On the Globe » Africa

Get your oar in!

andrew princz — Tue, 29 Jun 2010 10:42:51 +0000

Grandiose celebration of dance, horsemanship and indigenous culture at the Abuja Carnival. Photo © Jura Nanuk, ontheglobe.com

The beat at Nigeria’s colourful Abuja Carnival

(Abuja) It doesn’t take much to become the subject of local curiosity in Nigeria, if you are two very Caucasian-looking ‘tourists’ among a sea of many thousands of passionately dancing Africans as they sing and sweat to the beats of traditional wooden drums at the first Abuja Carnival.

There we were among the few non-locals at this grandiose celebration of dance, horsemanship and indigenous culture late last year in the Nigerian capital.

Upwards of 10,000 people participated in this intoxicating cultural fiesta from the country’s very diverse 36 states. It was all part of an ambitious plan of the Nigerian government to celebrate its some 250 ethnic groups to ultimately encourage the world to discover Nigeria. The government hopes one day to make the country a tourist paradise ‘beauty in diversity read one slogan.

We were even handed curious video’s describing the mythical significance of the oddly shaped rocks of Jos in Plateau State, or the secrets of the ancient Sukur people – a migrant ethnic group who live in a remote corner of Adawama State in the eastern part of the country.

The latent potential of Nigeria
I had little problem believing how the vast area hides what was termed ‘latent potential’. It was, I was told, « a world full of fascinations and fresh discoveries ».Those executives have a tough battle on their hands, however. Nigeria, which has taken the lead in Africa’s battle to find African solutions to the continents challenges, is not out of the woods.

One of the largest oil-producing nations, Nigeria – despite its best efforts – remains a country which has gained a reputation for banditry, ethnic strife, corruption, the presence of hostage-taking insurgents. This, as the country’s leadership walks the fine line keeping peace among the Christian south and the Islamic north. Yet we grasped at the heartbeat of Africa. We harnessed the best of Nigeria, dangers and all.

Here dance, music, a durbar or a boat regatta are not mere performances, but they are an integral part of daily life in small villages, kingdoms or emirates. Tens of thousands poured into the streets of Abuja for the carnival procession, a day-long feast of color, music and dance.

Then there was a traditional Durbar from the Northern, Muslim states. Some 800 ornately dressed and decorated horses and horsemen displayed rich regalia in honor of their Emirs, Sultans and Kings. This is the reality of life here, and not a fairytale.

Boat Regatta In ancient times, both the boat regatta and the durbar were instruments of preparation for war. Today, the boat regatta is a display of the rich cultural heritage of the riverine people of Nigeria. Photo © Jura Nanuk, ontheglobe.com NIGERIA

These four days of carnival revealed a glimpse of mystery, generous smiles, warm hospitality, reserved expressions, and wide-eyed curiosity. We towards them and they towards us. We felt like we had been taken back to something extremely ancient. Like Greece at the time of the first Olympic Games.

But in Nigeria it was not enough to be a passive viewer. Suddenly we were literally thrust right into thick of a boat regatta. I was swept onto a ceremonious wooden craft that leaked from small crevices and cracks that I tried to cover with my bare toes. But nobody seemed as disturbed as I was.

The beautiful women of Bayelsa State
The boat was crammed with exotic and very beautiful women from Bayelsa State in Southern Nigeria. These beautiful and smiling young women spoke loudly in pigeon English as they prepared for the show. They looked ravishing in their royal-blue head-dresses, silky white tops and beaded necklaces.

As we cast off, another wooden boat of severe looking spear-laden warriors started to paddle around ours. They, I was told, were the guardian warriors of the boat from Bayelsa State. It was somewhat of a consolation as one of the young ladies frantically scooped out the water that had leaked into our boat.

We paddled in unison onto the waters as the pounding rays of the late-afternoon sun beat down on us. The pulsing beats of drums edged us on. Periodically the toxic dance movements of a corpulent « queen » at the front of the boat set off the wailing cries of the picturesque Nigerian women, who in unison cried out a song about a lost leader.

I paddled with them, sang and smiled in amazement. Was this scene for real? Boat after boat joined in the fray as the wailing sounds grew louder and louder into a fervent apex.

Apparently the cameras of Nigeria’s national broadcaster had zoomed in on the white man on the boat of Bayelsa State. As we made our way onto the shore, a slew of reporters rushed me. It felt strange to be an attraction among all these extraordinary goings-on.

