Simply Unbowed

Totally enjoyed reading this book which is so info-packed yet it flows smoothly.

She was born Wangari Muta in 1940. Went to USA in 1960 on the Kennedy Airlift and returned to Kenya in 1966 with a Masters. After research in Germany she got a PhD in 1971 from The University of Nairobi (UoN) where she lectured.

The Greenbelt movement that she started in 1977 was 100% grass root, organic.

In 1969 Wangari got married to Mwangi who became MP for Langata in 1974. He left her in 1977 and they divorced publicly in 1979. For saying judge in her divorce case was corrupt she was jailed for contempt of court.

She added extra ‘a’ to distinguish from ex-hubby Mathai name.

Prof. Maathai ran afoul of President Daniel arap Moi regime in 1979 during National Council of Women of Kenya chair elections. In 1982 she resigned from UoN to vie for a Member of Parliament seat but the ruling and only party Kanu locked her out on technicality. UoN refused to rehire her and kicked her out of her university house. *After she won the Nobel UoN gave her a honorary doctorate.

As the Moi regime fought Prof. Maathai, Norwegian NGOs, UN Fund for women starting in 1982 gave seed money that saw Greenbelt movement flourish across Kenya through the efforts of village women. By mid-80s Greenbelt was global.

Found it cool that the Professor and Princess Diana celebrated each other.

In 1989/90 Prof. Mathaai protest against the construction of a tower at Uhuru Park saved the park. In 1990/91 she was part of the fight for Kenya’s 2nd liberation. In 1992 she was part of Release Political Prisoners women group that stripped at Uhuru Park’s Freedom Corner. In 1993 she shone spotlight on Rift Valley tribal clashes.

Had forgotten about Prof. Maathai running for President in 1997! She was a dreamer and an idealist who rudely discovered Kenyan voters are tribal, averse to policies and ideologies and only care for the Big Men tribal chiefs. 

In 1998, Prof. Maathai despite being beaten by hired thugs stood up to President Moi who had parceled out Karura Forest to his friends to construct houses and hotels. Her protest was successful and Karura is currently a treasured public resource. 

In 2002 Prof. Maathai was elected MP for Tetu. President Mwai Kibaki then appointed her Assistant Minister for Environment and Natural Resources (you’d have expected her to be named a full Minister of Environment).

In 2004, she won the Nobel Prize as a culmination and celebration of her life’s work of protecting the environment.

She passed away in 2011.

Methinks Uhuru Park should be renamed Wangari Maathai Park as a reminder that in 1989 – 90, Prof. Maathai saved Uhuru Park by protesting against the proposed building of a 60-storey Kenya Times Tower by the Moi-led Kanu govt. 

Totally recommend this book about a phenomenal woman whose story is deserving of a movie.

Thank you Prof. Wangari Maathai.

A Prize for African Writing

In a previous life I used to be a huge Caine Prize fan.

The AKO Caine Prize for African Writing to use it’s full name is a registered charity whose stated aim is “to bring African writing to a wider audience using our annual literary award.”

My awareness of the Prize started when I worked at an Arts Trust that had a huge link with Caine but over the years my fandom has dwindled. 

The lapse was due to a realization that writing for the Western gaze means the authors have to meet stereotypical expectations of what people in the West expect to be “African”.

Also, the Caine Prize seems to be rotated based on location, gender and not solely dependent on the writing. 

However, I still read shortlisted stories, rank them and wait to see the judges’ pick.

At first reading and without googling the shortlisted authors, these were my raw notes of the 2021 Caine Prize shortlist.

1. Lucky

Slow start. Then builds up. Not quite fleshed out. A child’s perspective of specific war, with a killing witnessed. Also,  tales of different wars from a child’s eyes. Rugged. Jarring. Typos? 

2. A Separation 

Starts well. Soggy middle. Good end. Life, death, continuity, spirit world, what you can see and what you can’t see, culture, diaspora. A granddaughter mourning her grandma. Humane. 

3. Street Sweep

A sideways look at the NGO world, white folk living it up pretending to save Africans, older Africans cynical, younger Africans naive until they smell the coffee and join the make believe world. Merit is irrelevant and it is a different world. Brilliantly descriptive of people and places. New coat on an expected tale. Long. 

