Afrobeat Culture Federator

Afrobeat au Complexe Bordeaux 3/4 Septembre2010.

Mabinuori Idowu (aka ID) — 2010-08-21T20:38:40Z

THE RETURN OF THE KING

Mabinuori Idowu (aka ID) — 2010-08-04T13:00:00Z

Femi Anikulapo-Kuti can aptly be described in Yoruba language as ‘Omo d'agba tan' – which literally means: ‘a child has come of age' or ‘a child has attained adulthood'. Considering that at almost 49 years of age (born 16th June 1962), he can no longer be considered as a child. However, the ‘lager-than-life' image of his legendary father Fela Anikulapo-Kuti, places him in the minds of Afrobeat die-hards as a child, from whom great expectations are awaited.

Siblings of great achievers all over the world are subjected to rigorous scrutiny and are expected to surpass the legacies of their parents. This was the case of Ziggy Marley after the passing of his father Bob Marley alike with Andrew Tosh the son of Peter Tosh and many others not necessarily children of musical icons.

For Femi at an early stage in his life, he realised this great expectation and chose long before the passing of his father to be his own man. This led him to quit his father's band in 1986 to found his group: The Positive Force. A decision that has served Femi well by the look of things - it helped prepare him as the heir to the Afrobeat throne.

Die-hard Fela fans criticised him for quitting. For many years there were criticisms of him not following Fela's path by being as forceful, or not playing Afrobeat the way Fela did. Some said his music was too fast, or too jazzy. Others said he was not as militant as his father, and his music is devoid of the outright attacks on the system like Fela.

Were these fans expecting another Fela in the person of Femi? Stepping into Fela's shoes? What a big expectation. While it is impossible to have another Fela, nature has its ways of giving answers to human expectations. Hence the inequality of their shoe sizes. Fela wore size 43 shoes while Femi - a head taller than his late father, wears size 44/45 shoes. For him, his feet are too big for Fela's shoes.

Despite all these criticisms, Femi tried to remain true to him - focusing his attention on adding his own input to his Afrobeat heritage. Today, the Femi touch in Afrobeat is evident with his latest work Day By Day - an indication of the progression and future direction of this musical classic. His style of afrobeat music is rich with political motivations and cultural interests the two important reasons behind the explosion of Fela and Afrobeat music as the weapon of the future. Femi in his musical exploits can conveniently re-assure Afrobeat die-hards of the safe future of protest music. He has not only sustained his father's heritage, he also has improved on the musical legacy bequeathed him: THE RETURN OF THE KING.

TIKEN JAH FAKOLY .

Mabinuori Idowu (aka ID) — 2010-08-03T15:06:00Z

Apart from Femi and his group, Positive Force, who through their musical exploits can be regarded as inheritors of the Fela phenomenon, it is most encouraging today to hear groups like Tiken Jah Fakoly identifying with the Fela struggle and legacy.

With the strong message from his first major - label album titled: “FRANCEAFRIQUE”, he can be regarded like Fela as an artist engaged. An album critical of, to quote him: “…a capitalist society where morality is no more capital.” Rendered in a mix of French and Djulla, a language spoken widely among the Mandingo people of West Africa, Tiken Jah describes the French and American politics in Africa as: “blaguer tuer,” (literally translated means a “murderous joke”).

He underlines how they cultivate and encourage dictators in Africa. How they plunder the continent's riches and bury her people alive – by inflaming wars in the Congo, burning down Angola and causing genocide in Rwanda. He went further to sing about how, as soon as Africans found solutions to these problems, they (colonialists) again impose on African governments “co-operation” in the name of “Independence.” Soon again as their “co-operation” was exposed, they impose “Globalisation”- all these in whose favour? Africa, always in deep-shit ( Afrique toujours dans la merde.)

Hearing messages such as these in an album reminds one of the fighting spirits of Fela. Particularly the track, “ON EN A MARRE” – meaning “We are sick and tired”:

“We are sick and tired. Africa is sick and tired… After abolition of slavery They created colonisation Soon as we found the solution They created co-operation Soon as we denounced their co-operation They created globalisation….” We are Sick and tired Africa is sick and tired…”

Tiken Jah accorded Radio Shrine a year before the official release of his song: SOLDIER an acapela version. In the song he was singing about the American soldier who in the name of “spreading democracy” around the world, are doing the contrary by wagging an un-just war - manufacturing excuses to kill innocent civilians in Iraq and Afghanistan.