The Durbar: The word Durbar is derived from the Urdu (Indian) language meaning "audience hall". The Durbar at the first Abuja Festival was marked with a conspicuous display of ornately dressed horsemen who were attired in regalia, rich costumes and decorations. Photo © Jura Nanuk, ontheglobe.com NIGERIA

The Durbar: The Durbar is celebrated by the emirates in the northern states of Nigeria. The colorful celebrations are rooted in royalty, kingship and devotion. Each tribe bore differently coloured dress, and the warriors of some Emirs were followed by spear-laden horsemen. Photo © Jura Nanuk, ontheglobe.com NIGERIA

The Durbar: Horses at the Durbar are decorated with ornate and intricately crafted beads woven to the seal of the power of the various emirates. The elaborate processions of each emirate revealed the past or current estimation of the wealth of the emirate. Photo © Jura Nanuk, ontheglobe.com NIGERIA

The Durbar: During the Durbar the representatives of the Sultans and Emirs were sometimes accompanies by the leaders themselves. They ceremoniously met and paraded in front of other groups. Loud noises, drum rolls and other elements of pagentry accompanied these meetings. Photo © Jura Nanuk, ontheglobe.com NIGERIA

The Durbar: The Durbar is usually celebrated to mark the annual Eid-el-Fitr and Eid-el-Kabir festivals in major cities and towns of Northern Nigeria. The festival originates from Katsina, and dates back to 1912. The Durbar begins with an engaging display of groups of horsemen racing at full gallop across the grounds with swords drawn, portraying their horsemanship, war preparedness and loyalty to the Sultan or the Emir and traditional institutions, drumming, dancing, singing, clowns, snake charmers and sword-charmed dancers. The Durbar is a significant event, where various groups are identified by their warriors, hunters and farmers. Photo © Jura Nanuk, ontheglobe.com NIGERIA

The Durbar: The processions of horsemen in the Durbar reveal the past glories of the emirates before the influence of western culture. Other than the Eid Festival, the durbar is also organized as an entertainment event, to celebrate the visit of important dignitaries as a sign of respect and honor. Today, the Durbar is not restricted to Muslim celebrations, while the traditional Durbar in Kano still ranks as one of the most colourful in the country. Photo © Jura Nanuk, ontheglobe.com NIGERIA

The Durbar: As night fell, the horses waited to start their journey home. Pictured are just a few of the 800 horses that took part in the ceremonial Durbar at the first Abuja Festival in 2005. Photo © Jura Nanuk, ontheglobe.com NIGERIA

The Farin Ruwa Falls in Nasarawa State Nigeria has an abundance of physical attractions ranging from hills, waterfalls, springs, caves, lakes and mountains. The Farin Ruwa falls are a few hours from Abuja, and are reachable by vehicle and a few kilometers of travel by foot. We sat and bathed in the refreshing waters, and enjoyed the mid-day sun. Photo © Jura Nanuk, ontheglobe.com NIGERIA

The rocks of Jos Situated just north of Abuja in Plateau State, the rocks of Jos are a series of dispersed rock and boulder formations that nature creatively positioned. Rocks bear mythical and legendary significance in Nigeria, and have been endowed with religious tales of legendary significance. Worshiped, given godly names, many stones serve as places of worship or are used as locations for initation rites. Here we met with locals who asked for donations for their leader. We engaged in a debate, encouraging them to offer services. We suggested that they offer insight into the rock formations at Jos. The locals were friendly, open and kind-hearted. Photo © Jura Nanuk, ontheglobe.com NIGERIA

The Farin Ruwa Falls in Nasarawa State Nigeria has been trying to highlight the natural and cultural richess of the country in order to increase the tourism potential of the country. Photo © Jura Nanuk, ontheglobe.com NIGERIA

Villagers of the Kulere tribe On the way to the Farin Ruwa Falls in Nasarawa State, we were greeted by villagers of the Kulere Tribe who showed us how they made rice. Photo © Jura Nanuk, ontheglobe.com NIGERIA

Villagers of the Kulere tribe Photo © Jura Nanuk, ontheglobe.com NIGERIA

Textiles: Textile arts go back centuries in Nigeria. Cloth weaving and regalia are fashioned according to the status of the individual. Textile designs were used to distinguish social class and even the occupation of the wearer. Each indigenous textile is associated to a particular part of the country. Photo © Jura Nanuk, ontheglobe.com NIGERIA

Traditional music: It is said that music is the essence of Nigerian life, with popular music being found in every ethnic group. The country's wealth of some 250 seperate enthnicities, and music plays an important part of both the recreation and religious life of the people. Photo © Jura Nanuk, ontheglobe.com NIGERIA