4. Giver of Nicknames

Pompous. Presumptuous. Big name dropping. Jarring writing style. There is a story, the themes are valid but felt like writer did too much and got in the way of the story. Coming of age. High school. Bullying. Inequality. Gender based violence. Migration. Long. 

5. This Little Light of Mine

Disability after an accident. The changes in life, mind, relationships. Life from a disability perspective. Real. Gripping. Short and sweet. Loved it. Tugged at my heart.

**Predictably, themes in 4 out of 5 of the Caine Prize shortlist were expected stories of Africa as seen by white people. Sigh.

//

If I was a judge my Caine Prize ranking of the 2021 shortlist would be:

1. This Little Light of Mine

2. A Separation

2. The Street Sweep

4. Giver of Nicknames

5. Lucky

//

The actual judges picked Street Sweep as the winning story.

Congratulations to Ethiopian-American writer Meron Hadero for her win which was a first Caine Prize for Ethiopia. 

On shortlist only Ethiopia and Rwanda/Namibia had never won. Given Kenya has had 4 winners and Nigeria 7, any chance of Kenyan or Nigerian writer winning the Caine Prize anytime soon is minimal.

//

Keep reading and writing African stories.

Turbulence on the airwaves

Disgust was my overwhelming feeling upon watching the 140 seconds of the video clip posted online.

The video showed three men in a radio studio wallowing in their ignorance and privilege. Their careless words accompanied by callous laughter and gestures. The subject of their frivolous banter a victim of horrific gender-based violence. 

When Shaffie Weru, Joesph Munoru and Neville Musya hosted the Lift Off breakfast show on Homeboyz Radio on that fateful morning they had no idea their words would cascade into a storm that would eventually see them fired in disgrace.

Words have power. The power of the pen and mic is drilled into every first year student in journalism school. Unfortunately Kenyan media houses in a quest to amass huge numbers which translate to mega bucks from advertising revenue have sought to hire opinionated, comical, loud mouths who would not known journalistic ethics if it hit them in their face.

I support freedom of expression but how would you in your right mind find it okay to joke and jest about a woman being pushed off a building for refusing a man’s sexual advances?

Even journalistic ethics aside, as a person do you not subscribe to humanity, decency, common sense? Apparently not at Homeboyz as two years ago it was the night time Mtaani show at fault.

Shaffie, DJ Joe and Neville are the bad result of a 20 year experiment on Kenyan radio which was ironically started by Radio Africa Group and then copied by most of all the other radio stations in the country. 

25 years ago Capital FM was the standard of the emerging FM stations after decades of the national broadcaster KBC ruling the airwaves as a monopoly. Capital was structured along British radio style that one can still get a taste of on the likes of BBC Radio 2.

Kiss FM sought to break the rules. 

Kiss was the pioneer Radio Africa radio station. From the start it sort to push the boundaries. Remember the red lips tease advert that ran around Nairobi raising interest before the launch in the year 2000? And who can forget the kidnap stunt featuring star presenter Caroline Mutoko? 

Caroline and later Maina Kageni had been hired from Capital FM. The duo and their bosses hold the lion share of the blame in the dumbing-down of Kenyan radio.

The format of radio featuring a loud know-it-all presenter and a comic sidekick spewing uninformed opinion on every topic under the sun has its roots at Radio Africa. Caroline with Nyambane and later Jalang’o on Kiss while Maina has his Mwalimu King’ang’i on Classic FM. 

Radio presenters most of whom have had no journalistic training have become marriage counselors, sex therapists, political analysts, sports pundits, pastors and everything else that you can think of. 

Case in point, still at Radio Africa’s stable, is Radio Jambo’s infamous Patanisho segment that is hosted by an ex-rapper and a football coach. 

While Caroline and Maina may have benefited from the training at Capital FM, latter-day presenters seem like they are picked off social media or the streets and put in front of a mic on the strength of their popularity.

Radio Africa may fire out statements proclaiming editorial standards but they did recently hire controversial Andrew Kibe to co-host the prime breakfast show on Kiss with Kamene Goro.

Across the corridor, the harm done on the Kenyan society in general and relationships in particular by Classic FM’s breakfast show presenters by Maina and King’ang’i purporting to be marriage counselors will one day be quantified by sociologists. 

