Lovington’s take on improvisation

'Phew!' says uncle. 'Improvising on this piece is going to be very difficult.'

'Difficult?' says brother Mandla. 'I thought that in improvisation you are free to play what you want. Now stay in that position for a while.'

'Ah!' says Uncle. 'That's a misconception. You see, I have put so many transition in this song, that even in the improvisation I need to be moving from scale to scale and from rhythm to rhythm.'

'So?'

'You see, when you are improvising you are free. Completely free. But I'm telling you, you've got to learn to be free. You've got to struggle hard for that freedom. You see, if I can give you this trumpet and say to you: play something, you'll soon tire of playing anything, because your playing will have no direction. Unlearned freedom frustrates; nothing elevating and lasting ever comes of it.'

Note: The above excerpt was taken from Professor Njabulo Simakahle Ndebele's fiction book, Fools and Other Stories. It is found on page 76 of the second impression that was published in 1976.

The trumpeter, Lovington and the fine artist, Mandla, were talking about art and improvisation.

Meshell Ndegeocello feat. Gil Scott-Heron and Etheridge Knight - Akel Dama, Field of Blood

Video source: YouTube

Freedom Way, Phoenix Village, Cape Town - 28/05/2011

Madala "Bafo" Kunene - Jamming in Kommetjie

Video source: YouYube

Democracy Road, the border between Joe Slovo Park and Phoenix - 28/05/2011

Skaftien - The spirit of togetherness

At each SKAFTIEN, attendees purchase a R60 ticket for which they receive a meal and entertainment. They also listen to six proposals for creative community-based arts projects that need funding and cast a vote for their favourite project. The winning project is awarded a grant from the proceeds of the event.

Anyone interested in submitting a proposal for consideration at this event is welcome to do so – the only requirements are that the projects should be creative and have a positive impact on the community in which it takes place. The six most innovative proposals will be selected to present their proposals at the Skaftien event and will have a week to prepare their presentation.

The site: Skaftien

Sipho Gumede's finest: Down Freedom Avenue

Tracklisting:

01 - Down Freedom Avenue
02 - Godfather Special
03 - Ngiyabonga (Thanking You)
04 - Song For Jonny Dyani
05 - Please Don't Dance
06 - Nozipho The Dancer
07 - Hlabelela (Just Sing)
08 - Village Lullabye
09 - African Wedding
10 - Country Side

Mpikeleni Duma reviews NMM Duman's Deepest Springs

This review was first published in the Sowetan of 30 May 2011.

Coming out soon...

Gil Scott-Heron is no more

The musician and poet Gil Scott-Heron – best known for his pioneering rap The Revolution Will Not Be Televised – has died at the age of 62, having fallen ill after a European trip.

Jamie Byng, his UK publisher, announced the news via Twitter: "Just heard the very sad news that my dear friend and one of the most inspiring people I've ever met, the great Gil Scott-Heron, died today."

Scott-Heron's spoken word recordings helped shape the emerging hip-hop culture. Generations of rappers cite his work as an influence.

He was known as the Godfather of Rap but disapproved of the title, preferring to describe what he did as "bluesology" – a fusion of poetry, soul, blues and jazz, all shot through with a piercing social conscience and strong political messages, tackling issues such as apartheid and nuclear arms.

"If there was any individual initiative that I was responsible for it might have been that there was music in certain poems of mine, with complete progression and repeating 'hooks', which made them more like songs than just recitations with percussion," Scott-Heron wrote in the introduction to his 1990 Now and Then collection of poems.


This article continues here, where it was sourced.
The accompanying image was sourced from Daily Top News.Net
 .

Skaftien: The blueprint

 
You may read more about the projects run by Skaftien here

Cnr of Koeberg Road and Freedom Way - 28-05-2011

African Cities Reader II: Mobilities & Fixtures

African Cities Reader II: Mobilities & Fixtures

available in selected bookstores from 01 June 2011

 The African Cities Reader is a biennial publication that brings together contributors from across Africa and the world to challenge the prevailing depiction of urban life on the continent and redefine cityness, Africa-style. It is a joint creation of Chimurenga Magazine and the African Centre for Cities at the University of Cape Town. 

The second installment of the Reader is centered on the theme 'Mobilities and Fixtures'.