The masquerade fiesta One of the greatest sights of African culture grandeur is the plethora of intricate, vigorous, delicate and acrobatic dance steps that are present in every community. Dances exist for every occasion and for every age-group. It is a living form of art. Photo © Jura Nanuk, ontheglobe.com NIGERIA

The masquerade fiesta: In Nigeriatransitions in the life of an individual are marked by dance: be it birth, marriage, title-taking or even death. All are accompanied by music and dance displays. There are maiden dances, war dances, harvest dances, initiation dances, ritual dances and dances associated with particular occupations such as fishing, blacksmithing and farming. These dances take place amid colourful costumes, adding excitement and beauty to the event. Photo © Jura Nanuk, ontheglobe.com NIGERIA

The masquerade fiesta Colourful beads adorn a dancer at the masquerade fiesta. Photo © Jura Nanuk, ontheglobe.com NIGERIA

The masquerade fiesta: Masquerades represent incarnated ancestral spirits visiting their descendants to entertain, give guidance, commend, exorcise evil spirits and chastise evil-doers. Masquerades are also used to grace ceremonial occasions. Their elaborately created physical presence therefore evokes a wide range of feelings, from approbation and appreciation to fear and awe. Photo © Jura Nanuk, ontheglobe.com NIGERIA

Traditional dance Dance at the first Abuja Carnival was prevalent, with a rich variety of dancers clad in colourful costumes that add to the excitement of dance. Photo © Jura Nanuk, ontheglobe.com NIGERIA

The Masquerade Fiesta on the Carnival Route: From the east to the west and from the north to the south, there are dances associated with every age-group. Photo © Jura Nanuk, ontheglobe.com NIGERIA

Military traditions: In military traditions, there is ceremonially called a command performance. It brings out the best and richest traditions of military ceremony. Photo © Jura Nanuk, ontheglobe.com NIGERIA

Standing proud: The faces revealed the pride of each participant in representing his or her state or region of origin. Where in Africa, many ethnic languages or traditions are being lost or forgotten, with the Abuja Carnival, these traditions are being celebrated. Photo © Jura Nanuk, ontheglobe.com NIGERIA

Abuja Carnival: Three major ethnic groups/languages delineate Nigeria. The Hausa/Fulani in the North, the Yoruba in the West and the lgbo in the East. There are also hundreds of tribes and ethnic groups which contribute to the country's rich cultural diversity. Photo © Jura Nanuk, ontheglobe.com NIGERIA

A living culture: The Abuja Carnival was full of surprises. Masked figures made of curious elements, musical instruments and costumes. Photo © Jura Nanuk, ontheglobe.com NIGERIA

Ara: A performance of the Nigerian artist Ara, who performs on the traditional instrument, the Talking Drum. Ara is one of Nigeria's most important cultural exports, and most recently played her Talking Drum with a symphony orchestra in Paris at the 60th Anniversary celebrations of UNESCO. The Talking Drum has historically been the preserve of men, but Ara defied her critics and has since become a master on the instrument. Photo © Jura Nanuk, ontheglobe.com NIGERIA

African China: Crowds became enraptured when the group African China took to the stage. A critical but positive voice, the group's music appeals to the man on the street. Photo © Jura Nanuk, ontheglobe.com NIGERIA

Boat Regatta What the horse procession is to the savannah people of Nigeria. the river craft and boat regatta is to the riverine communities of Nigeria. Photo © Jura Nanuk, ontheglobe.com NIGERIA

Dancing despite the streets

andrew princz — Tue, 29 Jun 2010 10:00:27 +0000

Kilandukilu Traditional Ballet troupe practices for a foreign trip. Photo © Jura Nanuk, ontheglobe.com

Kilandukilu’s life-affirming dance in Angola

(Luanda) A smoky haze envelops the sprawling outskirts of the Angolan capital of Luanda as dusk turns to dark. Dust blows as piles of rubbish burn, sending plumes of thick black smoke into the air. In the distance, small children run in and out of the alleyways of this shanty-town, as others stroll the streets irreverently. Vendors sell trinkets, slippers and foodstuffs. Car horns echo as large trucks stir up the grimy streets.

In this unlikely setting, high above a rectangular concrete building overlooking the suburbs of Luanda, the crisp pulsating sounds of a single marimba, a precursor to the xylophone, are heard as two young musicians play the hypnotic rhythm.

A marimba beats and pulsates quicker and quicker as almost thirty dancers suddenly appear on the concrete floor with delineated geometric movements, following slow and defined rhythmic steps. A small generator hums in the foreground, lighting the space as a fire burns in another corner of the dance floor.