Nonsense FM is the nickname given to the Classic breakfast show in some parts of Kenyan social media. But the reality is that while many Kenyans swear they do not partake of the content, for years now Maina’s show tops the ratings charts and rakes in millions of advertising shillings. The hypocrisy of Kenyans runs deep. 

This hypocrisy extends to Kenyan companies. As long as Maina has the numbers then they are willing to turn a blind eye to the content and that is why East Africa Breweries Limited (Eabl) wadding into the Homeboyz presenters’ debacle was viewed with suspicion.

With the issue raising a storm on social media Eabl announced they were suspending sponsorship to Radio Africa on any show featuring the disgraced trio. Curious thing being that under law, alcohol in Kenya is not advertised in the morning. Eyes are now on Eabl and other corporates to see whether they would ever withdraw sponsorship from a show like Maina’s or if their reaction regarding Homeboyz was merely a case of optics and looking like they care. 

Arising from this storm is the issue of media freedom and whether an advertiser should be allowed to overtly dictate content. 

Enter Media Council of Kenya (MCK). Supposed to be the watchdog for Kenyan media MCK keeps playing catch up.

First up, it needs to ensure that the curriculum of journalism schools across the country is pushed into the 21st century as the calibre of journalists being churned out currently leaves a lot to be desired.

Secondly, MCK needs to protect the media industry from quacks. While talent is a bigger cornerstone for success as a media practitioner and this has occasioned the idea that anyone can be a journalist there is a huge need to avail journalistic training to the comedians, socialites, and loud debes that currently populate the airwaves. 

Thirdly, MCK needs to ensure that laws made in relation to media in the country are not punitive and that Kenyan corporates do not excessively wield their advertising revenue power as a stick or carrot to media houses.

Speaking of law and a player that stormed into the debate was Communication Authority of Kenya (CA). Quoting the Kenya Information and Communication Act, Section 46, I, as well as Section 1.3,4 of the Programming Code, CA through a press statement fined Homeboyz one million shillings and issued a raft of punitive measures.

According to the law, the fine is payable upon conviction. Conviction should happen after a case is heard and decided. The CA statement was issued on 28th March while the offending show was broadcast on 24th March.  Were 4 days really enough to conduct an “extensive review” of the matter? Or was CA merely playing to the public gallery?

If it is a matter of optics may I suggest that the one million shillings fine if it is ever paid be donated to organizations that deal with matters relating to Gender-based violence?

The Homeboyz storm may have blown over but it is my prayer that the numerous issues arising do not get swept under the carpet until the next social media storm.

Gender-based violence is unfortunately a scourge on our nation and its reportage needs to be handled with sensitivity.

Media houses and journalists need to realize that journalism is more than celebrity status, quest for ratings and search for advertising revenue.

Both Media Council of Kenya and Communication Authority of Kenya also need to figure out ways to be supporting cast in the growth and betterment of Kenya’s communication industry and not just the bearers of fines and sanctions.

GOD BLESS KENYA!

Beats and Business at Ongea Summit

The Ongea Summit is in its third year and as someone who has the feel of the Nairobi art scene it was embarrassing that I was yet to attend the annual festival in the past three years.

Script would have been the same in 2018 had I not stumbled on a tweet by Tim Rimbui who was the moderator of a session dubbed ‘Beats and Business that piqued my curiosity.

The thrust of the conversation was on to get content into the hands of industry shapers that matter and eventually to the audience.

Writing this a week after the chat my take-homes are:

1. You have to know your audience, you have to know your market, you have to know the gatekeepers of your industry. Intimately. And be aware that change happens constantly.
2. The internet and social media is great as a content maker but you have to build actual real life relationships and grow interpersonal skills to push your content as every cog in the production line of content is important.
3. The content is not for you. Once you create you have to get folk to like it and buy it. Therefore best you be adaptable to the market in as much as you strive for purity of the art. If it cannot be bought, what is it for?
4. Passion and grit is the difference between average and above average. And you would be surprised how common talent is.
5. Yes, you can and you should be proficient in multiple skills but find a niche and really work on it.

All the panelists brought their A-game even DJ Space who was picked from the audience after DJ Creme was a no-show. Special mention to Adelle Anyango who wowed me with her eloquence and understanding of the Kenyan music scene vis-a-vis radio. It was awesome to finally understand the rationale behind Kiss FM overplay of hits.

