343 Article(s) by:

Tom Devriendt

Tom Devriendt was an editorial board member of Africa is a Country before there was an editorial board.

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The World of Congolese artist Pume Bylex

In the introduction to The World According to Bylex, Filip De Boeck and Koen Van Synghel describe the Congolese artist Pume Bylex as "not interested in the day-to-day reality of Kinshasa. [He] turns his attention to what lies beyond the horizon of the visible and the tangible (...) a world with perfection and harmony at its centre." Pume Bylex is showing new work at the Halle de la Gombe (Kinshasa) until April 28 and from May 23 to July 21 at the Revue Noire gallery (Paris).

Friday Bonus Music Break, N°6

Mali's on our mind. Mostly because of the confusion. Reports from Bamako abound, while there's still very little information available from the north. Malian artists in the diaspora, it seems, are as confused. (Check Mokobe's site for example.) Earlier this week, Tuareg band Tamikrest gave a shoutout to "our friend" Ben Zabo. (Is it true what his European label says? Is this "the first album ever to be released by a Malian of Bo descent"?) His hommage to Dounaké Koïta: http://www.youtube.com/watch?v=k4yxgvvIBQI While we're waiting for their new album to be released (later this year, if all goes well), South African Driemanskap made time to record another video, this time for 'Ivamna', still off their debut album: http://www.youtube.com/watch?v=kOjHn_hJEsQ Nomadic Wax keeps working hard to push hip hop from Zimbabwe. They'll even shoot a video in Washington DC for it. (And, for the record, in Harare.) Dumi RIGHT, Outspoken and MC Pep: http://www.youtube.com/watch?v=1WNTFhnwlYY A week after first seeing this video (on This is Africa's page), I still think this is one of the wildest songs I've heard in a long time. I also believe we'll get to hear many more 'Facebook'-titled tracks in the future. Not just from Senegal. Eumeudi Badiane, Wally Seck and Abou Thioubalo: http://www.youtube.com/watch?v=n5XhiaJRHH8 And to slow things down, Guinean Ba Cissoko live in Paris. 'Politiki': http://www.youtube.com/watch?v=qHrQi-fBWxk

    The Road Down to ‘Africa’

    http://www.youtube.com/watch?v=NvzZ4yShtog I never understood why E-Type's 2002 smash hit 'Africa' didn't really catch on outside Sweden. The video is slightly embarrassing. It's like watching a Scandinavian version of the b-grade movie 'Soul Plane.' But it has its tongue firmly in its cheek. Or so one hopes. [Eller hur?]

    Tinariwen speaks on the coup in Mali

    Tuareg musicians Tinariwen, on tour in Europe these days, spent some time in Belgium this weekend. Belgian public broadcaster VRT [they’ll do a feature on Mali blues once a year, usually at the end of June, covering the one high-profile ‘world music’ festival Brussels has in summer, squeezing them into a one-minute slot alongside performers from the Balkans, a visiting Soukous star, a French rapper and a Jamaican reggae artist] asked Tinariwen members Eyadou Ag Leche and Mina Walet Oumar what they made of the coup in Mali. It’s a short but useful video interview since most of what we get to read in international media over the past weeks are translations of and interviews with the military commanders of the coup, and then some other wires by foreign journalists based in Bamako. I haven’t read much reports coming from the north, i.e. from the Tuareg front. Below’s a brief translation of the VRT’s interview with Tinariwen's guitarist and singer:

    Eyadou: Our music was created under the same circumstances as the American blues. It was created in exile. We’ve been living for years as exiles between Algeria, Libya and Niger since the 1960s until 1990.

    Mina: Our people have been dying because of bombardments by the Mali army. They’re nomads. Not rebels. People who have nothing to do with the war. They don’t make war.

    Eyadou: The Tuaregs want independence. This is nothing new. We’ve wanted this since the French have left. For thirty years we have big problems: we don’t have hospitals, schools... We don’t feel Malian. We live under the same [Mali] flag, but we don’t consider ourselves true Malians. (...) The coup in Mali serves us because the people will start looking at Mali. They will direct their attention to Mali and see what’s happening there. People will start to understand Mali’s reality. Many people knew what was happening there but closed their eyes to it. (...) From Timbuktu to Gao, the border between Niger and Algeria ... that is our country, that is our territory, that is where our families live. That belongs to us. We’re not colonizing anything; we have been colonized ourselves.