Whistles and traditional drums
The group suddenly and simultaneously breaks into sensuous gyrations of the behind as whistles and traditional drums – the tumba – begin to beat frantically. The dancers then develop into what seems like a trance-like state as they intermittently thrust their pelvis backward then forward in almost impossible, crisp, sensual motions. It is like being thrust into a poignant celebration of life so intense and immediate that it almost defies the senses.

This is the Kilandukilu Traditional Ballet troupe, practicing the Dance of the Wood Carriers, just days before the company set off to perform at an African festival in far-off Japan. Kilandukilu – which means ‘enjoyment’ in the indigenous Kimbundu language – is a life-affirming phenomenon in a space that is devoid of many of the basic amenities of modern life. The group’s powerful chants could be heard throughout the hamlet.

The Dance of the Wood Carriers was choreographed by the company’s group based in Uige, a northern province of Angola. The group suddenly breaks into a chant, sung in Kimbundu – a language little spoken today by Angolans – in a joyous celebration of the harvest of wood, which locals balance on their heads as they return daily to their clay, thatched roof houses.

Kilandukilu was founded by a group of friends in the Maculusso municipality of Luanda twenty-one years ago, bridging traditional Angolan beats with break-dance, pop and even funk.

« These are works basically about our history, they are stories about daily life, » says dancer Ton Da Costa Mangani or ‘Ton’ as he is known, who has been dancing and now choreographing with Kilandukilu for over nine years. « It could be life as a waiter, stories about the moment of creation, about prostitution, washing cars or selling trinkets in the streets. »

Like many in Angola, Ton spent much of his life fleeing war and conflict. Originally born in the neighboring Democratic Republic of Congo, he fled war only to find more of the same – and yet he was able to find refuge in dance. « I am a dancer, and I am not afraid of any kind of dance, no matter how complex, » he says earnestly.

A history of dance
Dance and musical culture in Angola is ingrained in the country’s history, and with slavery was exported to North and South America. The sensuous semba of Angola – where partners touch by thrusting their navels forward, became the samba of Brazil, as slaves of the seventeenth century transposed this part of their cultural heritage in the ‘new world’. Another dance is the kizomba, which is a slow dance for partners, while kuduro is a fast beat which mixes the contemporary kizomba and techno.

« Here it is even more than fluid, it is more like gas, » says Fernando Alvim, an Angolan film director who is immersed today in organizing the first Luanda Trienale, a multidisciplinary cultural event in the capital, « We are a new nation, without tools and experiences to run a country, so we are not so aware about putting things in boxes. What we call traditional in Angolan, in reality it is not so traditional. »

« When you see Kilandukilu dancing, you look at them and see the traditional. Then when you look closer, you see influences of the Portuguese… We are globalized here, we are not so specific, or even African, as a nation, » he adds.

Kilandukilu, closer to a traditional African aesthetic, is not restricted geographically either. The company consists of forty-five dancers in the Angolan capital of Luanda, twenty in the northern province of Uige, and a third group of twenty dancers who are based in Lisbon, Portugal. As a group, the company has performed far and wide, including in South Africa, India, Germany, Sweden, even in North Korea, and most recently at festivals in Morocco and Japan.

Here, Angola dances in a frenzy despite the country having very little to celebrate in the past few decades. Angola’s independence was a hard-earned and bitter struggle. It began when the country freed itself from the colonial rule of the Portuguese in 1975 after a rebellion that lasted over a decade.

The freedom gained was short-lived, however, as the country soon plunged into a bloody civil war that would last almost three decades. Following a fragile peace brokered in 2002, Angola is now re-awakening – developing cultural institutions, writing its history. And dancing.

Kalandula Water Falls The 105 meter tall Kalandula waterfalls, located 85 kilometers from the provincial capital of Malange. Numerous enormous waterfalls can be found in Angola, while the most impressive are the Kalandula Waterfalls on the river Lucala. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Kalandula Water Falls, viewed from above. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Building Luanda: Construction site in central Luanda. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Luanda beach Children playing at the beach on the outskirts of Luanda. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Kilandukilu Traditional Ballet Kilandukilu: Traditional Ballet troupe, practicing the Dance of the Wood Carriers, just days before the company set off to perform at an African festival in Japan. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Bustling Luanda: The capital of Angola at noon is bustling with activity. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Downtown Luanda Late afternoon in Luanda. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Church ceremony in Angola’s province of Malanje. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Miradouro da Lua A breathtaking vista outside of Luanda at Miradouro da Lua. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Military Museum, Luanda Perched high above Luanda, the military museum is a historic fortress. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Sundown at Pedras Negras de Pungo Andongo, Angola. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Statue of Ann Nzingha, "Queen of the Ndongo" (1582-1663) Ann Nzingha was the sister of the then-reigning King of Ndongo, Ngoli Bbondi, whose country was later called Angola. Nzingha was from an ethnic group called the Jagas. The Jagas were an extremely militant group who formed a human shield against the Portuguese slave traders. Nzingha never accepted the Portuguese conquest of Angola, and was always on the military offensive. As part of her strategy against the invaders, she formed an alliance with the Dutch, who she intended to use to defeat the Portuguese slave traders. Photo © Jura Nanuk, ontheglobe.com ANGOLA