Troy White, the founder of Temple Management also had awesome gems from the American hip hop scene that resonated with me. In addition stumbled on Martin Keino who is also part of Temple and he intimated that Temple would also be unveiling several partnerships with Kenyan sporting icons soon.

The audience was also great with thought provoking questions asked. There is clearly as huge a hunger for knowledge on the arts as there are artsy folk in Nairobi. Got me thinking that perhaps there is need to have the Ongea Summit talks more often as there is a hunger that needs satisfying.

This was best shown by how folk crowded Sauti Sol’s Polycarp Otieno after talk seeking to get more information.

Once was done with the engaging conversation walked around the Sarit Centre Expo hall checking out the exhibitors in the 56 stands to get a feel of the range of the Kenyan art scene currently.

It was lovely to see Musyoka of Decimal Records holding court on the white couch at his stall and giving eager artistes 5 minutes of his time to pitch him. There was even a queue.

In my walk about learnt about the Presidential Music Commission of Kenya that was gazetted in 1988. Gotta say they have not done a great job at shouting about their existence. From the website the commission should be of huge help to Kenyan musicians.

The organ was a huge part of my formative years and seeing a mini-version at a stall made me stop and gawk.

This lead to a chat with the old man who sold the pianos. My protestation that I was too old to learn how to play was countered by a 15 minute monologue on how it is never late. So maybe I shall choose an instrument and enrol for classes.

Leaving the venue and walking around Sarit stumbled on an activation by Nairobi’s newest radio station NRG. The activation brought to the fore the new way to hook crowds in a mall in the age of social media. It has to be eye-popping, catchy, picture-worthy so as to be shared on social. Even I stopped to take a picture.

Change really is the only constant. You have to adapt constantly so to keep on being with it.

All in all a lovely way to spend a Sunday afternoon with numerous tidbits picked.

GOD BLESS KENYA!

Blown away at Safaricom Jazz at 5 dinner

Blown away. That was my feeling after four hours of a phenomenal Safaricom Jazz gala dinner experience that was headlined by BWB, Joja Wendt and The Limericks.

 

The do began with speeches as is the norm for suits events. Normally I zone out or people watch but the speech by Ghetto Classics founder Elizabeth Njoroge caught my attention.

She spoke of a student who had to drop out from the Ghetto Classics classes in spite of his brilliance due to challenges at home. This got me thinking about how the Ghetto classic story can be improved.

For five years focus has been on music but there is more to life. What mentoring, financing and real-life opportunities can be availed to improve the ecosystem for the kids?

The money that caused the student to drop out is basically lunch/drink money for your average middle class Kenyan. What if I purposed to give up lunch five times a month and donated? What if I mentored a child away from the music? What if the kids would gig for pay for established musicians? What if their parents got a bit of money to start a business? The kids do not operate in a vacuum and while it is novel and great to have jazz, classical music in Korogocho it is even more necessary to try uplift entire community.

Unto the music and first on stage was Kenyan band, The Limericks. First time experiencing them and I loved the bass, the keys and the sax. The person playing with the background lighting and screens was clearly having a ball with the savanah-centric backdrops. There was a song in Luganda and also one in Malagasy which were lovely. Only drawback was the lady vocalist trying to compete with the instruments. Sounded so off. There was also a feeling of the band not have worked together on their sets. They are a work in progress I guess.

Next up was extraordinary pianist Joja Wendt who was backed by Stephie on the drums and Thomas on the bass. Wendt is also a hilarious comedian who knows how to engage and work a crowd. Loved the boogie woggie piano set derived from the spiritual to jazz which is basically three pianists in one with a dancy feel to it. His piano playing was fast and perfect with awesome skills on display to go with the dope personality.  Little wonder he got a standing ovation.

The night’s main act was BWB a jazz band comprising guitarist Norman Brown, saxophonist Kirk Whalum and trumpeter Rick Braun.

Given how Joja had done his business they had to step up their game and they certainly did. Starting off with a Billie Jean rendition that was so energy-full. The three are individually gifted musicians whose machine-like precision in performing together was a marvel to behold. Guitar, sax and trumpet flowing in conversation blew my mind away. Their stage work and crowd mood management spoke of years of professionalism and experience.

Brown then did a guitar set that showcased his range before capping it with brilliant vocals which the crowd showed love for by giving a standing ovation.