In this issue Sean O'Toole interviews architect David Adjaye about African cityscapes, snapshot photography and failed utopias; Victor Lavalle uncovers the making of mercenaries in Uganda; Martin Kimani follows the African visa-seeker in the tragi-comedy that is the post 9/11 airport; Sherif El-Azma explores Cairo by foot; MADEYOULOOK and Santu Mofokeng imagine the didactic possibilities of trains; Manu Herbstein documents the 'car-doctors' of Accra; Chris Abani discovers the African city of Las Vegas; and Michael Watts examines oil cities.

Other contributors include Jonny Steinberg, Brian Chikwava, Dominique Malaquais, Mowoso Collective, Doreen Baingana, Teju Cole, Ed Kashi, Sean Christie, Khulile Nxumalo, Nicole Turner, Iain Chambers, Tim Cresswell and many more.

The African Cities Reader is edited by Ntone Edjabe and Edgar Pieterse.

For further information about the African Cities Reader please visit africancitiesreader.org.za or contact Terry Ayugi at +27 (21) 422 4168.

 

Title: African Cities Reader II: Mobilities & Fixtures

ISBN number:  978-0-9814273-4-8

Text:  English

Editors:  Ntone Edjabe and Edgar Pieterse

Publishing date:  May 2011

Price*: ZAR250; USD35; EURO25

 * Price excludes shipping costs

Raphael Saadiq's latest work: Stone Rollin'

Saadiq is one male artist that continues to plough a lonely furrow where the creation of music is concerned. Some criticize him for being highly innovative to a point of missing the mark. The opposite may be what he may be all about. He continues to be a crucial element in music. In fact, his latest release, Stone Rollin' and its predecessor, The Way I see it, puts Saadiq in the forefront of many genres, among which is the fading "neo-classic soul movement" he's often associated with. The man simply keeps it independent in his direction of music, while many artists have transformed to fit in with the popular culture with all its prescriptions.

One could say that his earlier work, The Way I See it, might have been like a bolt from the blue, but this would be inappropriate. Ray Ray, which came even before it, might have also been termed that knowing how his debut, Instant Vintage sounded like. All this should not matter. What's paramount is that Saadiq is simply progressive. That is why Stone Rollin' with all its allusion to the past genres of music that includes rock, seems to continue that spirit of independence.

Deon-Simphiwe Skade

Dambudzo Marechera in response to criticism on his work

“If you are a writer for a specific nation or a specific race, then fuck you.”

~ Dambudzo Marechera

Joe Slovo Park, Cape Town - 22/05/2011

The plight of children in the Eastern Cape - recent develpments

The Centre for Child Law had become involved in the dispute to speak for the many children who would not have stationery until the issue was finalised. Over 2 300 schools were affected, typically “no-fee” schools, offering classes to the poorest children in the province. The parents of the roughly 688 480 pupils involved would not be able to provide stationery themselves while the dispute was resolved.

The best interests of children should be of paramount consideration, it was argued, and any supply delays should be kept to a minimum.

At this point, the judge, already concerned about the flawed and unfair tender procedure she had found, became even more pointed in her comments. She said it was not surprising that the Centre for Child Law had become involved in the dispute because the Department of Education in the Eastern Cape had “virtually ceased all operations”.

She said school transport and feeding programmes had been scrapped and many schools were without teachers.

The above excerpt appears in Carmel Rickard’s article, No truce in Eastern Cape ‘war on the poor’. You may read the full article on IOL here.

Cape Town taxi rank - 20/05/2011

The plight of Eastern Cape's children, earlier this year - 2011

The SA Human Rights Commission (SAHRC) on Friday expressed concern over the suspension of school transport and nutritional programmes by the Eastern Cape education department.

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 "The commission is concerned that the suspension of these programmes will negatively affect the ability of the learners to enjoy their right of access to basic education," spokesman Vincent Moaga said in a statement.

 "By having to walk long distances to school and going hungry through the day, the affected the learners will not be able to effectively participate in the classroom."

 He said the programmes had significantly changed the lives of thousands of poor pupils.

 The department said earlier this month it had suspended the programmes until the end of March as it had no money to pay service providers. The department transports more than 100,000 pupils from poorer schools in the province.

This article continues here, where it was sourced.