View of the harbor A view of the harbor of Luanda from Ilha de Luanda. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Central Malange: Also spelled Malanje, it is a town north-central Angola. The town developed in the mid-19th century as an important feira (open-air market) on the country's principal plateau, between Luanda, now the national capital, 250 miles (400 km) to the west and the Kwango valley, inhabited by the Mbundu people. The town has a high-altitude tropical climate. The environs of Malanje included the principal cotton-producing area of Angola prior to independence in 1975. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Ilha de Luanda: Young Angolans at the beaches of Ilha de Luanda (Island of Luanda), a two-kilometer long peninsula where beaches, restaurants and bars are plentiful. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Settlement at Pungo Andongo Small settlement at the foot of the giant rocks at Pungo Andongo. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Kilandukilu drummers: The pulsating beats of the drums of Kilandukilu Traditional Ballet troupe gave the feeling of being thrust into a poignant celebration of life so intense and immediate that it almost defied the senses. Photo © Jura Nanuk, ontheglobe.com ANGOLA

National Bank of Angola The classical building of the National Bank of Angola dominates the waterfront of the nation's capital, Luanda. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Miradouro da Lua A breathtaking vista outside of Luanda at Miradouro da Lua. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Pedras Negras de Pungo Andongo Pedras Negras de Pungo Andongo, or the Black Rocks at Pungo Andongo, found some 116 kilometers of both dirt and paved roads from the provincial capital. These are a series of mysterious rock formations that have a history in Angola, and astoundingly look like animals - including a giant 'frog'. These formations, which stand high above of the flat southern African savannah, were a strategic point during the recent civil war in Angola - but its history as a strategic military location goes back to the 17th century. Photo © Jura Nanuk, ontheglobe.com ANGOLA

A view standing above the Pedras Negras de Pungo Andongo, or the Black Rocks at Pungo Andongo. Photo © Jura Nanuk, ontheglobe.com ANGOLA

The Road to Pungo Andongo On the roard to the giant rocks at Pungo Andongo, in the province of Malanje. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Building Luanda: Construction site in central Luanda. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Nightlife in Luanda In central Luanda a nightclub where Angolans and foreigners mix to enjoy performances of traditional dances including the semba (precursor of the Brazilian samba), kizomba and kuduru. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Tribunal Provincial de Luanda Tribunal Provincial de Luanda, the central courthouse of the capital. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Luanda promenade The promenade in the capital Luanda shows the scenic and tourism potential of the Angolan capital. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Luanda cityscape An expansive view of Luanda, the sprawling capital of Angola, taken from the fortress of the nation's Military Museum. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Rewriting history

andrew princz — Tue, 29 Jun 2010 09:49:41 +0000

On the road to the mysterious animal-shaped rocks of Pungo Andongo, central Angola. Photo © Jura Nanuk, ontheglobe.com

Resource-rich Angola creeps out of tortured past

(Pungo Andongo) Standing high above the African savannah at the giant rocks of Pungo Andongo in north-central Angola’s remote province of Malanje, you can feel the weight of history reverberating from the soles of your feet. An awesome quiet saturates this landscape as the sun sets over a vast expanse of small villages, tall grasses and – in the distance – the peaceful flow of the Cuanza River.

Walking about these animal-shaped peaks that protrude from an otherwise flat landscape, are scores of empty bullet casings and twisted wires scattered about. Today these are the only traces of this Southern African country’s painful recent past. Because if these stones could speak, they would talk of a difficult and bloody history, of a conflict whose wounds are as fresh today as they are – ever so slowly – healing.

This rocky gorge and the nearby Calandula waterfalls are as impressive a sight as any natural wonder of the world. Yet this very place was the central battleground of a brutal civil war that ravaged Angola for some twenty-seven years following the country’s independence from Portuguese rule in 1975.

