Eyin'juOdu

Amina Claudine Myers Interviewer: Simon Rentner Simon Rentner: This is Simon Rentner with Afropop Worldwide with George Collinet. I'm here sitting with Amina Claudine Myers, the famous genre-defying pianist, who has played with so many luminaries in the industry. It’s just a pleasure to be here with you and talk about some of your life experiences. Amina Claudine Myers: Thank you. It's a pleasure. My pleasure.

Afropop Worldwide http://www.afropop.org/img/interview/GeorgeLewis/Lewis_chp8_06.jpg Interviewer: Simon Rentner Simon Rentner: I'm here with George E. Lewis, the author of the book A Power Stronger Than Itself: The AACM and American Experimental Music. First of all, why did you name your book A Power Stronger Than Itself?

By Jessica Hundley Femi Kuti makes something more than music. His dozen or so album releases and hugely popular concerts (“one of the more powerful live shows on Earth,” according to the Onion) are imbued with the weight of family legacy and Kuti’s own individual intents. It is "music as message" in a way few acts take on these days –- protest and admonishment and hope all embedded in Afrobeat exuberance. In his own words, Kuti’s songs are his primary “weapon” in a lifelong struggle to bring awareness and resolution to the strife in his home country of Nigeria. The eldest son of the great musician and activist Fela Kuti, Femi began his musical career at age 16 as a member of his father’s band. After Fela’s death in 1997, Kuti continued in his father’s footsteps, embracing outspoken activism, maverick musicianship and a relentless tour schedule. His newest effort, Africa for Africa (released April 12 on Knitting Factory Records), was recorded in the same studio where he

Culled from The Cultural Weapon Should artists accept “dirty money”? Mike van Graan A number of things strike one on entering Bamako, the capital of Mali. The first is the majestic Niger River responsible for much of the green in an otherwise dusty, gravelly, semi-desert city. Another is the industriousness of the people in an obviously poor country, as everyone is trying to generate even a meagre income selling mangoes, chickens and home-made furniture, or Chinese-manufactured T-shirts, electricity adapters and slip slops. Then there are some incongruously tall buildings and hotels, a number of the latter bearing the name “Libya Hotels”. One garish building is named after the Libyan dictator, Gaddafi, who has funded this – still empty - structure to house the Malian cabinet. There are two bridges across the Niger with a third being built by the Chinese. As one walks through the market, there are hand-made posters in defence of Gaddafi, and in conversation with some of the loc

Olusola, Onobrakpeya, Babawale pay tribute to Beier THE GUARDIAN, THURSDAY, 07 APRIL 2011 00:00 BY MICHAEL ORIE AND YEMI OLAKITAN ART - ARTS DAYS after the death of the venerable arts and culture enthusiast, Ulli Beier, tributes and encomium have continued to pour in for the man who opened the Osogbo Art to the world. According to Prof. Tunde Babawale, Director General of Centre for Black and African Arts and Civilization (CBAAC), Beier was passionate about Nigeria arts and culture. While commiserating with the entire art and culture community over the passing on of the culture promoter, Babawale said, “was as a unique personality who made passionate and indelible contributions to the development and popularisation of Yoruba arts and culture.” The DG said Beier provided an enduring platform for interaction between Yoruba indigenous ideas, beliefs and practices and the European cultural space, the legacy of which is the Iwalewa House at the University of Bayreuth, which continue