking of BLK JKS, you’ve probably seen a tall gentleman on/back stage at their shows taking pics of the performances. Said gentleman would be Kwesi Abbensetts, an art photographer who beautifully captures the creative vibe of Brooklyn. He posts his work on the photoblog “Spaceship George“.
Photography, more:Mike Schreiber, Oroma Speaking of photographers, here as some cool images of Oroma Elewa the editor and creative force of nature behind the magazine/site pop’africana (which site I have been criminally silent about). Mike Schreiber is another Brooklyn-based photographer with great work, check out his esays on M.I.A. as well as other music portraits he has shot on his site.
Promise of Africa Collective at New York Fashion Week
FASHION: Speaking of fashion, herewith highlights from the Arise: Promise of Africa Collective Spring/Summer 2010 show at the recently completed New York Fashion Week. It featured togs by David Tlale, Eric Raisine, Tiffany Amber and Jewel by Lisa.
Politics: “Democracy in Dakar” The intersection of hip hop, activism and politics.
African Underground: Democracy in Dakar is a groundbreaking documentary film about hip-hop youth and politics in Dakar Senegal. The film follows rappers, DJs, journalists, professors and people on the street at the time before during and after the controversial 2007 presidential election in Senegal and examines hip-hop’s role on the political process. Originally shot as a seven part documentary mini-series released via the internet – the documentary bridges the gap between hip-hop activism, video journalism and documentary film and explores the role of youth and musical activism on the political process
Human Rights: “Nosotros los de la Saya” (“We of the Saya”) Afro-Bolivians struggle for official recognition.
WE OF THE SAYA (pronounced “sigh-yah”) is a feature-length cultural and social documentary about the marginalized Afro-Bolivian community, and their struggle to achieve recognition as a legitimate ethnic group in the new Bolivian constitution. In addition to enriching culture and music, this film will present the rise of an Afro-Bolivian civil rights movement. “We of the Saya” is an inspirational story about the Afro-Bolivian movement (and all Afro-Descendant movements in a broader sense), and their resistance to suffer more years of continuous marginalization.This is an inspirational story about self-determination and seizing the moment in order to improve a community’s way of life.
(In Spanish with subtitles)
Trailer for the film “Thomas Sankara, Upright Man”, now publicly available at California Newsreel
California Newsreel is making this collection of feature films available directly to consumers — for the first time in its history, the Library of African cinema will be widely available on DVD for $24.95 each.
The collection includes widely celebrated feature films such as Ousmane Sembene’s “Faat Kine” (2001), Djibril Diop Mambety’s “La Petite Vendeuse de Soleil”, also known as “the Little Girl Who Sold the Sun” (1999), Zézé Gamboa’s “The Hero” (2004), Newton Aduaka’s “Ezra” (2007), Moussa Sene Absa’s “Ça Twiste à Poponguine” (1993), Joseph Gai Ramaka’s “Karmen Gei” (2001) and Mohamed Camara’s “Dakan” (1997).
Bajah + The Dry Eye Crew are superstars in their native Sierra Leone. Although their sound traverses hip hop, reggae and dancehall and their shows are seriously festive; the former Sierra Leone war is not far away, tinging some of their music with a heightened sense of social awareness that comes from living with the effects that harrowing conflict.
Bajah + The Dry Eye Crew (in collaboration with DJ Gray) have released a FREE mixtape titled the “Kings of Salone,” ahead of their debut full length album slated for later this year/early next. Link to downloadable mixtape available from their site.
Posted: September 4th, 2009 | Author:kamau | Filed under:music, politics | Comments Off
3 Years in Kingston by Peter Dean Rickards (PDF available here) WARNING: NSFW. Some pretty arresting imagery taken in Jamaica taken from 2002 to 2006 (fashion, editorial, reportage, landscape) taken by Kingston-based Rickards (founder and Editor of First Magazine and creator of The Afflicted Yard). There are portraits of Jamaican musicians from Sean Paul to Lee Scratch Perry, coverage of Kingston’s gun violence (”gun like dirt”) and pretty, skimpily clad young women.
In the summer of 1969, there were two landmark music festivals in the great state of New York*. One of them was the Harlem Cultural Festival, 6 weeks of free concerts featuring the likes of B.B. King, Nina Simone, Abbey Lincoln and Max Roach, the Fifth Dimension, Gladys Knight and the Pips, Stevie Wonder, Mahalia Jackson, the Staples Singers, Hugh Masekhela, Cal Tjader, Mongo Santamaria and others. The concert was held at Mt. Morris Park (now called Marcus Garvey Park) in Harlem and was attended by over 300,000 concertgoers over the course of the series. NYPD refused to provide security so the event organizers engaged the Black Panthers.
A producer Hal Tulchin took over 50 hours of footage of the festival, but was unable to get it aired on the American TV networks of the day. Currently that footage lies languishing in vaults; apart from Nina Simone’s performance that is making the rounds of YouTube (see below), most of that footage has not seen the light of day. 1969 was a pivotal time in black culture, it was a tense period post-MLK’s assassination and the race riots of 1968, but before the more celebratory 70’s that were captured by Wattstax and by Soul Power.
Nina Simone: “To Be Young, Gifted and Black” performed at the Harlem Cultural Festival in 1969
Angela Boatwright: Cuba. Image series of the hip hop scene in Cuba as highlighted on her newly re-designed site. I am a big fan of Angela Boatwright’s emotionally honest, raw music photography, Cuba’s hip hop scene with its outsider (politically aware) status is a natural fit for her style.
The situation among Afro-Cubans, about 60 percent of the population, is especially acute. They are considerably poorer than whites, according to studies. Among the reasons are that white Cubans are more likely to have relatives sending remittances from the United States, and whites hold the bulk of the jobs in the profitable tourism industry.
Afro-Cubans complain that they have inferior housing and are more likely than whites to be hassled on the streets by the police.
The rappers speak of these and other problems, often bluntly.
“What we sing, people can’t say,” said Mr. Rodríguez Baquero, who wore a blue bandanna to pull back his braided hair as he rapped on the sidewalk outside an overflowing club. “They think we are crazy. We say what they only whisper.”
Posted: July 18th, 2009 | Author:kamau | Filed under:music, photography | Comments Off
Images I took at a BLK JKS’ performance at the Knitting Factory on June 2nd, part of the inaugural Afrobeat Music Festival. Musically they borrow more from the indie rock scene and from Jimi Hendrix (they use tube amps!) than from Fela Kuti; to say their music is Afrobeat would be a stretch. BLK JKS seem to be pushing the sonic boundary of “African” music, so maybe it was fitting to have them on the bill there, to stretch minds beyond the antipathy many black folk have towards rock music.
Loud, fuzzy, feedback-filled guitars are not new to African popular music. Osibisa pioneered a pan-African style of jazz funk called Afro Rock which was a blend of James Brown, Jimi Hendrix, Santana and Fela Kuti. BLK JKS’ new song “Molalatladi” (track below) very much in the tradition of Afro Rock grafts current rock influences onto strong African sonic textures.
New BLK JKS track “Molalatladi” from their upcoming album “After Robots” due out in September.