SEUN KUTI & EGYPT 80

Mabinuori Idowu (aka ID) — 2010-08-02T17:43:00Z

Seun Anikulapo Kuti is claimed particularly among those who never saw the King, to possess the grace, the energy and the fury of Fela. Performing with the Egypt 80, the legendary group of Fela, Seun's showmanship has been described in the media as “relive the most original embodiment of Afro beat”. The gesture, the phrasing, Seun explodes on stage, prompting me to ask after his show:

ID: Another thing I would like to talk about is I see you trying to play like Fela on stage, when are we going to see Seun Kuti himself doing his own thing and not imitating Fela? Because I heard you doing some new things in Paris – like Afrobeat Hip Hop with Monkobe and the buzz I am hearing which is a generation thing – the young folks who listen to hip hop want to see you do more things in that direction. For me it gives a generational thing to Afrobeat.

Seun: For me afrobeat is not about generation, afrobeat is the sound and music itself. I know what I believe in, most people think when I am on stage I am being Fela. To me NO, I am performing afrobeat the way the master said it should be. The way Bach has written classical music that is how people like classical music to be played. Rock n'Role legends – that is why Rock'n'Role stars have that craziness about them on stage, because there are certain traits that goes with certain genres that you have to keep alive. Me I am not from the school of thought that says afrobeat is old music like you say generation thing. I still believe that afrobeat is well ahead of it's time, even if it is becoming a global-phenomenon. Even I don't know where afrobeat is going to be by the time my children are going to be playing afrobeat. For me the way I am doing my own afrobeat now is what I believe in and what I believe afrobeat should be. I don't think afrobeat should be influenced by any Western culture, I don't want to see Soul Afrobeat, etc…No, and this Western music should be putting afrobeat in their music, not afrobeat putting Western influence in it music. I believe afrobeat is greater than all those music.

ID: Yeah! I believe and agree with you absolutely; in fact talking the way you just did confirms something, people always said that afrobeat was influenced by James Brown, funk, but we see that “Apala Music” the original apala rhythm of our ancestors were what Fela put together in afrobeat and it is also what you guys are trying to continue in your own ways. However for me when I am talking about when will we see the real Seun Kuti, I am making reference to when are we going to see the original you? You must have been very young or not born when Bob Marley died. They were pushing after Ziggy as a kind of replacement to Bob Marley – and we know we cannot have two Bob Marley's. You just said you are doing Seun Kuti thing and not copy Fela…

Seun: If I wanted to be like my father, I would have released my first album when I was sixteen or seventeen. People were pushing me to do an album because I am Fela's son, but I didn't want to do an album because I am Fela's son I wanted to do an album when I feel I am a good musician – good enough to do an album.

SANDRA IZSADORE

Mabinuori Idowu (aka ID) — 2010-08-01T14:58:00Z

SANDRA IZSADORE is a singer composer who in 1969 met and revitalized Africa's revolutionary genius FELA ANIKULAPO-KUTI. Upon meeting Sandra, Fela's musical and political ideas changed radically, thus Afro-Beat was born. Sandra came back to visit a highly popular and successful Fela in Nigeria in 1976. Incidentally, Upside Down is the only song in the many albums released by Fela that was sung by a female lead vocalist.

The song portrays a worldly travelled African, who searches in the dictionary, and finds the definition of upside down - a perfect description of the African situation. ‘I have travelled widely all over the world like any professor.... ' Fela makes Sandra sing in the album: “The thing I have seen I will like to talk about upside -up and downside-down, in overseas! Everything is Organise. Their system organise! They have their own names!” But back home in Africa, everything is: ‘head for down, yansh for up! Everything is disorganise!' Meaning back home, everything is totally disorganised - Upside Down

In the dedication of the French version of my book: Fela, Why Blackman Carry Shit, she is described as the one who opened the door of the citadel of knowledge transmitted to us at the University of Kalakuta Republic.

