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    Angélique Kidjo Connects With Africa’s Next Musical Generation

    The artist from Benin showed African songwriters how to reach the world. Now they’re repaying the favor.Angélique Kidjo, the singer from Benin who has been forging Pan-African and transcontinental hybrids for three decades, didn’t really need another Grammy.In 2020, she received the best world music album award for the fourth time with “Celia,” her tribute to the Afro-Cuban salsa dynamo Celia Cruz. True to form, Grammy voters chose familiar names and snubbed the year’s world-music phenomenon: the Nigerian songwriter Burna Boy’s “African Giant,” an ambitious, thoughtful album that drew hundreds of millions of streams and made him an international sensation. (“African Giant” also included a guest appearance by Kidjo.)In her acceptance speech, Kidjo was gracious, but she pointedly looked ahead. “The new generations of artists coming from Africa gonna take you by storm,” she said, “and the time has come.”Kidjo, 60, follows through on that declaration with her new album, “Mother Nature,” which is full of collaborations with rising African songwriters and producers: Burna Boy, Mr Eazi and Yemi Alade from Nigeria as well as the Zambian rapper and singer Sampa the Great, the Zimbabwean-American songwriter Shungudzo and the singer Zeynab, who was born in Ivory Coast and lives in Benin. Throughout the album, her guests give their all to keep pace with Kidjo’s leather-lunged fervor.“This young generation has the same concern that I’ve had throughout my career — trying to give a very positive image of my continent, Africa,” Kidjo said via video from Paris. “I also wanted to hear from them about climate change and the impact it’s having on their life, and the way that they want to tackle that. With climate change, we in Africa are going to pay the greatest price for it, especially the youth. It’s going to be up to the future generation not to ask questions, but to act. Because the time to ask questions is running out.”Kidjo with the singer Zeynab, who appears on “Mother Nature.”via Angelique KidjoThe songs on “Mother Nature” feature snappy programmed Afrobeats, lilting Congolese soukous, rippling Nigerian juju and a dramatic orchestral chanson. Irresistible beats carry serious messages about preserving the environment, about human rights, about African unity and about the power of music and love.Kidjo recorded “Dignity” — a song that was galvanized when protesters against police brutality in Nigeria were shot — with Alade, 32, a major star in Nigerian pop whom she had worked with previously, in 2019. Alade, like Kidjo, has collaborated with musicians from across Africa and beyond (including with Beyoncé on the “Black Is King” soundtrack).“I grew up listening to her music,” Alade said in an interview from Lagos. “She is one of the few role models that I have. The one thing that definitely drew me to Angélique is her unapologetic Africanness, no matter where she goes. As far as Africa is concerned, she’s definitely our Angélique, our songbird — any time, any day. It’s always heartwarming to see her do what she does and the way she does it, despite the fact that she’s been doing it for so long. I look at her and I’m encouraged to just keep doing what I do.”Like most of Kidjo’s music through the years, the new album is multilingual — primarily English, but also French and West African languages like Fon and Nago — and it fuses new sounds and technologies with Africa’s past. In “One Africa,” Kidjo celebrates the year she was born — 1960 — because it was a turning point in African history, when multiple countries gained independence. (She planned a March 2020 Carnegie Hall concert around the milestone, which was canceled as New York shut down for the pandemic.) She based the music on “Indépendance Cha Cha,” released in 1960 by Joseph Kabasele’s group L’African Jazz.“What this album taught me,” Kidjo said, “is that if we take the time really to speak to one another, we come up with beautiful stuff.”Julien Mignot for The New York TimesFor “Africa, One of a Kind,” Mr Eazi constructed the track around a sample of the Malian singer Salif Keita’s 1995 song “Africa,” but Kidjo raised the ante: She coaxed Keita, now 71, out of retirement to sing it anew. The song’s video features a dance, gogbahoun, from Kidjo’s home village in Benin, Ouidah.“Gogbahoun means the rhythm that breaks glass,” she said. It’s a beat, she explained, that was originally tapped on an empty bottle with a piece of metal: a ring, a spoon, a coin. “And when the bottle is broken, the party is over,” she said.The recording of “Mother Nature” was shaped by the pandemic. “We had time on our hands and nowhere to go,” Kidjo said. Her two previous albums were re-Africanized tributes to music from the Americas: “Celia” and, before that, a transformative remake of the Talking Heads album “Remain in Light.” But Kidjo and her husband and longtime musical partner, the keyboardist and programmer Jean Hébrail, were writing songs of their own in 2019, the year she also released and toured for “Celia.”When lockdowns were imposed in 2020, Kidjo set out to complete the songs with new, far-flung collaborators working remotely. On an album concerned with global warming, there was an upside: “a minimal carbon footprint,” Kidjo noted.She assembled the album’s personnel through connections and serendipity. Kidjo happened to hear Sampa the Great, 27, a rapper and singer who was born in Zambia and built her career in Australia, on an NPR Tiny Desk Concert and contacted her via direct messages on Instagram. They had actually met years earlier in a fan encounter, when Kidjo autographed a T-shirt for Sampa at WOMADelaide, a world-music festival in Australia.Their song together, “Free & Equal,” draws on the United Nations’ Declaration of Human Rights and the United States’ Declaration of Independence. “We been in the struggle since before I could speak,” Sampa raps, then praises “Angélique/connecting through the generations, power of musique.”“She was that person I saw who looked like me, who was from the continent, who spoke in her own language and made a huge impact outside of the continent,” Sampa said in an interview from Botswana.“She knows how much of a reach African music is having now — the continent is just connected with the world,” she continued. “The beauty of this album is to have legends who are able to give a nod to the young people, to acknowledge that we continue what people like Salif Keita and Angélique Kidjo had started. She said, ‘I want you to express yourself. That’s why I’m reaching out to you.’”Kidjo with Burna Boy. She appeared on his album “African Giant,” and he returned the favor on “Mother Nature.”Jean HebrailKidjo didn’t just invite songwriters and rappers to add vocals. She also handed skeletal tracks over to some of the electronics-savvy producers, like Kel-P from Nigeria, who are spreading Afrobeats and other African rhythms worldwide. “I said, you guys have found a way to make this a global rhythm,” Kidjo said. “Anyone in any part of the world can claim Afrobeats and do it their own way, because their own culture fits in perfectly. The jigsaw is just perfect. All the music that comes from Africa, based on our tradition, always has an inclusive way of doing things.”Some of Kidjo’s vocals get a computer-tuned twist in “Do Yourself,” a duet with Burna Boy that calls for self-reliance for Africa. “I asked Burna Boy, I asked his engineers and producers, ‘What did you do with my voice?’” she said. “He sent me a snapshot of the board, and I don’t understand anything about that stuff. It looks like something from out of space!” She laughed. “But it’s OK, I’ll take it. I don’t have to understand it to love it.“Every time I do a collaboration, it is always about keeping people’s freedom,” she added. “I would say, I’m going to send you the song, and you let the song lead you to what you want to do. I said, ‘Just go for it.’ What this album taught me is that if we take the time really to speak to one another, we come up with beautiful stuff.” More