James Matthews celebrates his 82nd birthday

South African-born author, James Matthews, has turned 82. This milestone was celebrated by The Centre for the Book, part of the National Library, by inviting fellow writers and readers to observe this special day. Even though Matthews' birthday was on the 22nd of May, the centre hosted the event celebrating his life and achievements on the 23rd.

Matthews is a crucial part of the world's writers. Here one refers particularly to those writers who through their writing and speech, not only denounced any form of oppression against anyone, but were as brave as willing to face any consequences that emerged. Dennis Brutus’ name springs up from many names of such heroes. Some of Matthews’s fellow writers spoke of his illustrious writing career, but highlighted his ability to remain honest in any subject he engaged in.  Often referred to as one of District Six's prominent writers along the likes of Alex La Guma, Matthews is a sage that we should celebrate as such. Young or old writers should drink from his well of wisdom. When I asked him for an advice that he may give to a young writer like me, he said: ''Be honest in your writing and don't pay too much attention to the critics. Believe in what you do and be true to that.''

James Matthews at 82

  

Matthews' confidence at 82 may unsettle many young folk. The honesty that he referred to, which was also a piece of advice he gave to another young journalist writer a few years ago, characterizes his speech too. In his opening remarks as the guest of honour, he shared an anecdote about a bathing experience he recently had, in which he fell as he tried to stand up. He did not use any euphemistic words in relating this unfortunate incident. As a result, the audience were in stitches over his sharp and unrestrained wit. One admired Matthews even more.

Happy belated birthday James Matthews. May you see many more years to come. The young need your wisdom and guidance.

 Deon-Simphiwe Skade

Google's Africa Day commemoration - 25/05/2011

Skaftien Kaapstad event in Gugulethu - 29/05/2011

Cape Town-bound taxi - 16/05/2011

Objectivity is falsehood

Perhaps a word like ‘objective’ should never be used alone; other words should qualify it to reflect varying degrees of meanings it reflects.

Deon-Simphiwe Skade

Julia Okonkwo on Dambudzo Marechera’s writing

“The continent cannot afford the luxury of such distorted and self-destructive sophistication from her writers.”

                ~ Julia Okonkwo

Acoustic Strings dedicates "Papillon" by Meshell Ndegeocello, to Bra' Zim Ngqawana

This song reminds one very much of Bra' Zim Ngqawana's song, www.kwantunet.com, especially the horn solos. Meshell Assembled a very formidable personnel on this song and on the album it features on, Dance of the Infidel.

Matthew Garrison, Federico Gonzalez Pena and Kenny Garrett are all too impressive here.

Video Source: YouTube 

Loop Street, Cape Town Central - 17/05/2011

Ngugi wa Thiong’o on the foreign tongue

‘By acquiring the thought-processes and values of the foreign tongue, [the African] becomes alienated from the values of his mother-tongue or from the language of the masses.’

~ Ngugi wa Thiong’o

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Google caught in motion - 11/05/2011

What has become of you

when I look at you 

my need and want become contrasted

your once precious image tears and burns into ash

Deon-Simphiwe Skade

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Umthandazo Wase Afrika Part 1 (Sonini Nanini) – Simphiwe Dana

Verse 2:

“In the beginning. You who is forever. You existed. In the beginning. You who is forever. Your greatness. Your immensity. Your depth... . I have forgotten. My covenant with you. So I’m drawing closer to you. Your own blood. Your children.” 

~ Simphiwe Dana

The above excerpt is part of Simphiwe Dana’s IsiXhosa lyrics (translated into English) from the song, The One Love Movement: Umthandazo Wase Afrika Part 1 (Sonini Nanini). It appears on her album, The One Love Movement on Bantu Biko Street.

Lower Main Road, Observatory, Cape Town - 20/05/2011

A dialogue sparked by literary texts

"The use of both the single and the collective narrative in Zakes Mda’s The Madonna of Excelsior, is what one may term an intelligent use of the right literary device to comprehensively reflect the dynamics of South Africa’s past. The novel, set against the backdrop of the infamous contravention of the Immorality Act by a group of white men and black women of Excelsior, probes the power relations of a small town during the apartheid era. Mda’s decision to tell the story through the two narratives, contributes generously towards painting the most convincing picture of not only Excelsior, but the whole of South African life around the horrendous time of oppression. It also highlights the power of a collective voice, which subsequently leads to a much needed political change..."