DELE SOSIMI AFROBEAT ORCHESTRA.

Mabinuori Idowu (aka ID) — 2010-07-30T15:09:00Z

The musical career of Dele Sosimi began when he joined Fela Anikulapo-Kutis Egypt 80 band in 1979. As the rhythm keyboard player Dele worked and toured extensively with Fela around the world. During Fela's incarceration in 1984, Femi Anikulapo-Kuti Fela's son and Deles childhood/school friend - took over the reins temporarily and led the Egypt 80 band. Thus giving Dele a chance to develop his arranging skills as a musical director. Working closely with Femi, they re-orchestrated and re-arranged most of Fela's popular tunes. As a member of the band, Dele played keyboards on the following Fela/Egypt 80 hits (among others): Parambulator, Power Show, Original Sufferhead, Customs Check Point, MOP 1 (Movement of the People), Give Me Shit, I Give You Shit, Authority Stealing, Army Arrangement, Government Chicken Boy, ITT (International Thief Thief) and Teacher Don't Teach Me Nonsense.

In 1986 Femi left Egypt 80 to form Femi Anikulapo-Kuti and the Positive Force, Dele too left and became a founding member of the new group. The band toured the world extensively and played in several of the major jazz festivals including Montreux, the North Sea Jazz Festival and the Montreal Jazz festival. The Positive Force was also invited to perform at the Jazz Club of Nigeria Festival alongside other renown musicians like Dizzy Gillespie, Randy Weston, Toshiko Akiyoshi and Didier Lockwood. Dele closely collaborated with Femi in the production of the albums: No Cause for Alarm, Mind Your Own Business, and Wonder Wonder. Dele left Femi Anikulapo-Kuti and the Positive Force in December 1995 and moved to London where he set about forming a new group. Dele's first solo album “Turbulent Times” (2002) featured the cream of the resident Afrobeat community on the label Eko Star, he currently leads his London based Afrobeat Orchestra.

Dele Sosimi meets the Hot Club Afrobeat Orchestra from Damien Priest on Vimeo.

Turbulent Times (live) - Dele Sosimi from Beija Films on Vimeo.

Théophile Obenga chez Présence Africaine

2010-07-10T16:06:01Z

Les Éditions Présence Africaine vous invitent à la séance de dédicace du dernier ouvrage de Théophile Obenga.

Le 16 juillet à partir de 17h00 au 25 bis rue des Écoles - 75005 Paris France

LES BASES DE L'ÉGYPTOLOGIE PAR LE PROFESSEUR THÉOPHILE OBENGA - Voir aussi !

Weekend Afrobeat à Bordeaux

2010-07-10T15:27:15Z

Radioshrine.com et Afrobeat culture&co présente

Weekend Afrobeat à Bordeaux à la Guinguette Chez Alriq

LE 16 & 17 Juillet 2010

HOMMAGE à SEGUN DAMISA

Concert le soir en plein air :

Afrobeat Crusaders (le 16)

Kologbo & Afrobeat Combo For Peace (le 17)

Sur les quais rive gauche à 15h :

Les Géants Du Sud + Les Voisins Du Dessus (marionnettes géantes) Diable Rouge aka Mohamed Bangoura ( Djembéfola) Khady Sarr (danse)

Une production : Black Art Production©

FELA! THE MUSICAL

Mabinuori Idowu (aka ID) — 2010-04-15T11:17:14Z

FROM BROADWAY TO LONDON NATIONAL THEATRE.