Whalum who is a magician on the sax and who toured with Whitney Houston for close to a decade performed a heartfelt ‘I will always love you.’ He walked into the crowd and made folk so happy and moved with the personal touch. Cue a standing ovation.

Braun did a song that he wrote for his wife of 21 years and as a Hollywood resident he joked that was akin to four marriages. Song had a dancy bluesy feel to it and it got the crowd dancing.

The trio motivated by what they termed as the ‘most fun’ VIP crowd they had ever performed for then upped a gear with a Memphis Tennessee themed set and a Detroit one too. Aside from their ability on the instruments, the three also boast of amazing vocals. ‘Just call my name’ rendition took folk to church and brought curtains down on four hours of a magical experience.

Safaricom Jazz is themed as ‘music that moves you’ and I certainly was totally wholly moved.

Earlier in the week had attended British Council’s night at the Alchemist and loved the Femme Fusion celebrating women in jazz. Hat tip to the amazing Atemi, Kasiva, and new-discovery Kendi.

Before the main Safaricom Jazz event, there are usually theme nights for every nationality that is represented. So Italian, Israeli, British, Belgian etc. It is great that Safaricom imports a lot of jazz music but it would be great if Kenyan music was also exported. Imagine if Kenyan acts got to perform abroad and get exposed to international level performing as well as market Kenya. Food for thought.

GOD BLESS KENYA!

Caroling at The Hub

A random post on the Safaricom twitter handle resulted in a pleasant afternoon of Caroling at the Hub in Karen.

First up were the musical power couple Kavutha and Jacob Asiyo. Kavutha has a beautiful voice and amazing stage presence that makes you just smile. While Asiyo is a magician on the piano. We carolled! Singing along to all the Christmas carols we grew up singing. It was lovely. Comic relief was trying to sing along to the Feliz navidad carol. Everyone knew the first lines but the prospero año y felicidad were only known to Kavutha and Spanish (?) lady who pronounced it perfectly.

Next up was the Safaricom choir. Famous for the Kenya ad some years back. Made up of Safaricom employees who meet once a week to practice. Director is Kennedy Wakia. He was not available so a number of guys debut conducted. Of note was Grace who can sing! Grew up Anglican. Choir music makes me happy. The Safaricom choir sounds even more lovely in real life. Warmed my heart. And they seemed to be having so much fun. Belted out a medley of songs. Climax was Hallelujah.

A group of kids then went on stage to sing for a prize after being prompted by the MC Elizabeth Njoroge. Four children all sang Jingle bells. In different versions and we all laughed. That was fun.

The showstopper was the Safaricom youth orchestra. Special mention goes to EIGHT year old Miguel who played the double bass. Despite the instrument being almost his height he pulled his weight for the entire concert.

The youth orchestra draws membership from music lovers from across the country aged 10-18 years. Now in its fourth year, 150 people have been part of the initiative to-date. Auditions are normally held in May with practice every Saturday for a couple of hours.

The Christmas concert was the culmination of the two terms of 2017. Conducted by Levi Wataka the orchestra showed off their learning for the term. Among other acts they notably did two overtures. One was the barber of Seville where they started slow then build up the tempo to a great climax. It was lovely to see music being made, the many instruments coming together, beautiful.

The choir and orchestra then performed together. Highlight was a song off the Italian Nabucco opera that was based on a biblical story.

The climax of the afternoon was Caroling by the crowd led by the Safaricom choir and the Safaricom Youth Orchestra. The carols were The First Noel, Deck the Halls and Jingle Bells.

All in all a lovely way to usher in the 2017 Christmas season.

GOD BLESS KENYA.

Gigging at the GoDown

I certainly picked a great time to attend my first GoDown gig because the GoDown gig for November was all kinds of awesome.

Hosted by the delightful Cindy Ogana and held at the GoDown Arts Centre it featured three artistes: Chiluba, Maia and the Big Sky band and Dan Aceda.

First act was Chiluba who is a dancer turned singer. He had energy for days and definitely he can dance. Obviously :-). Plus his story is intriguing.

Next up was Maia and the Big Sky band. Maia’s vocals are amazing, she has grown in confidence on stage plus her band is the business. Her No Woman No Cry & Mambo Bado renditions rocked. Her band’s guitar, bass and drums face-off, wow!

