Tune Your World

African Underground: OMZO, Missala Aduna

Omzo is easily one of Dakar's most unique and influential MCs. Omzo began rapping as a young teen in the Senegalese Ghetto of Thiaoary located on the out skirts of Dakar. Unlike many other young MCs in his hood Omzo preferred to rock the crowd in his mellow, laid back flows. In the year 2000 Omzo released the single "Kunu Abal A Beut" (translated: The Hand That Leads is the Hand That Rules) a scathing attack on corrupt politicians, globalization and the World Bank. The song caused such a stir locally that it is cited as having had a direct effect on the 2000 elections when the former corrupt regime was ousted. Without a doubt Omzo is one of Dakarís true hip-hop leaders bringing truth and consciousness to his audience.

The track featured here is “Missala Aduna,” from the freshly released album “African Underground” upholds the standards laid out by Omzo's transforming track. On the track, Omzo, in his easy, loose, Q-Tip-esque style, does "Missalu Aduna" or "The Philosophy of Life," another vision of the way the world works. It's boiled-down and clean and gets its point across even with the language barrier.

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Les Ballets Africains: A Challenge for a Common Survival

Les Ballets Africains was formed in Paris in 1952 by distinguished Guinean choreographer, Keita Fodeba, who enjoyed the support of numerous African heads of state. Les Ballets Africains toured the world successfully until Guinea's independence in 1958 when they were invited to become the country's national ensemble. In 2002, for their 50th Anniversary, their "50 Years Golden Jubilee", the Ballet created a piece called "Jubilee!".

In staying with their goal of fostering a greater understanding of Guinea (and West Africa), Jubilee highlights both the proud traditions of Guinea, but also discusses the challenges of modernization, urbanization and ongoing bitter poverty. The music featured here is from the Scene entitled "A Challenge for Common Survival" which shows a village being disrupted by the return of young women from the city, wearing "western" clothes, talking on cell phones, and acting different. Their return disrupts the traditional harvest festival, and tears men away from their village girlfriends dressed in traditional clothes. As a result, the shocked women from the village take back the food they have spent days preparing. The two groups of women then vie for the attention of the men through dance. The elders then reassert their wisdom, making sure the labor is finished. Through their communal work, all the men and women realize that when they all work together, the village may prosper. With work over, the rhythms, dances and acrobatics of celebration begin again, and the village remains committed to fighting poverty and hunger.

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Origins of Guitar Music in northern Zambia

Hugh Tracey was not unlike an African pioneer in the grand tradition of the 19^th century colonial explorers. Tracey saw his task as revealing to the world, and to Africans themselves, the rich variety of music to be found in Africa. Copies of his recording could be found buried in university collections until Sharp Wood Productions and ILAM (International Library of African Music) came out with a series of these recordings remastered on CD. Calabash Music is pleased to offer this collection global distribution, so that Hugh Tracey's mission can continue, many years after his death, and some 50-70 years after these recordings were made.

The quality of the recordings is amazing, considering the quality of the recording equipment and the continuing (to this day) challenge of field recording in Africa.

The song featured here "Amatsotsi mama amanonge chalo" (Tsostis are disturbing the normal way of life), was recorded by Tracey on a trip in 1957-1958 to the "copperbelt" in southern africa, and shows the transition involved in urbanization and the changes that accompany large scale changes in labor patterns of communities. The first mines opened in 1913, and by the time these recordings were made, communities had grown up around the mines, cultures and traditions were changing and being created, and a specific guitar sound was being created.

This song is a morality song with guitar by F Musonda, D Cisenga and B Cungu, recorded at Murulira Copper Mine, Mufulira, Zambia, 1957. "The growth of an urban African population, born and brought up on the mines or other industrial regions, is creating a class of juvenile deliquents who are a problem both to themselves and their parents." The song describes how Tsotsis [gangsters] are dressed, with tight black trousers and hats, and tells people to watch out as they are thieves who will steal from your house. The performers were Cewa men from either Eastern province in Zambia or from Malawi. Again as example of 'looking south', but this catchy song sounds very much like something George Sibanda from Bulawayo could have written. It is not unthinkable that that influence was there, as Sibanda's songs were broadcast on the radio throughout the Federation of Rhodesia and Nyasaland. The guitar playing is very jazzy, and the song has a hip bridge when good jive-dancers can turn themselves inside out, as its structure is 2 x 3+3+3+6+4 beats. Musonda is credited as being the composer.

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Faytinga

The history of Faytinga is a reflection of the history of her country, and she symbolizes the fight for the defense of Eritrea. Eritrea was awarded to Ethiopia in 1952 as part of a federation when this part of Africa was released from colonial rule by the British. By the time she was born in 1964, Faytinga's father was deeply involved in the 30 year struggle for independence from Ethiopia. Faytinga became directly involved in the fight for liberation at the age of 14, fighting until 1991, when Eritrea became independent.

Faytinga takes her name from a settlement occupied by the British called "Fighting Gun." In local parlance, this became "Faid Tinga", the word from which Faytinga takes her name. Because of her origin and her personal engagement in the struggle for liberation, Faytinga has become a symbol for the entire country.

From the Kunama ethnic group, she is from the low country in the southwest of Eritrea. Her mother is from the high plateaus and the Blen ethnic group, and her father is from the Tigrinya ethnic group.

The song featured here, "Hakuma Tia" is a song celebrating an independent Eritrea, a song that praises the courage and determination of its fighters.

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Yeli Fuzzo

Yeli Fuzzo is one of Mali’s most successful rappers and producers, having rapped in or produced almost every major hip hop act in Mali since the late 1990’s.

His single, and the song featured here, Mali Djaka (Mali is great!) is a huge success, placing the album on the top of the hip hop charts and in third place among all albums. Everywhere you go in Bamako, the capital of Mali, you can hear Mali Djaka playing on the radios or at the tape stalls. Every child knows the song and will happily sing a couple lines for you. Even more impressive is the message in this music. Whereas American rappers like to talk about violence, sex, drugs or daily problems, Malian rappers are by and large using their art to uplift. Yeli uses Mali Djaka to talk about the history of Mali, how wonderful his country is and how proud he is to be a part of a long tradition of the Bambara people. The refrain of "Mali Ka Di" (I love Mali) can be heard throughout the song.

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