The pawn of a political chess-match
Angola has tasted little of the fruits of independence. Freed from colonial rule, the country quickly became embroiled in internal conflicts, and subsequently became a pawn in a political chess-match of cold-war world diplomacy. World powers fought a battle of the interests over oil-, diamond- and natural resource-rich nation.

Building Luanda: Construction site in central Luanda. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Today the population in these rural areas, some of the hardest hit during the long period of conflict, lives simply; mostly from farming, building small thatched-roof houses by basking the luminescent reddish clay bricks in the hot African sun.

Access to these areas remains difficult, because the going is torturously slow on the decrepit roads, lined with idle shells of abandoned houses – the country’s infrastructure really has yet to be rebuilt. Many roads are only passable by four-wheel drive vehicles – or long hours of travel by foot. In these parts, one hundred kilometers can be a four-hour trek, even with the best of jeeps.

On the long journey to visit the wondrous landscape of Angola, you can find locals walking from village to village in the baking hot sun, balancing bananas or other wares sturdily on their heads as they walk to or return from the local market.

But even nature has its way of showing signs of rebirth here. In this province several hundred kilometers south of Pungo Andongo in the Luando nature reserve, the giant sable antelope – whose face and long, elegant horns adorn the country’s currency and the tailfins of the national airline’s planes – were only recently rediscovered. The antelope were originally thought to have disappeared from the wild over two decades ago after having been butchered for meat during the civil war.

Just weeks ago a wildlife photographer located a small herd; capturing on film two pregnant female antelope along with two others that were nursing calves. The years of war have undoubtedly left deep scars on Angola. Despite a resource-rich disposition, the poverty is palpable, and the needs, real. Preoccupied with basic survival, the people are slowly even losing a mastery of their native languages, in favor of Portuguese.

Revisiting a painful past
With peace, however, Angola is in the process of reawakening, and revisiting a painful past. « Now we are at the point of writing our own history, » historian Corcielio Caley says. « We have crossed the civil war, and now we can begin to write our story. And this, taking us all the way back to the days of slavery. »

An area not far from the country’s sprawling capital of Luanda is a lonely reminder of slavery, that which robbed Angola of countless of its citizens, their dignity and humanity – for centuries.

Luanda beach Children playing at the beach on the outskirts of Luanda. Photo © Jura Nanuk, ontheglobe.com ANGOLA

On the pristine scenic shores of the Atlantic coast, perched high on a hilltop overlooking a sandy beach is a single lonely house. This is the so-called museum of slavery; precisely the very same place from which countless Angolans were shipped to the America’s to suffer a lugubrious fate. Amidst the dust amassing in this unkempt building are three metallic tubs that reveal an eerie tale. One was used, we are told, to baptize the future slaves before their departure to the Americas; the other, to inebriate the newly indoctrinated with traditional alcohol; and a third with water with which to send them on their treacherous voyage.

« Angola has been stepped on for so long, and you have to respect this place, » says Angolan actor and community activist Filipe Cuenda at a nearby beach, where the country’s few wealthy live side-by-side the almost unending slums and shanty-towns.

Nearby, Angola’s sprawling capital, Luanda, remains immersed in a smoky haze. Dust blows about as piles of rubbish burn unattended, sending plumes of thick black smoke into the air. In the distance, small children run in and out of the alleyways of these shanty-towns, as others stroll the streets irreverently. Vendors sell trinkets, slippers and foodstuffs. Car horns echo as rumbling trucks stir up the grimy streets of this city that has outgrown itself.

The skyline of Luanda
While the heart of the city may look much like the French Riviera at sunset, for now, it is an illusion. In a country filled with natural wonders, few tourists dare yet to venture. It’s a nation filled with contrasts of beauty and destitution. A leading oil-producing nation, the wealth has yet to trickle down to the population. Once an important coffee producer, today the country is rather faced with the grim task of clearing the land of mines. Thirsty for knowhow and technology, Angola has embarked on the long task of acquiring the basic tools of a modern economy.

And despite all this, at sunset, in a space perched above the sprawling slums of the capital, people are chanting and dancing the Angolan samba. Cries of survival arise from within streets of devastating poverty. Dance and song celebrate freedom, and lament the trials that have accompanied it.