Arguably one of Kenya’s best musicians and live-performers Dan Aceda then brought the house down. Folk danced all through his performance which was a lovely musical safari about Kenyan music. Aside from playing his own songs Aceda also did covers of popular Kenyan music from the 60s to-date.  When he played music from the different regions in Kenya his versatility was so evident as was the joy of folk being ‘taken home.’

The GoDown gig is a monthly gig held at the GoDown. It is a celebration of live music performance by Kenyan artistes. Quite a ‘down-to-earth’ artsy gig worth checking out.

GOD BLESS KENYA!

Papa Wemba and the importance of being elegant

“There is too much materialism in the world…everyone is focused on big house, big car, beautiful expensive clothes.”

Most musicians live flashy lifestyles but Congolese musicians really live it up and thus this statement that Papa Wemba makes on his way to church holding two young boys and looking quite the deeply religious man half way into a film where he is the star made everyone watching the film at the Alliance auditorium spontaneously burst into laughter.

The film ‘The Importance of being elegant, focus on Papa Wemba’ is intense.

It captures a variety of issues and makes one pause to think. There is laughter but like the film which is shot in a grainy style there are issues which tug at the heart and not in a pleasant way.

Papa Wemba was a legendary Congolese musician. He started off with the influential Congolese band Zaiko Langa Langa in the 1960s, had a stint with Afrisa International before founding his own band Viva La Musica in the early 1980s. One of his songwriters was Antoine Agbepa now internationally known as Koffi Olomide, a star in his own right.

The film was not about Papa Wemba the musician but rather Papa Wemba as the Patron of the Sapeurs and the effect, the ‘religion’ of Le Sape has had on a generation.

Congolese men have cut a niche for themselves across Africa and Europe as men who put in the effort in dressing up and looking good. Sapeurs under the stewardship of Papa Wemba have taken this to a different level and the effort and expense put in dressing well and expensively is stunning. By the way Le Sape loosely translates to “Society of Atmosphere-setters and Elegant People”.

One of the characters in the film is Archbishop who is sapeur living in Paris. Archbishop travelled to Paris in 2001 leaving behind a well-paying sales job in Kinshasa after being inspired by Papa Wemba. After 16 years in Europe Archbishop still has no papers and has to keep renewing his temporary refuge status as he tries to get political asylum. As he eats a meal of bread and soup the Archbishop gives a damming indictment on the influence of Papa Wemba.

“We live in France but Papa Wemba is the president of an invisible country, Le Sape. How?  How is a musician more important than the president of a country? Politicians are manipulators. That is how they get what they want. Papa Wemba is the biggest manipulator.”

Democratic Republic of Congo is one of the resource richest countries in the world but colonialism under Belgium, dictatorship under Mobutu and uncertainty after his toppling has left DRC divided and many Congolese living in abject poverty.

Thus being a sapeur is as much a quest to be a dandy as a quest for identity, a sense of belonging and a brotherhood. One would go as far as to say being a sapeur is a religion and Papa Wemba was the god.

Papa Wemba was accused of being involved with a network that allegedly smuggled hundreds of illegal immigrants from DRC to Europe. He was arrested, spent a couple of months in jail in Paris before being released on bail.

After his release, Papa Wemba became deeply religious. To those watching the film his religious views were in sharp contrast to his lifestyle.

At one moment he is clubbing in Paris where he was based and in the middle of drinks he preaches to his crew telling them about Jesus and how they do not need to change from the drinks, drugs, women and the good life but just take five minutes to commune with God daily.

Sapeurs in Africa and abroad are men (and women) who do menial jobs to make ends meet. Lack of education and papers makes them to operate below the radar living on the fringes of society. This however does not stop them from living it up fashion-wise. A coat for 8,000 euros (Ksh. 990,000) is a normal purchase for a sapeur. This means that forays into the illegal side happens to sustain this lifestyle.

Another character in the film is Anti-gigolo a sapeur in Brussels. He was given the name by Papa Wemba due to his monogamous lifestyle in Kinshasa. Interestingly he now lives in Brussels but on a visit to Paris he and his boys drive into the red light district checking out the Congolese ladies on display in the shop windows. Anti-gigolo delves into a monologue of how these ladies from Kinshasa have being cheated to come abroad and now sell themselves to sustain a fancy lifestyle.

Songs for pay is another theme addressed in the film. Called dedication and done by musicians across many genres dedication becomes sinister when people around Papa Wemba sell the dedications informing interested parties of their ability to have access to Papa Wemba.