This article continues here. Below is the dialogue that subsequently emerged.

Joe Slovo Park, Cape Town - 08/05/2011

Bra’ Zim Ngqawana’s memorial service: his body is gone, but his spirit lives on

I have always believed that words have limits, especially when concepts and feelings have to be described in the most befitting manner. Often, when the most profound experiences are seen and felt, words tend to inhibit the optimum description of these experiences. In some of these unfortunate instances, words tend to be less obedient and start telling their own stories, even though the speaker’s intention may be to relate their feelings and experiences instead. One gets even more challenged with the choice of words to use when the subject and life to explore is that of Bra’ Zim Ngqawana, the late horn player extraordinaire.
 
It has been my wish to write extensively about Bra’ Zim Ngqawana, even though words seem to have their limits where he’s concerned. I had been of the belief that writing about him would be my modest way of paying homage to his extraordinary talent. Shocked by his sudden demise and the challenge posed by an attempt to reflect on this tragic development, I find myself resorting to his profound music for inspiration – I have to write something, even if it’s just a small piece.
Before long, I’m listening to his Zimphonic Suites record; one of his many masterpieces. The song, Resolution, with that temperamental plucking of those thick strings on the double bass as this poignant song commences, fills me with some courage to handle this subject. I’m attentive to every element of the song, even to those hesitant drums and the timid keys as they also make their presence known. They all pave way for that famous flute that would fill the air with a distinctive spirit that can only be invoked by the master himself. As his flute blows, as its audibility increases with each breath, I think about my own resolution I need to make in order to select words that would help me recount the events that happened during his memorial service – it was organised by Kyle Shepherd at Tagore’s, Observatory, on 14 May. But words seem to get more defiant, they seem not keen on allowing me to tell the story of this icon.

Words, words! Damn! Words are treacherous at times. They offer resistance when one desperately wishes to capture a distinctive mood and feelings. All they manage to do is to fall under their own weight when the speaker becomes overwhelmed – I’m overwhelmed! But one cannot blame the elusiveness of words in this instance. It’s Bra’ Zim that we’re talking about here, a genius that had only showed us a fragment of what he was really about with his powerful music. So much more still had to come out from his well of creativity and wisdom. Some may have thought Moses died young. But Bra’ Zim died even younger, leaving behind a prodigious amount of compositions and recordings that still had to be made. He still had to unearth many musicians that would help him chart a new direction through music. A Resolution, I have to take a resolution – this article has to be written.

I think back to Tagore’s on that cold Saturday. Many flashes of sombre images emerge and take all sorts of forms. There weren’t many people for this memorial service. Perhaps this had something to do with the space at the venue. Maybe it had to be small. But people were there: those who worked with Bra’ Zim on a number of platforms; those who lived with him and those who simply fell in love with his music. They had come to speak about this incredible musician – they had come to listen to the consoling voices of others and to the musicians that had come to play for Bra’ Zim.

Bra’ Shepherd Mathe, Bra’ Zim’s cousin, set off the proceedings of the evening. He exposed the audience to Bra’s Zim’s background when he was younger, adding details about the political climate of the time that may have influenced the deceased legend to have a political outlook that he had. Bra’ Shepherd also touched on the rich tapestry of the traditional amaXhosa culture that was also conspicuous in Bra’ Zim’s compositions.

He put one of Bra’ Zim’s songs into this historical context thus: “Kumandi eBhofolo, I mean is one of the songs that I remember very well. Again he immortalised it because he took it out of these tradition.”

Bra’ Zim learnt a lot from these early events as revealed by his cousin. And as an enthusiastic learner he was, he took all the lessons in. Bra’ Shepherd also credited their elders for instilling great virtues in the young folk as part of their apprenticeship to becoming men.

“There you watched, you observed, you assimilated, you took part in the celebrations. And I think that’s partly what influenced him as well in his own approach to the teaching of music, because I think he believed strongly that music can be learnt through participation and not through isolating yourself in order to study outside these actual performance occasions,” he explained, revealing the extent of the late musician’s early teachings.