    Asked about the Libya-Gaddafi-Al Qaeda-Tuareg connection:

    Mina: We’re not bandits. We’re not terrorists. We’re a people who claim their rights. Our rights have been ignored for more than 50 years by the Malian state. Our people fighting there right now are no Al Qaeda people. It’s true that some among them have returned from Libya, but they just returned to their homes. They were born in our region, left, and have now returned.

    Eyadou: Our cause is here, now, and it’s a cause that won’t go to sleep.

    If you’ve been following Tinariwen and reading (or listening to) their lyrics, this doesn’t come as a surprise. What was new to me though, were the numbers cited in the VRT program’s debate after the interview. Estimates are that Libya returnees joining the Tuaregs' ranks numbered less than 200 (some of the Gadaffi soldiers also joined the government's army before the coup), bringing along their weapons, but apparently enough to defeat the 7000 men strong Malian government army -- and take over half of the country (including Timbuktu and Gao).

      Cheikh Amadou Bamba Day

      For over two decades, West African Muslims from the Murid Sufi Brotherhood come together at the annual Cheikh Amadou Bamba Day march in Harlem, New York. Scholar Zain Abdullah calls it "a major site where they redefine the boundaries of their African identities, cope with the stigma of blackness, and counteract an anti-Muslim backlash". Mamadou Diouf (in his preface to 'A Saint in the City: Sufi Arts of Urban Senegal') considers Bamba's message an "unfinished prophecy". Above and below are photographs Marguerite Seger took during the parade in July 2010.* * Marguerite Seger is a New York based photographer of Sri Lankan and French decent, born and raised in Sweden. Her photography, she writes, "is versatile yet with a strong personal style". Seger has exhibited regularly the passed years both in solo and group shows. She describes her work as "urban, raw, yet romantic", shooting anything from MMA fighters to jeans ads, music videos, boxers and short films. More of her photographs here and here.

      French Tropicalism

      http://www.youtube.com/watch?v=J2psxl2-lp8 At the occasion of the recent publication of Senegalese philosopher Souleymane Bachir Diagne’s book ‘African Art as Philosophy: Senghor, Bergson and the Idea of Negritude’ (originally published in French in 2007) and listening to this interview where he speaks about his new book, 'Bergson Postcolonial', I intended to write a short post wondering why it often takes years before important work by African authors (both fiction and non-fiction) that is originally published in French becomes available in English -- if at all. Browsing through English news and culture blogs focussing on 'all things African', one does find a lot of visual work (by francophone artists, fashionistas or musicians) because that work is easy to blog and reblog (Tumblr & co), but when it comes to engaging with French opinions and writings... it’s a desert out there. It's hard to shake off the feeling the result is a virtual and cultural space consisting of two separate worlds missing out on each other’s written work. Short, a post on why French African authors matter and why they are often absent on English platforms. Until I came across the argument above, by Souleymane Bachir Diagne himself, who expresses their importance far more eloquently than I could have. (As a scholar of Léopold Senghor's work and as a friend of Ngũgĩ wa Thiong'o, Diagne couldn’t leave them out of the argument.) In English. I'll still make that list of French works which I believe need to be translated and read -- another day.

        Cabinda is a Conflict Zone

        Think tanks love to paint maps, often accompanied by short descriptions of the different crises a country is facing -- short, broad strokes for clarity's sake. Except, of course, that these different shades of blue obscure realities that, in typical jargon, are defined as 'non-violent' crises. The map above shows where in Sub-Saharan Africa violent conflicts happened in 2011. Thus, for example, the xenophobic attacks against foreigners in South Africa will appear on the map but the country's crisis of deep-rooted poverty will not. What caught my eye on this map though was the little blue dot west of the DRC: it made me read up on Cabinda, the Angolan enclave, which seems to have dropped off the international press's radar again since the deadly ambush on the Togolese football team there in 2010. Searching the websites of the BBC, the NYT and The Guardian all returned the same result: each had one article in January 2011 asking whether Sudan's split would herald a balkanization of Africa and bring independence to Somaliland, Western Sahara and...Cabinda. (Nothing on CNN or Al Jazeera nor in El País, Die Zeit, Jeune Afrique or Le Monde.) Which is surprising, considering the Heidelberg Institute for International Conflict Research report:

          My favorite photographs N°2: Scott Williams

          South African photographer Scott Williams is the second guest in our new weekly series. He has, he says, masqueraded as a freelance photographer during his lunchtimes and after-hours for some eight years. "I love to document the unseen, positive part of the Cape Town hip hop scene. The 'underground' (a dirty word), as it were. In the future, I'm planning to focus even more on Park Jams (free hip hop events held in communities) because I enjoy the thrill of a raw performance and the reaction of parents, friends, neighbours to their artists' hidden talents." More of Scott's work can be found at nar8iv.tumblr.com and on his flickr page. Along with his 5 favorite photographs, he sent us some words:

          My first photo, above, was taken in Westridge, a suburb of the infamous Mitchells Plain in Cape Town. This particular location is a consistent favourite for DJ's, graffiti artists, breakdancers and MC's who are the organizers behind Park Jams. These sorts of events provide the opportunity for collaborations and interactions between people from areas separated by large distances. This image is also proof of the opportunity to examine some of the standard architecture templates used to execute the Group Areas Act's strategy.

          [caption id="attachment_47959" align="aligncenter" width="500" caption="Baby L. Hip Hop Connected"][/caption]

          This photograph of Baby L was taken during the Hip Hop Connected show at the Artscape Theatre in 2005. This was the first hip hop show ever allowed on the Artscape stage since the inception of South Africa's "Democratic Era". Interestingly, the show played to a packed house on a fraction of the budget provided to the Theatre's Ballet productions.

          [caption id="attachment_47960" align="aligncenter" width="500" caption="Falko. Write for Gold"][/caption]

          This particular piece of graffiti by Legendary artist Falko referenced a R50 note. To add a touch of whimsy to the shot I asked several people passing by whether they could hold up their currency. Eventually, I found a willing participant.

          [caption id="attachment_47961" align="aligncenter" width="500" caption="Little Mogadishu. Bellville"][/caption]

          Bellville Middestad has been known as "Little Mogadishu" for a while because of the influx of Somali business people. Bellville is a junction of many intersecting transport routes in Cape Town and due to its concentration of travellers has logically become a profitable place to settle, especially for the Somali community whose businesses are often the target of xenophobic attacks. Ironically, these businesses often provide Capetonians with employment and promote regeneration of infrastructure. See how many South African flags you can find in this barbershop.

          [caption id="attachment_47962" align="aligncenter" width="500" caption="Klein Nederburg"][/caption]

          This image was taken with an Olympus Trip35, a camera often referred to as "The Poor Man's Leica". I hardly ever switch to a film camera but my project with Paarl based MC Jaak required a different treatment. He had requested a nostalgic feel for some of the images, hence the deviation from the norm. The relationships formed with many hip hop artists have allowed me to visit communities -- such as the one here in Klein Nederburg which I would never have visited on my own. The image taken is an example of how similar the architecture is to that of the Mitchells Plain area, despite the distance.

          Found Objects N°21

          http://www.youtube.com/watch?v=BQb5qJRy0QY German singer-songwriter Joy Denalane (born to a South African father who's a cousin of Hugh Masekela) recorded her song 'Im Ghetto von Soweto' twice. I prefer the original, less explanatory, German version (a tentative translation of which I'm including below) to the later English adaptation (rewritten for an international audience, I assume -- it has some extra lines at pains to explain why, for example, one of the figures in her lyrics was detained). Masekela himself also contributed to the song and features in the above video they shot in Soweto in 2003, mixing it with archival material. This is auntie Jane’s house When the first shots were fired Come in quickly, my child, and don’t cry Lie down on the kitchen floor This is Orlando West in June 1976 See the school kids run The boy Pieterson The police are shooting them A stone flies, a shoe drops A car burns, a child runs Images everyone here knows When the brown dust settles What remains is the grey smoke in the air In the ghetto, ghetto of Soweto This is auntie Nancy’s house She wanted to do Karabo’s laundry He nearly missed the train in the morning She pulls his pass from his jacket’s pocket '84 in Diepkloof It’s already been a week Did anybody see whether they took him To prison at John Vorster Square? They stopped him, he doesn’t have a pass They took him, and put him in jail Only now did she find out When the red dust settles What remains is the brown smoke in the air In the ghetto, ghetto of Soweto It should have been a day of joy At auntie Eve’s house The daughter gave birth to a child that night But both are lost They are positive In Moroka, Pimville, Dube... No house is safe They battled apartheid but then came Aids And they fight it in 2002 It used to be TBC from the mines Today they're infected with HIV I’m talking about every second pregnant woman When the brown dust settles What remains is the grey smoke in the air In Soweto Stands Auntie’s house...

          Soweto Soul

          http://www.youtube.com/watch?v=WhyqJb0VZtQ What better way to start the week than with some a cappella soul courtesy of South African singers Buhlebendalo Mda, Luphindo Ngxanga and Ntsika Fana Ngxanga (better known as 'The Soil').