With too many dedications and too little time in the songs, the hangers-on end up not delivering on their deals. This leads to Papa Wemba’s personal bodyguard nicknamed Poison to chasing hangers-on from the studio. Then he asks Papa Wemba to give him a mention but not as Poison but as ‘KGB Protector Number One.’ Cue more laughter at the irony.

Not that Papa Wemba minds the trade, he is also making money of it with a sound man stating how even cars are given for dedications. In a conversation with a woman who wants to be mentioned in one of Papa Wemba’s songs, the woman tells Papa Wemba that she can steal clothes, shoes and perfume and that can be payment.

Papa Wemba asks her to also steal underwear because he hates it when he undresses a beautiful girl and she has torn underwear. This as his wife who cuts a matronly figure prepares dinner for her husband.

Religion and a decadent lifestyle. Migration and immigration. Running away from poverty in DRC to wallow in poverty abroad. Guys working in menial jobs yet spending money like kings. A quest for identity turning into a cult following. Music as art and also a cheap base commodity. Inspiring and manipulating.

Contradictions.

Elegant contradictions that live together side by side until they become the norm and one is totally thrown off when light is shone on the contradictions.

Music that moves you

When a retired high school head teacher stood on the stage in the middle of a performance by five time Grammy Award winner Victor Wooten and declared “I am the reason why this is happening” my curiosity was piqued.

The retired head teacher was a high school teacher in Western Kenya in 1978 when an American showed up at the school and asked for a teaching job. The American had made a trip to Africa to find himself and the teacher helped get him a chance to teach Math and Physics.

After a stint teaching in rural Kenya, the American went back home to do his Masters and 40 years later is now the third president of the world famous Berklee College of Music.

Francis Lutomia was the teacher 40 years ago while Roger Brown was the American looking to find himself.

Four decades later this unlikely relationship has birthed an even more unlikely relationship between Kenya and the Berklee College of Music through Francis Lutomia’s son, Sam.

According to Francis, Roger gave his son a job at Berklee and Sam in 2011 went on to found the Global Youth Groove (GYG) whose mission is to transform the lives of youth in Kenya through music primarily by a cultural exchange program involving Berklee students and alumni and Kenyans.

For six years Global Youth Groove has been doing the exchange programs and after three years of planning Sam had finally managed to get the hugely in-demand Wooten and Berklee Bass Department chair, Steve Bailey to come to Kenya together with several of Berklee students and alumni.

At first glance, Wooten dressed in a bright African print shirt – that he was gifted by Kenyan jazz artiste Ricky of Ricky na Marafiki – and spotting dreadlocks covered by a black woolen cap can easily pass for a Jamaican roots reggae musician.

 

That is until he strums his bass guitar and magic happens. His hand motion is at times fast, at times slow and at times barely noticeable but what is constant is the brilliance of a man at the peak of his skill.

For 50 of his 52 years Wooten has been playing the bass guitar and seated at the front side row of the Michael Joseph Centre I was blown away by the melodies he coaxes out of his bass guitar. It was easy to see why Wooten who also teaches at Berklee has been named at number 10 in the Top 10 Bassists of All Time by the influential Rolling Stones magazine.

On his part, Bailey a blonde haired, wiry man who would not be out of place in a country music band run to the stage high fiving all the VIPs sat in the front row and cracked jokes with ease. He then went on to strum a six string guitar that is the hugest guitar I have ever seen.

Bailey who is 57 started playing the guitar when he was 12 and the unwieldy instrument was like jelly in his hands.  Watching him manipulate it to produce delightful sound was like watching a painter produce a masterpiece from scratch.

Wooten and Bailey mastery on the guitars resulted in a sensory experience that was amazing. Imagine two guitars having different animated standpoints on a conversation that covered a variety of issues and you begin to picture the amazing chemistry.

Backing up the two musical geniuses was Martin, a second year Berklee student on the drums who played with the confidence of a professional and the abandon of a teenager.

The intimate invite-only evening of jazz was hosted under the auspices of the Safaricom Jazz Festival with several Berklee associated musicians taking to the stage.

A gentleman named Ricky who was dressed like a Southern pastor engaged the crowd in singing a catchy song which had an American south churchy-feel to it. “People make the world go round” was the audience refrain as Ricky crooned and Wooten, Bailey and Marten jammed.