Bra’ Zim’s compositions and recordings are too phenomenal; their essence is a huge assignment for the mind to explore. Perhaps that is why a lot of these compositions can only be truly appreciated when one is alone, taking in all that the music is communicating to the self. Mark Fransman, a talented saxophonist, who also had a privilege of working with Bra’ Zim, once found himself in a position where he got overwhelmed by the maestro’s genius. As a result, he had decided to stop playing with Bra’ Zim for a while. But before then he had said the following to Bra’ Zim:

“I’m not ready to deal with this you know, to deal with someone that has all these things in place. And he looked at me and he said ‘it’s cool man,’ and that was that.”
 It would only be much later that Mark’s true appreciation of the genius that was Bra’ Zim came to him:

“We reconnected. And that was when I really connected with Zim. I started understanding what he was about and the things he was talking about in the music, the way he translated his ideas, and not just his ideas but his ideas as they spoke to people’s lives, and their ideas too,” he added with a sad voice as he tried hard to share his experiences, in spite of the conspicuous sadness carried by both his face and voice. He ended his talk by reading a poem dedicated to the late genius.

Bra’ Zim touched many people through his music and through other facets of his life. One other such person is Zaide Harneker, Bra’ Zim’s long time friend who shared a lot with the legend – they even shared silences, silences that would last for several hours. Zaide cherished these silences greatly, she adored them. She’s privileged to have been exposed to other profound aspects of Bra’ Zim’s life. In her opening remarks when she also talked of Bra’ Zim, she said the following:
 
“Zim loved Zim. Zim had to love Zim. If he didn’t love Zim and he didn’t focus on loving Zim, he would never have been able to let God peek through Zim through the music he produced and to the work that he did on this earth while he was here.”

Flashes of Tagore’s become more vivid as I think more on the way Zaide spoke of Bra’ Zim and Zimology. Bra’ Zim was more than a musician. He was a philosopher, an intellect, a visionary – a teacher. He created Zimology, a concept that not only focused on music but other crucial parts of human lives. Zaide explained this huge Zimology concept thus:

“My limited understanding of Zimology is that Zimology is all about love. The love of the self. But how do we get to the love of the self? We get to the love of the self only through the study of the self and knowledge of the self. Then we can love ourselves and we can then move towards selflessness. We can only do this through silence. For it is in the silence that we hear the truth.”

As the song, Old Blues takes over from Ode to Princess Magogo, filling my room with more sweet and profound sound, it becomes clearer to me that the best way to mourn Bra’ Zim is through music. Unlike avoiding his music for the fear of heightening the sense of loss, listening to his music appears to be the best way of intensifying one’s appreciation of the legend’s prowess. For those that will no longer have a chance to meet the man or hear him play, he has left sacred music through which he can be found and understood. Through listening intently and without any rush, the understanding and appreciation of what he was creating becomes overwhelming clear. There may no longer be a need to express one’s ideas about the music or the void he left behind; silence would do just fine. That way it is fair to the genius’ contribution too.

I remember the sombreness of that Saturday once more; the celebration of a precious life lost. After all the melancholic moments and the presence of nostalgia in the cosy Tagore’s, something more powerful than words had to be expressed, and music was the only tool to achieve that. Mark Fransman with his powerful blowing on the sax, lead an all-star quartet that comprised of Kyle Shepherd on piano, Shane Cooper on double bass and Kevin Gibson on drums – all these players having played with Bra’ Zim of course. What they expressed through their respective instruments was more than an expression of loss. They seemed to be taking their own resolves in keeping Bra’s Zim’s spirit alive by elevating the music to new frontiers. They went all out, tickling, brushing, tapping, strumming and blowing so hard it almost felt like the whole of Tagore’s was vibrating. These instruments seemed to cry the musicians’ tears that refused to fall as the formal proceedings of the memorial service were underway. They all seemed possessed by the spirits, more so Kyle and Mark, as they slammed and blew the loudest.


The Resolution begins again. The same hesitant plucking emerges from those thick strings from my speakers. Soon the piano and drums would join in, paving way for that healing flute, that magic that fills the heart with so much tranquillity. I think back to Saturday again. I remember Frank Meintjies’s words from his brief talk. He said:

“It’s interesting in South Africa how we honour people in a much bigger way when they are gone. So, I think for many of you who were close to Zim know how big he is. But how many in South Africa did not know how big. How many platforms, art communication platforms in the country did not put that out? Now, in many parts of the world there are people talking about how someone lived in South Africa, who made a distinctive contribution to jazz. Took it to new levels.”