And now FELA! The musical is coming to the National Theatre London. One of 20th century Jazz music icons in “MILES – The autobiography” by Quincy Troupe, affirmed that ‘the music of one Fela Anikulapo-Kuti from West Africa would be the music of the 21st century'. In 1989 when the book was first published, who would have thought Miles would be so right in his predictions? Today, the certitude of Miles Davis can be seen and heard from all the hues and cries of Fela and afrobeat music around the world. Apart from Cheikh Anta Diop and Theophile Obenga, Fela Anikulapo-Kuti is also another personage that have contributed immensely towards African awareness in the last half of the 20th Century and beginning of the 21st Century. Using music as a weapon in his special musical creation called Afrobeat, Fela invited Africans and Diaspora Africans to be proud of their African heritage (Blackman's Cry). Today, with the production of the new Broadway musical “Fela!” in New York and later in the year in London, featuring dancers in the aisles of a theatre decorated like a Nigerian nightclub with the music and choreography of the show - about the Afrobeat star this is a testimony to the employ that Fela's name is taking. It is great to see Fela becoming a household name, but with all the hues and cries we should not forget the essential part of FELA'S message: “My music is not for entertainment! My music is to spread a message!” Africa the mother of civilisation has remained for over two thousand years and still remains the Dark Continent (Listen to Fela – COLOMENTALITY).

There is no justifiable reason not to recognize a dark part of one's past except if the person is ignorant or doing so for personal reasons. Like the author of CIBA SYMPOSIA, Dr. Victor Robinson felt obliged to say: “It is one of the paradoxes of history that Africa, the mother of civilisation, remained for over two thousand years the Dark Continent.

To the moderns Africa was the region where ivory was sought for Europe, and slaves for America. In the time of Johathan Swift (1667-1745), as the satirist informs us, geographers in drawing African maps would fill in the gaps with savage pictures - where towns should have been they placed elephants”. (Africa Center of the world – Fela & Roy Ayers: Music of many colors). What is meant by the “Dark Continent?” There is no precise established meaning for this phrase; each writer has his or her definition but in general, it can be considered a degrading phrase to describe a continent and her people. There are of course equal amounts of adverse comments against Africa and her indigenous sons and daughters down through the ages. To some extent, most part of humanity only knows the adverse comments without knowing that the opposite exists. There are those who don't care one iota, about the cultural genocide that the Africans suffer at the hands of Western so-called authorities on African history.

Over the last five hundred years, from the vicious slave trade to the wanton partition of Africa, and the subsequent so-called independence right-up till now in the 21st century nothing much has changed to neither rectify nor stop this cultural genocide despite the cries of people like Fela and those before him. There is no doubt that this opinion of Africa as the ‘Dark continent' is a creation based on religious bigotry and politically racist hypothesis to justify slavery. (Suffering and Smiling – Fela)

However, other views of the continent by those who were opportune to know the truth are affirming the contrary. This is the case with the writer of the book, History Of Nations published in 1906: “The African continent is no recent discovery; it is not a new world like America or Australia…While yet Europe was the home of wandering barbarians, one of the most wonderful civilizations on record had begun to work its destiny on the banks of the Nile…”

We are able to say today with all certainty that mankind was born in Africa – along the region that covers present-day Eritrea, Ethiopia, Kenya, all along to Tanzania right down to South Africa. Also, it is clear that any member of the human community born in that region (south of the equator) could not have survived without the pigmentation of skin.

Scientifically speaking it is known with all certainty that nature doesn't create anything by chance. It is for that reason that humans born in a sub-equatorial region was given melanin to protect his skin hence the first-man had to be BLACK. At the time human anthropology had not quit evolve to the extent at which it is today, there were two theories confronting each other regarding the origin of man.

The mono-genetic theory had its defenders who claim one source of origin for mankind. The idea is that man was born in one place and as he moved to other parts of the world, subjected to different atmospheric changes he became transformed. The second is the poly-genetic theory which contends that man was born in Africa like in other continents such as Asia and Europe. This theory pointed to the physical differences in humans to justify their claim. On the surface it makes sense looking at the different external characteristics of man.

However under a close scrutiny this theory falls apart if we remember that scientifically speaking nature does not create the same being twice. In the animal world, through-out evolution of animals when it is created, it evolves either to become something else in the process of survival or disappears – but he is never created a second time.

The defenders of poly-genetic origin of man based their scientific claims on the Piltdown man - a fossil fabricated piece-by-piece in 1912 by an English geologist Charles Dawson who claimed he dug them in the fields at Sussex, England. Like modern man, his fossil had a fore-head and eyes of man but his mandible is that of a monkey. From this fabrication developed the poly-genetic theory to establish the existence of “pre-sapiens man”. Many Western anthropologists defended this theory basing their argument on the fossil of Piltdown man despite being aware that it was falsified.

