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.
Sometimes the haircut can say a lot about the person. The cloud of
hair around someone’s head seems to be not only a hair style but a
type of manifest of a person’s “self”.
Recently I have decided to set up an ongoing photo project portraiting
Afro-headed people.
I placed an ad on the Internet and some of the people who responded
were invited to stand in front of my camera. The following portraits
display their individuality, style and character.
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.
The recent* arrival of “fat pipes” in Kenya courtesy of the new SEACOM sub-marine fiber optic cables has me flashing back to an article from 1998 that fundamentally altered my world view. It was titled “Africa Rising” written by John Perry Barlow. The subtitle of the article was “Everything you know about Africa is Wrong”. The article appeared in Wired 6.01 during the pre-Conde Nast, Lou Rosetto, super-optimistic, neon-hurt-you-eyes-design era of the magazine. During that time the magazine prided itself on presenting “idees fortes” (powerful ideas) to challenge conventional thinking on an issue. This was Barlow’s idee forte:
Most Africans stayed out of the loop of the 20th century and were not homogenized into the generica that is now much of the Northern Hemisphere, or what they call the North. And thus their continent – so intensely different from the rest of the world, so vastly different within itself – represents a huge and still unconnected battery of stored potential. All it would take for Africa to leapfrog into the wonderland of an information economy would be to attach the electrodes – get it wired, in other words – and then watch its huge voltage zap the gap. Or so went my theory.
The idee forte created a “eureka” moment in me when a whole new set of possibilities opened up in thinking about how Africa can develop itself. The internet, techno-libertarian frontier that it was in those days, could help individuals route around the sclerosis, incompetence and plain lack of resources of African instituitions and find ways to better themselves. Harness the power of the individual, and step out of the way.
It sounds like pan-glossian optimism to think that a continent that has so little (unreliable) electricity, a place so full of people who are hungry, sick and/or fleeing conflict should divert resources away from alleviating such chronic needs to build something for people to “surf” on. What attracted me so powerfully to his idea was that John Perry Barlow saw the enormous untapped potential in Africans themselves, while most (including Africans themselves) just see a continent full of basket cases in need of charity. I don’t think anyone would have predicted the explosive growth of mobile phone technology around Africa when it was first introduced. The launch of the Seacom fiber optic cables is a next phase in Barlow’s wiring of Africa; who knows yet what the impact of that will be?
The problems on the continent are so complex and intractible that institutions, government or otherwise, can’t possibly even conceive of solutions to them all. Development will best come from the bottom up. From individuals, families and communities thinking through how to solve their own problems, how to grow themselves, how to connect themselves to the world at large without physically leaving their communities. Connectivity harnessed to the wild innovation and creativity that one sees in the informal (jua kali) sector in particular and in African culture in general is one way Africa is going to lift herself up.
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
I lived many years in southern California, spiritual home of skateboarding and thus am quite familiar with its roots in that state and its culture. So that is why I am so intrigued that skateboarding is what is the new new thing for kids in the black diaspora. New expressions of youth culture have typically flowed the other way; from the city to the suburbs from black kids to white kids, from black America to Africa. This is not necessarily a bad thing, but it makes me wonder if hip hop (which has so dominated pop culture in the last 2 decades) is so played out that young black kids are now looking outside/beyond it for something new to identify with.
See also: Trailer for the Stacy Peralta-directed documentary “Dogtown And The Z-Boys” chronicling skateboarding roots in southern California where it drew inspiration from surfing, the tough latino cholo sub-culture of LA and the empty backyard pools in the ‘burbs that skateboarders first used to start figuring out how to do the high-flying-death-defying moves that are staples of the scene today.
Each day The Black Snapper presents a different photographer selected by one of the many guest curators, who switch places on a weekly basis. Visitors of the online magazine can expect to see a new series of some eight to twenty photos each day.
The Black Snapper aims to create an online community that will inspire professionals and photography lovers worldwide and expose new talent. In addition, the online magazine emphatically supports the emancipation and promotion of photographers from Asia, Africa and South America.
Site went live on August 1st. Looks like an interesting avenue to get young African photographers to get their work out there now that Kenya has fat pipes and it is less of a chore to post images online.
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.
Screen shot from BBC News photo essay on Congolese migrants in South Africa
PHOTO ESSAY: Congolese migrants in South Africa staged a La Sape fashion show as a way to increase understanding between their community and their Johannesburg hosts in the wake of the deadly violence against immigrants there in 2008.