Indeed. South Africa has developed a terrible trend – we celebrate our geniuses when they are no more. Zimphonic Suites songs refuse to cease as my thoughts dwell on this unfortunate trend. These songs should not cease – they should play on forever.
It looks like I have indeed taken a fruitful resolution after all; the article has finally been completed – a couple of hundred words for that matter.

Rest in peace Bra’ Zimasile ‘Zim’ Ngqawana. Your spirit lives on through your music and teachings.

Deon-Simphiwe Skade

Spin Laundrette, Green Street, Cape Town - 12/05/22011

Gloria Marobele interviews poet and writer, Richard "Skietreker" Seape

Richard (“Skietreker”) Seape is one of the most dynamic young Free State writers around. A powerful poet, he writes in both English and Afrikaans – and also in Setswana! His debut book was titled Apartheid ek gaan jou boks. “Skietreker” was one of the frontline writers honoured by the Mangaung Local Municipality/Bloemfontein Public Library recently. Here, Gloria Marobele finds out what makes him tick…

GLORIA: You are still quite young and already recognized and honoured as a writer. How did you feel being honoured by MLM/ City Library the other day?

RICHARD: Picture a train moving at a very fast pace
Don’t look back and don’t think twice
Close your eyes
And picture a baby learning how to talk and walk for the first time
On the Inside it feels like Heaven when small efforts are appreciated
But it pushes and inspires from within
And makes one want to kneel down and say a prayer work harder
And keep on doing it only with love
God is a fact
(Modimo are mesebetsi ya hao e tlao latela)

GLORIA: How do you explain your great passion for the world of literature?

RICHARD: We hear and see things but with words
We create a picture
A symbol of the past and present
Something that is part of us
Defined by those who speak art
Even when they are sleeping
How about we change and value literature
Play with words like jazz
Sit and converse
Until we reach an agreement that says
POETRY AND LITERATURE IS HOUSE
The same budget the same length
Equal speech

GLORIA: Your specialty is of course poetry. Are there any African or South African poets you admire?

RICHARD: My inspiration starts at home with writers of mind like Delazi, Infinite motions, Shasha, PMZ, Kagiso, McKenzie (Shups), Pule Lechesa, Kgosietsile Dinthoane, Bareng Dichabe, Thabo Mafike, Seleke Botsime and from there the pen takes me to the heights of Maya Angelou, Bessie Head, Antjie Krog, E’skia Mphahlele,Buchi Emecheta, Kgafela oa magogodi, Hymphatic, Kwani E, Lebo, Napo, Saul Williams and I will need another two pages! (laugh).

GLORIA: Who are the writers who have encouraged your writing?

RICHARD: I believe that most of the time it is not
How you write but what you write, not necessarily what you say
But how you say it,
So along my journey I had the privilege to meet
Great writers who each played a role in lifting my weight and spirit
So even when the sun is not shining because of them I write,
Mr. Bolaji has given me so much as a writer and is certainly an icon an inspiration, and Charmaine Mrwebi my sister with a conscious mind.

GLORIA: I understand you have a great collection of articles on literature, how did you build or collect it?

RICHARD: It all began with a dream inspired by what I saw. I began cutting pages which I felt were close to heart. The actual dream was to see myself one day amongst those who will go down in history. When coming generations read and embrace the spoken word.

GLORIA: You have already published a book of poetry in Afrikaans, why did you decide to write it in that language?

RICHARD: Writing in Afrikaans came as a blessing for I never knew I could write until I realised I had actually published a book. It was too late to walk away. I tried but I fell in love.

GLORIA: What are your future plans in the writing career?

RICHARD: I’ve never really considered that I would ever take writing as a career, but to march as I can… the war is far from over so I shall continue to read and learn from those who came before us so that I can also leave something for the next us.