We know today that it was false because in1954, a British anthropologist Professor Oakley working with the British museum tested the fossil and found it to be false. However the damage had already been done, for more than fifty years the scientific community was divided into two – one defending mono-genetic origin of man while the other defended poly-genetic theory using Piltdown man as their reference.

No other continent in the world other than Africa so far, have been discovered the six series of Human fossils. All evolutionary information regarding man's origin was unearthed along the Olduvai Gorge in Tanzania, for this reason scientists are able to say with certainty that man has a mono-genetic origin. Other fossils found outside Africa have proved under scientific scrutiny to be of resent origin.

For example when we say the Americas is a new world, it is because the only human specimen (fossil) found in America is that of homo-sapiens sapiens. America was peopled through the Bering Strait at the end of the final glaciations hence it can only have homo-sapiens sapiens. In Asia we have fossils of Homo erectus, the Neanderthal man and Homo Sapiens Sapiens. Equally in Europe there are fossils of Homo erectus, the Neanderthal man and Homo Sapiens Sapiens.

The man called in pre-historic history the Grimaldi Man, left Africa about 40,000 years ago for Europe. He lived between 40,000 and 20,000 years adapting and transforming at a time when the climate was extremely cold – much colder than what it is today. This man would later transform into what is known as Cro-Magnon Man. It was the last glaciations period that lasted for 100,000 years. Leaving Africa, some of them passed by what is called today the Suez Canal or the Isthmus of Suez to go and populate Asia and Eastern Europe while others left for Europe through the Strait of Gibraltar.

Count C.F.Volney, a member of the French delegation that visited Egypt in 1787 wrote a first-hand account of what he saw and published in 1890 titled “Ruins of Empire” and “Oeuvres” published in 1825. This is what he wrote: “There a people now forgotten (who) discovered while others were yet barbarians, the elements of the arts and sciences. A race of men now rejected for their sable skin and frizzled hair, founded on the study of the laws of nature, those civil and religious systems which still governs the universe”.

To deny Africa's role in history irrespective of religious affiliation, economic circumstance, or political attachment, is participating in genocide against a people. Scientific and archaeological facts are abounding today pointing to Africa as the origin of civilization. To mention a few, the colloquium on the population of ancient Egypt and the decrypting of Meroe scripts for the production of a general history of Africa held in Cairo, Egypt from January 28 – February 3rd, 1974 under the auspices of UNESCO validates this claim. As members of the international scientific committee at the Cairo colloquium, the interventions of Dr. Cheikh Anta Diop assisted by Théophile Obenga, were considered in the final report as meticulously prepared and invite the scientific community to re-write universal history of humanity, granting Black Africa her primordial role that she has effectively assumed in the edification of civilization. Today, one can see little-by-little how history and science has departed from so-called reality proclaimed by “authorities on Africa”. This move is commendable in view of certain political views notoriously hostile to the approach to recognize a dark part of history. (Dakar discus of French President Sarkozy). Like in the HISTORY of AFRICA and the history of a colonized people written by her former colonizers, it is the custom among WESTERN MUSIC CRITICS to associate and attribute the inspiration for his creation to what they know – namely JAZZ and FUNK. Fela's creation of Afrobeat have been claimed to be a combination of JAMES BROWN'S funk, highlife and jazz. This should not be a surprise taking into consideration, the prominence of people of AFRICAN ORIGIN in American music such as jazz, rock and funk being part of their link with their African heritage.

Thanks to archaeological excavations, world civilization in general owes a huge amount to African traditions - an essential part of FELA'S MESSAGE. Despite Afrobeat being played with so-called “Western” instruments, this does not diminish its African authenticity. Particularly, if we take note that all wind and string instruments have their origin in the African continent before people like Antoine-Joseph (aka) Adolphe Sax produced the first so-called “Western instruments”.