Then come Leonna dressed to kill and looking so young and sweet until she began singing and her sensationally beautiful voice made a lady sat near me shudder in bliss and almost get into a trance.

And finally from the Berklee crowd was Sky Bridge band with Japanese vocalist and composer Utako Toyama backed by two other ladies of colour. Their song ‘We declare peace’ was about global unity and they also got the audience quite engaged.

Singled out for possible Sainthood by an enthralled Bailey was Elizabeth Njoroge, the brains and heart behind Ghetto Classics. The visiting Berklee musicians had visited Korogocho a day earlier and were wowed by the taking of classical and jazz music to the youth of a highly disadvantaged neighborhood.

Quest for sainthood aside, heartfelt pledges of support were made by Bailey on behalf of Berklee for the betterment of Ghetto Classics to which all the proceeds of the Safaricom Jazz Festival go to.

A special mention goes to The Don Ouko, a brilliant Kenyan saxophonist who was backed by a vocalist, drummer and a guy on keys and who was the curtain-raiser to Victor Wooten, Steve Bailey and the other Berklee musicians.

I was also quite wowed by Jacob Asiyo who was a guest at the concert and who totally delivered when he was ambushed with a request to play the keys for Wooten and Bailey.

The Master of ceremony was the delightful Kavutha-Mwanzia Asiyo who incidentally is also an alumni of Berklee.

At the end of the two-hour jam session all the artistes who had graced the stage through the night went back on stage to jam in a lovely improvisation.

Quite a lovely evening spent with music that moved me.

GOD BLESS KENYA!

PS: Images via @SafaricomLtd, Google.

Films from the heart

I am more of a books than film, movies or series kinda person. However, every year for well over a decade now I attend the European Film Festival (EFF) at the Alliance Française every May.

This year was the 26th edition of the EFF and for that I say Merci beaucoup to the French Cultural Centre in Kenya.

My plan was to watch seven films and to attend a musical performance on the week between 16th May and 20th May.

Juggling work and life managed to watch 5 films and half-attend the musical gig which I reckon is a pretty good return.

 

The first movie I watched was the Tiger Theory by Czech film-maker Radek Bajgar. It was a totally awesome watch that hilariously dealt with serious life issues. Premise is a man who gets himself admitted into a mental hospital to achieve freedom.

The musical performance was spoken word artist Checkmate Mido who’s gig I have never attended. It was set up at the cafe at Alliance and 10 minutes in, I had to leave as the acoustics did not quite sound right. Hope I get to watch a Mido performance soon.

The second film I watched was Notes on Blindness a British documentary based on the life of John Hull. It was an intimate and touching insight into blindness. I wear spectacles and so the documenatry touched quite close home. What if? Then what? There is a lot we take for granted as sighted folk. Quite thought provoking.

As a prelude to the screening the country director for the British Council in Kenya did the introduction with lovely British wit and humour. Joked about UK being United Kisumu while noting that perhaps that was not the best idea with Kenyan elections upcoming. Then talked of Brexit and stated that Britain has left EU but it has not left Europe.

The country director while showing off his Kiswahili fluency also hyped up the East Africa Arts program.

Under this program and in partnership with Judy Kibinge’s Docubox two Kenyan films have been made and whose trailers were shown:

The Letter – by Chris and Maia von Lekow which is about killing of ‘witches’ at the coast which is essentially about disposing old folk of their land.

Thank you for the rain – which tackles climate change from farmer’s eyes.

Looking forward to seeing their premiers.

On Saturday I indulged in an afternoon of film watching three films at a go.

Labyrinthus – when gaming and real life overlap, Diamantes Negros – football & human trafficking and These Daughters of Mine – family ties, how they are fragile and how easily they are stretched due to ill-health or death.

What strikes me every year is how European film makers have mastered the art of telling stories that are raw and real.

Methinks Kenyan film makers and content creators can learn a lot from EFF.

When you watch a Nigerian film or listen to Tanzanian music there is no doubt as to where the content is from, but when you watch Kenyan film or listen to  there is nothing that stands out as Kenyan.

Kenyan film makers and content creators need to figure out what is Kenyan content. Do you know what that is? Me neither.

So maybe that is why we start…

GOD BLESS KENYA!