This interview appeared first on Jerry's blog, Free State Interviews. You may read more of Jerry's posts here

Arrest the music! Fela and his Rebel Art and politics

Arrest the Music! Arrest the music so that those who get their rebellious ideas from it may not speak again; this way they may be submissive – arrest the music!
Music has always been a powerful art form through which to denounce human rights violations. And no one has ever been as vocal as Fela Anikulapo Kuti in condemning these violations. For that he nearly paid with his life on many occasions. Such was Fela’s courage, his selflessness and determination to speak against corruption and human rights violations. It is not surprising that many books have been written about this iconic man.
In his book, Arrest the music! Fela and his Rebel Art and politics, Tejumola Olaniyan gives an impressive account of not only Fela Kuti’s life, but weaves in many interesting elements of those that lived around the father and the king of Afrobeat. Olaniyan delves into many aspects of Fela’s life, unravelling what many may have thought to have been a complicated man in Fela. He explores Fela’s infancy stages in music, around his immersion into the highlife genre of jazz of the 60’s, and his experimental spirit and discipline. He then takes the reader through the many paths that the king had travelled: From his time in London as a student, to his black consciousness days in America through the Black Panther ideologies. It is believed that this exposure to black America is what may have planted and geminated the seed of Fela’s outspokenness and the birth of Afrobeat. His long time band member, drummer Tony Allen, is credited for helping to establish Afrobeat with Fela, through his distinctive style of playing drums. Next to Allen in terms of importance in the hierarchy of this genre is Lemi Ghariokwu, the visual artist behind Fela’s album covers. We learn of how he came to Fela’s life and how their relationship had been. He says Fela gave him absolute carte blache in his satirical depiction of Fela’s lyrics.

Olaniyan also explores the role and significance played by women in Fela’s life. On why the king decided to divorce all of those he had married at once. He talks about Kalakuta Republic; the haven for Fela’s flourishing militancy against corruptive governments. Kalakuta is of significant importance in the chronology of events that reflected how the authorities were bent on silencing the king. It is believed that the death of Fela’s mother, from the injuries sustained during one of the army’s attacks at Kalakuta Republic, was a direct result of this harassment and brutality. The army had thrown her out of a building window. Fela had many encounters with the violent military forces for his frank and often risky stances on the government. He had been harassed and beaten many times, with Kalakuta Republic vandalised and its patrons beaten severely. But none of these violent actions ever forced the king to be silent, if at all, he became more outspoken.

Fela’s most prominent son, Femi, features in this book like many other important parts of Fela’s life, but significantly so for his role in the music. Olaniyan juxtaposes Femi’s sound to that of his larger-than-life father, in an attempt to reflect on how Femi has managed to become his own man through his version of Afrobeat, despite the heavy pressure he had endured. Olaniyan goes further to scrutinise Femi’s songs and draw the readers’ attention to how Femi’s compositions lack imagery and humour among other things.

Arrest the music! Fela and his Rebel Art and politics is a great resource through which one can get a clear glimpse into Africa’s most frank and influential artist of all times. The book also gives interesting glimpses into other developments of the world, including Nigeria’s civil war, South Africa’s oppressive regime and many others. One refers to this resource as giving a glimpse into Fela’s life due to the volumes of books that may be written to comprehensively chronicle Fela’s life – there is just too much of the man’s life to tell, far beyond a book or two. Having said that, one should acknowledge that Olayinyan’s book achieves so much with its account on Fela’s life.
They have tried to arrest the music, but Fela’s voice would never ever be muted – they had failed many times before.

Deon-Simphiwe Skade
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Cape Town Book Fair 2010

Wonder Chabalala, Vonani Bila and Sandile Ngidi

Sade - Feel No Pain

Video source: YouTube

Rest in peace Bra' Zim

Acoustic Strings would like to express heart-felt condolences to the family of Bra Zim' Ngqawana, his fellow musicians and collaborators, and all the patrons of his phenomenal artistry.

We have indeed lost a wealth of talent and a crucial cultural pulse in Bra' Zim.
May his soul rest in peace!

Jazz genius Zim Ngqawana dies at 52

South African musician Zim Ngqawana has died in the Charlotte Maxeke Johannesburg Hospital after suffering a stroke on Monday. He was 52.

Manager Ayanda Nhlapo said Ngqawana, who played the flute and saxophone, had been rehearsing at his home in Troyeville for a show at Wits on the weekend when he had the stroke.

He was taken to the hospital at about 3:30pm, but according to Nhlapo, the hospital's CAT scan machine "broke". He was scanned at about 11:15pm.

Nhlapo said Ngqawana had been placed on a ventilator on Tuesday and was told by doctors that the stroke had caused bleeding on the brain.