Kalandula Water Falls, viewed from above. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Bustling Luanda: The capital of Angola at noon is bustling with activity. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Downtown Luanda Late afternoon in Luanda. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Church ceremony in Angola’s province of Malanje. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Military Museum, Luanda Perched high above Luanda, the military museum is a historic fortress. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Settlement at Pungo Andongo Small settlement at the foot of the giant rocks at Pungo Andongo. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Military Museum: Perched high above the city-scape of Luanda, the military museum is a historic fortress. Photo © Jura Nanuk, ontheglobe.com ANGOLA

National Bank of Angola The classical building of the National Bank of Angola dominates the waterfront of the nation's capital, Luanda. Photo © Jura Nanuk, ontheglobe.com ANGOLA

A view standing above the Pedras Negras de Pungo Andongo, or the Black Rocks at Pungo Andongo. Photo © Jura Nanuk, ontheglobe.com ANGOLA

The Road to Pungo Andongo On the roard to the giant rocks at Pungo Andongo, in the province of Malanje. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Tribunal Provincial de Luanda Tribunal Provincial de Luanda, the central courthouse of the capital. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Luanda promenade The promenade in the capital Luanda shows the scenic and tourism potential of the Angolan capital. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Luanda cityscape An expansive view of Luanda, the sprawling capital of Angola, taken from the fortress of the nation's Military Museum. Photo © Jura Nanuk, ontheglobe.com ANGOLA

Her talking drum

andrew princz — Mon, 24 May 2010 12:50:55 +0000

Nigerian performer Ara brings new vibes to traditional Yoruba instrument

(Abuja) Her hair flows very long, is carefully braded, and an integral part of her meticulously crafted image. As she speaks each word is enunciated carefully with her answers toned to perfection.

And just as we begin our interview, three bare chested drummers are placed directly behind her for the benefit of our camera – standing tall in the background like statues. The tone was set to remind you that you are in the privileged presence of Ara.

Living a somewhat of a secluded life, Ara – who sometimes talks of herself in the third person – is being carefully honed and raised for stardom by her calculating manager Wanle Akinboboye of her management, Atuna Entertainment, a label that favors putting African talent in the spotlight.

« Ara, like my name, means mystery, » says Ara, « It is about African culture and this has much to do with our mission. It is about selling African culture in a highly cosmopolitan manner, and without loosing its innate nature.”

Aralola Olamuyiwa, known as Ara, means mystery in her native Yoruba language plays the ‘talking drum’, a traditional instrument that was once reserved for men. On stage, she is outgoing, ever-present, singing and playing her special drum as dancers and acrobats contribute to the impressive show that is as much a celebration of Africa, as it is an ‘Ara’ performance.

Today a ‘master drummer’, her work has not gone unnoticed. When actor Wesley Snipes was in Nigeria, it didn’t take long before he graced the stage with her and together danced the night away. And the legendary Stevie Wonder, who saw her perform at a concert in Ghana, immediately took her under his wing as a musical collaborator by recruiting her to record the mysterious sounds of her drum on his latest album.

« With Stevie, I realized that there are no limitations on who you want to be, » says Ara earnestly, « No matter how much you think that you are at the top, you are not. Stevie, who is a living legend, still works hard today and I look at him as one of my mentors. »

« If I ever look at myself and for one reason or another feel as if I am giving too much, I think of Stevie. I soon realize that I am really not giving enough, » she ads.

Ara spoke with Andrew Princz in Abuja late last year following her performance at the Abuja Carnival 2005, a celebration of Nigerian culture.

ontheglobe.com: I have heard it, I have seen it… but exactly what is this mysterious ‘talking drum’ that you play?

Ara: I think that the name explains it all: it is a drum that talks. I was told that in the days of old my forefathers used it as a means of communication. It was the sole preserve of men. I happen to be the first woman to break the jinx of the talking drum, being the first female talking drummer of repute. Women might have played it in the corner of their rooms, but they were not allowed to perform it in the public. The talking drum only became a musical instrument in recent times, as originally it was an instrument of communication. The instrument itself is made of plants and animal skin.

ontheglobe.com: What motivated you to become among the first woman artists to perform on this instrument?

Ara: As a child I used to play the small traditional drums. When I was taken on by Atuna Entertainment, my label, the founder wanted to do something different. Because Atuna in Yoruba means re-creation, re-birth. He asked me if I had ever played the talking drum. Of course I said that I hadn’t, and that I wouldn’t touch it. He replies that, ‘you are going to touch it, because it is going to be your instrument’. I wanted to leave at that point because I knew about the taboos of the talking drum, with my being a woman. I told him that I had to consult with my family, and we argued back and forth.

Soon enough, I tried to have some men teach me, but they wouldn’t. Especially the ‘Talking Drummers’, the musical group. Then I decided that if they were being dodgy and did not want to teach me, then there must be something special about this drum.