While Fela was accused by MUSIC CRITICS in EUROPE that he did not care about the rules of musical composition (Berlin Jazz Festival 1978), in NORTH AMERICA Afrobeat is considered to be influenced by Western, particularly American sounds - all these to justify the claim of a diversion through a European or American career.

One can say with certitude today that despite his education at the Trinity College of Music in London, the inspiration behind Afrobeat music came from the traditional YORUBA ‘APALA MUSIC'. The way the bass, tenor and rhythm guitars work in short phrases; criss-crossing in unison in Afrobeat, it is parallel to those of the TALKING DRUM family in Yoruba traditional music. In view of the above, let us like the German Leo Frobenius, who furthered the work of Count C.F.Volney in the year 1910 titled: UND AFRIKA SPRACH (AND AFRICA SPEAKS). He urged his fellow Western colleagues to: “Let there be light! Light in Africa! Light in that portion of the globe, to which the stalwart Anglo-Saxon Stanley gave the name “Dark” and “Darkest”. Light upon the people of that continent whose children we are accustomed to regard as types of natural servility with no recorded history. But the spell, has been broken the buried treasures of antiquity again revisit the sun.” In the same spirit with which the buried treasures of antiquity revisits the sun - thanks to archaeological excavations and works of people like Count C.F. Volney, Cheihk Anta Diop continued by Theophile Obenga, we know with certitude today that world civilisation in general owes a huge amount to African tradition - an essential part of Fela's message.

Thus, Fela the man or the musical from Broadway to London or where else, the commercial success of the brand name FELA should not be lost in the Bling! Bling! Of six-figure Dollar signs. The man himself when he was alive was very aware of his financial potentialities; it is not the Knitting Factory team the first to see the financial potentials of Fela. As far back as the early ‘80s, Chris Blackwell of Island records shortly after the demise of Bob Marley, approached Fela to buy his back catalogue. Fela in return asked for $10,000,000 which Chris Blackwell thought was a crazy amount for Fela to ask at that time. Today, with all the Broadway and Hollywood talks around Fela, we know that the brand name plus his back catalogue is worth big money.

To the Knitting Factory guys who have succeeded in bringing Fela the Natty Dread main-stream, I can only say like the French ‘Chapeau' but in all the commercial success let us not forget Fela's message: “my music is not for entertainment; my music is to spread a message”. The 21st century message of Fela to a capitalist world is: capitalism where morality is not capital is a shame and got to stop. It is not morally right to use the social welfare contributions of the masses to bail-out big banks during economic crises, while the same system considers providing health care for all as SOCIALISM.

Fela should not be only a commercial success on Broadway and Wall Street, Fela' ideas should be heard on Pennsylvania Avenue, Downing Street, Elysée, and all the seats of power. A Welfare State where everyman is his neighbor's keeper is the future of man.

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• The New York Times (November 24, 2009) “A terrific dance party of a musical, an exuberant celebration that also drives home a spirited message of human resilience - There has never been anything on Broadway like this production!”

• Back Stage (November 24, 2009) “Explosive dance numbers are performed with an uninhibited joy and intensity by a fiercely talented ensemble”.

•The Bergen Record (November 24, 2009) The term "unique experience" is thrown around loosely, but I'll go out on a limb and say you've never seen anything like "Fela!," the infectious Afrobeat musical that opened Monday night at the Eugene O'Neill Theatre.

•Bloomberg NEWS (November 24, 2009) Fela's music and Jones's equally matchless dances, uniquely combining earthiness with flight, dynamics with delicacy and drive to equal, if not surpass, Olympian ideals.

•Los Angeles Times (December 8, 2009) FELA! On Broadway: Moving the Masses.

•New York Magazine (November 24, 2009) If you don't spend a portion of FELA! Staring at the amazing asses onstage, you're just not doing your job."

•New York Observer (November 24, 2009) A Night at the Shrine of FELA!

•The New York Post (November 24, 2009) There's enough energy in FELA to short-circuit Con Ed. It spills over from the stage and into the orchestra seats, boundless and joyous: This is as close as Broadway gets to fully immersive theatre.