She said Ngqawana's ventilator was switched off at about 10am on Tuesday.

Nhlapo said the musician would be buried in accordance with Islamic burial customs, which would take place within the next 24 hours.


The article, written by Matthew Burbridge continues here.

Impressions on text

When you read, read it as is.
For you would be meddling with the text
when you create impressions.

Deon-Simphiwe Skade
.

Outside Zula Bar, Long Street, Cape Town - 18/03/2011

DJC aka Sipho with The Getuies' Mr. D'Mus and Maniak

No Cape Town Book Fair in 2011

The Cape Town Book Fair organisers announce that the Cape Town Book Fair will not be staged in 2011, but in a new and remodeled format in 2012, along with the IPA Publishers Congress which is going to be held in Cape Town 12 – 14 June 2012.

 The reason for this new move is that publishers in South Africa have voiced their support for a biennale Fair, starting in 2012.

 We thank all exhibitors and interested parties for their support and very much hope to be able to accommodate their needs and wishes again in 2012. A planning committee will start working and planning a revamped Cape Town Book Fair for 2012 very soon and will be announcing new details for the fair as soon as they become available.

 Claudia Kaiser

This statement was sourced from here

Zim Ngqawana's "www.kwantunet.com"

One of Zim Ngqawana’s finest compositions has to be www.kwantunet.com.
This song is glorious – absolutely beautiful!

~ Deon-Simphiwe Skade

The above mentioned song features in Zim Ngqawana's Zimphonic Suites.
.

The ‘Purpose and disparities of interest’ in book fairs

Hi Allan,

I read the communication between you and Rose again today. I also lament the obvious challenge that the book market is facing, in spite of the efforts made to encourage the culture of reading and writing.

It becomes a futile exercise to have many writers producing books which a small amount of people buying them. It is through your idea that I precisely see a change emerging within this challenged market. Your ideas and the many we could suggest, need to be debated upon in order to influence this much needed change.

I will base my sentiments on the Cape Town Book Fair and some of my experiences in Cape Town.

I have attended about three book fairs so far, and got appalled at the lack of the so-called black participation in these events. By this I’m mainly referring to the audience part of this market. I engage different persons within this market and learn, often with shock, that they don’t even know about the existence of the fair. This is troubling in many ways. In the country that has a majority the so-called black people, whom it is acknowledged that most do not read, it becomes vitally important to reach as much of this market as possible, at the same time grow other existing markets. A book should not be a tool for a small number of people in a society, but should become an important ingredient to the country’s lives.

A friend of mine, who works for one of the multinational publishing companies, also laments the lack of marketing within the so-called black market when it comes to this event, and the fact that it remains largely an annual function for a few middle class persons. This in itself suggests that the way the fair is marketed may need a major overhaul. This sentiment resonates with your idea that book prices must be reduced at these events.

As you righty put it, there is a huge decline on book purchases. This extends to CDs, DVDs and so forth. The book still has a great advantage in these troubled times though, in that it’s not become a highly targeted product to counterfeit, at least in contrast to the magnitude of this crime on CDs and DVDs. The reduction of the selling price may well entice people into attending these events and actually buying books. This of course would need other means that would be jointly implemented to comprehensively address the problem.

Only a handful of my friends buy books. They are usually international self-help kinds that sell for more than the local ones. There needs to be a cultivation of interest from grassroots level for literature. This way, the future book market benefits greatly.

Bloemfontein has a vibrant community of young adults who are deeply engrossed in literature (I encountered this dynamic fraternity through Aryan Kaganof). Cape Town has its book clubs, so is Gauteng and other parts of South Africa. These groups are also vital in addressing this culture of reading and writing, not to mention book purchases.

 

In conclusion, I reiterate my support for the intervention that you suggested. I’m sorry that this measure did not yield the desired result when it was implemented at the Jozi Book Fair. But I’m confident that it may do so next time.

Warm regards,

Deon-Simphiwe Skade

Note: This mail was part of a discussion whose aim was to improve aspects of book fairs, particularly the Jozi Book Fair. It was sent in as a contribution to that debate on 10/11/2010.

Joe Slovo Park, Cape Town - 08/05/2011

Riebeek Square, Shortmarket Street, Cape Town - 06/04/2011