            Paolo Patrizi’s photographs of ‘shrines to the shortcomings of globalization’

            Italian photographer Paolo Patrizi says about his work on the "Italos":

            I used landscape shots to capture the phenomenon of Nigerian prostitution in Italy. My photographs contain the signs left behind by cars, waiting times and customers’ transactions. What emerges is a sub-human condition these women live daily. Some appear as if tricked by the idea that one day their prostitution status will be made legal. I have tried to deliver the emotion and the atmosphere of the eerie places I visited, thus allowing the viewer a glimpse of the littered makeshift sex-camps [...] pits of dirt and abuse, shrines to the shortcomings of globalization.

            You'll find Patrizi's full series here. (For more background on 'The Italian-Nigerian Connection': Orlando von Einsiedel's documentary on the topic is informative: part I and II.)

            They talk a lot. Let them talk.

            http://www.youtube.com/watch?v=2YL7FUiCtsA That first line is one by Tunde Adebimpe (joined by fellow TV on the Radio musician Kyp Malone) from his collaboration with Amadou & Mariam on 'Wily Kataso'. The second line is the title of Spoek Mathambo's latest single (and music video): http://youtu.be/oRBgUoy390k It has been an interesting week. Not just talking music.

              Tomorrow’s Marching Band

              In the DRC, city life isn’t foremost defined by the image of the child soldier (contrary to what some campaigns would have you believe) but rather by that of the street child. Seen by many as a superfluous presence, a residue or a waste, street children become easy victims of gossip and accusations while at the same time, as a relatively new phenomenon, they are also hard to explain, ultimately turning into something of a danger and a threat that, according to all too many citizens, needs to be dealt with and ideally removed from the stuttering and improvisational city logics.

              Independence Day in Namibia

              Not only is it Human Rights Day in South Africa today (read up on its meaning by searching our archive for 'Sharpeville'), this day 22 years ago also saw Namibia wrestle itself officially free from the same Apartheid claws that were responsible for the massacre in Sharpeville. Which makes it a day both to remember and to celebrate. I'm picking up the Independence Day meme of popular music we started last year. 5 Namibian tunes. First up, Overitje group Ondarata's 'Tuvare Tuakapanda': http://www.youtube.com/watch?v=Mbd-0mWfkHc Patrick, Deon and Kamutonyo (aka PDK) mix Portuguese, Oshiwambo, Kwangali and Umbundu in 'Moko': http://www.youtube.com/watch?v=kt-LbsR6RCI The prolific Tate Buti with Kamati Nangolo: http://www.youtube.com/watch?v=UPe4dt6j8_E A bit older: Exit's 'Molokasi': http://www.youtube.com/watch?v=nM_Rf0vSppU And Gazza's love song to Seelima: http://www.youtube.com/watch?v=guHKuSsO19A You can dance to it.

              Music Break. Mokobe

              http://www.youtube.com/watch?v=gd6W5jjOgRA Mokobe commentates on the actions of Rihannon, Naomi Campboule, Rachida Beckham and friends over a Coupé-Decalé riddim. The music production is pretty standard, but the video is at least funny. Update (3/19): Following heated reactions from fans, Mokobe took down the music video. In vague terms, he explains why he decided to do so here.

                Amsterdam is a Continent

                ZAM is an international multimedia platform celebrating African creativity and new thinking, priding itself on a network of over 500 African journalists, photographers, writers, artists, academics, visionaries, doers and hundreds of peers in Europe and elsewhere. (Which we can attest to.) The original Dutch version of ZAM Magazine has been around for a while but to widen their reach, the magazine has reinvented itself as “an independent, quarterly print magazine on Africa and beyond” that will be launched in Amsterdam today. The first international issue features contributions by Helon Habila, Achille Mbembe, Paula Akugizibwe and Elnathan John; profiles of artists Jane Alexander and Ayana Vellissia Jackson (the portrait on the magazine’s cover, above, is by Jackson); opinion pieces by Kalundi Serumaga, William Gumede, Kassim Mohamed; Africa is a Country (yes); and much more. Speakers tonight will be Kunle Adeyemi, Palesa Motsumi and Idsis Akinbajo (with visuals by Bouba Doula and tunes by DJ Bamba Nazar). ZAM's new facebook page has all the details. (Tonight’s launch is open to everyone interested so if you’re in Amsterdam, shoot them an email confirming your presence at [email protected] -- and tell them Africa is a Country sent you.)