I picked it up and took it home with me. I slept with it. I woke up with it. I did everything with it. I asked how many tones this instrument has? They said three, and I said fine. That is how I started learning on my own. And with all humility, even though I am speaking as a master drummer today: I still believe that I am learning. I still would like to do things that the men have not been able to do with the drum.

ontheglobe.com: Recently you performed with your drum in Paris with symphony… another unusual event!

Ara: Yes, that was at the anniversary celebrations of UNESCO. My segment was referred to as the heartbeat of the concert. I went with four of my drummers and we played about four different drums. Many people did not believe that we could infuse the African drum into classical music. That is what happened at the 60th anniversary of UNESCO. I played the bata, iya-ilu, which are traditional Yoruba instruments. Many people were really stunned that it could really work.

ontheglobe.com: You recently collaborated with Stevie Wonder, even participating on his latest CD.

Ara: That was one of the high points in my career. As a child I loved Stevie Wonder so much, and I still do. Meeting him was like a dream come true. He heard my music, my drumming, and he invited me to Las Angeles. I didn’t do voice but I played four of my instruments, and the CD is out now. Working with Stevie humbled me because I was given the opportunity to work with a living legend of our time. It made me a better person, a better musician. With Stevie, I realized that there are no limitations on who you want to be. No matter how much you think that you are at the top, you are not. Stevie, who is a living legend, still works hard today, and I look at him as one of my mentors. If I ever look at myself and for one reason or another feel as if I am giving too much, I think of Stevie. I soon realize that I am really not giving enough.

ontheglobe.com: Your show is more than simply you and your music. There are many components to the show: the back-up singers, the performers, acrobats and dancers. Do you put the whole thing together?

Ara: Ara, like my name, means mystery. It is about African culture, and this has much to do with our mission. It is about selling African culture in a highly cosmopolitan manner, and without loosing its innate nature. That is what Atunda Entertainment, my label; set up to do with Ara.

Each time that you see Ara, you see something different because there is so much that we need to show the world about what we have. Each time that Ara performs, you will see something interesting, exciting and African. It is also something that everyone in the world can relate to.

If you look at my choreography, you see a mix of western and African moves. My music is a mixture of African and western music. Like western music is universal, we too want everyone, everywhere in the world to be able to listen to African music. I also try very hard to write in English, Yoruba, and sometimes even a little bit of French. Even if you don’t understand the language, you feel the beat, the rhythm. If you don’t feel the rhythm, you can feel the beauty of the displays of the acrobats, the choreography and drums. Everybody has something to say. It is a total package.

ontheglobe.com: How much of a challenge is it for young Nigerian artists like yourself to break out into the international scene.

Ara: We are looking to take our music all over the world, and breaking more barriers. Most of the artists are trying to be European, or to be American: both of which have wonderful artists. I, however, strongly support the slogan that we must be proud to be African. When you show the world who you are they will accept you for that. When you try to be somebody else, the public just senses that, and they get the impression that you have a personality problem.

ontheglobe.com: The Abuja Carnival is a celebration of the traditional cultures of Nigeria. Here we have seen a plethora of cultures, religions, peoples… This, while many cultures in Africa are following the opposite course. Many peoples are forgetting the indigenous cultures in Africa.

Ara: This is an interesting phenomenon that is happening in Nigeria, and I am happy that the president has come up with this idea. As you said, a lot of our culture is really going down the drain, and this carnival is really awakening all of us. We have to be proud of who we are because it is our culture that differentiates ourselves from the other cultures in the world. It is something that has been passed down to us by out ancestors. Something that we need to make sure that doesn’t ever die, and something that we need to pass on to our own children, and generations yet unborn. It is one of the best things that the president has done for Nigeria.

The masquerade fiesta Colourful beads adorn a dancer at the masquerade fiesta. Photo © Jura Nanuk, ontheglobe.com NIGERIA

The Masquerade Fiesta on the Carnival Route: From the east to the west and from the north to the south, there are dances associated with every age-group. Photo © Jura Nanuk, ontheglobe.com NIGERIA

A living culture: The Abuja Carnival was full of surprises. Masked figures made of curious elements, musical instruments and costumes. Photo © Jura Nanuk, ontheglobe.com NIGERIA

Boat Regatta: During the boat regatta, participants dance, gyrate and put up a performance meant to thrill their audiences. The boats departed the shore, and one by one the participants began to sing their local traditional tunes. Together, the sounds reverberated into a powerful audio display. Photo © Jura Nanuk, ontheglobe.com NIGERIA

Boat Regatta What the horse procession is to the savannah people of Nigeria. the river craft and boat regatta is to the riverine communities of Nigeria. Photo © Jura Nanuk, ontheglobe.com NIGERIA