•New Jersey/Star Ledger (November 24, 2009) Broadway has never before witnessed a musical quite like FELA! - An explosive mix of catchy Afrobeat rhythms, wild, sexy dancing and raw bio-dramatics...

•New York Daily News (November 24, 2009) FELA! Is one of the most original and exciting shows to come around in a long while. It deserves its berth on Broadway - and that exclamation point.

•NY1 (November 24, 2009) FELA! Speaks to Broadway's next generation whose embrace of the work gives hope for the theatre's future.

•TheaterMania (November 24, 2009) There's no better dancing on Broadway than what's currently on view in Fela! Directed and choreographed by Bill T. Jones and now playing the Eugene O'Neill Theatre following a successful Off-Broadway run at 37 Arts last year. The sheer exuberance of the performers makes this bio-musical about Nigerian activist, composer, and performer Fela Anikulapo Kuti an exciting and richly rewarding theatrical experience.

•Time Out NEW YORK (November 24, 2009) FELA! Is more than a musical; it's an ecstatic phenomenon.

Bienvenue sur radioshrine.com

Mabinuori Idowu (aka ID) — 2010-03-17T11:50:00Z

RADIO SHRINE.COM : SOLIDE COMME L'ARBRE IROKO.

Amis, frères et Soeurs,

Comme Fela eu l'habitude de dire au Shrine : "Radio Shrine ! Gan-Gan Baba !"

Après de nombreux changements dans notre organisation, départs de certains membres de l'équipe et arrivées de nouvelles mains, forte de contribution et d'inspiration, nous voici de retour en ligne avec un site qui, nous l'espérons, deviendra le fédérateur numéro 1 de la Culture Afrobeat dans le monde !

Comme dit un vieil adage : "tout change et tout évolue ; seuls les imbéciles restent inchangés."

Dorénavant vous assisterez à des évolutions constantes sur notre site de manière à satisfaire au mieux vos attentes en matière d'information et de divertissement à propos de la culture Afrobeat. Cependant un élément demeure inchangé : notre adhésion sincère aux idéologies "Pan africaine" de Fela. Nous avons, en effet, le devoir de transmettre l'essence du message de Fela ainsi que de poursuivre la lutte profonde et authentique qu'il aura menée au cours de son existence pour la cause africaine.

De plus, Radio Shrine est honorée d'avoir parmi sa direction un membre fondateur des Young Africains Pionniers (YAP). Un mouvement fondé par Fela en 1975 avec l'objectif d'étendre la conscience politique, culturelle et économique auprès des Africains et de la Diaspora africaine.

Dans notre rubrique mensuelle "Les Pieds sur Terre" nous vous présenterons les oeuvres de Fela et expliquerons les messages qu'elles contiennent dans le contexte politique actuel car nous croyons que Fela était l'Africain Nostradamus : "l'homme qui a vu et chanté demain".

A part Femi et Seun Kuti, avec leur groupe respectif Positive Force et Egypt 80, qui sont automatiquement proclamés héritiers du phénomène Fela Anikulapo-Kuti, l'équipe de Radioshrine est convaincue que la famille Afrobeat devrait s'étendre. En effet de nombreux groupes reflètent les traditions et les styles musicaux de l'icône activiste Fela qui, de part leurs exploits, se sont identifiés comme frères combattants pour l'héritage intellectuel et culturel africain méritant donc également de faire partie de la grande famille Afrobeat !

Dans notre rubrique appelée « Histoires Africaines », nous avions envie de partager avec vous notre soif de connaissances sur l'histoire véritable de l'Afrique. Comme dit Cheikh Anta Diop dans son livre Civilisation ou Barbarie, 1981 : « Pour nous, le retour à l'Egypte dans tous les domaines est la condition nécessaire pour réconcilier les civilisations africaines avec l'histoire, pour pouvoir bâtir un corps de sciences moderne et ainsi rénover la culture africaine. Loin d'être une délectation sur le passé, un regard vers l'Egypte antique est la meilleure façon de concevoir et bâtir notre futur culturel. L'Egypte jouera, dans la culture africaine repensée et rénovée, le même rôle que l'antiquité gréco-latine a eu dans la culture occidentale. »

Bonne visite !

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