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    Beyond ‘Black Panther’: Afrofuturism Is Booming in Comics

    AdvertisementContinue reading the main storySupported byContinue reading the main storyBeyond ‘Black Panther’: Afrofuturism Is Booming in ComicsA bumper crop of graphic novels and comic books melds African culture and science fiction, with influences as wide-ranging as space travel, Caribbean folklore and Janelle Monáe.“Hardears,” set on a mythical version of Barbados, is among the titles coming from Megascope this year.Credit…Abrams BooksFeb. 7, 2021, 5:00 a.m. ETWhen Barack Obama was elected president in 2008, it struck the author and illustrator John Jennings as so unprecedented, such a break from American history, that it was like an event from some far-flung future.“Before then, the only time you would see a president who was Black was in a science-fiction movie,” he said in a phone interview last month. Jennings compared it to the sorts of imaginative leaps one finds in the most forward-thinking works categorized as “Afrofuturist.”This year, fans of Afrofuturism will see a bumper crop of comics and graphic novels, including the first offerings of a new imprint devoted to Black speculative fiction and reissues of Afrofuturist titles from comic-book houses like DC and Dark Horse.Afrofuturism, whether in novels, films or music, imagines worlds and futures where the African diaspora and sci-fi intersect. The term was coined by the writer Mark Dery in 1993 and has since been applied to the novels of Octavia Butler (“Kindred”), the musical stylings of the jazz composer Sun Ra and more recently films such as “Get Out” and “Black Panther,” which presented a gorgeously rendered vision of the technologically advanced, vibranium-powered nation of Wakanda.“Afrofuturism isn’t new,” said Ytasha L. Womack, a cultural critic and the author of “Afrofuturism: The World of Black Sci-Fi and Fantasy Culture,” a primer and history of the movement and aesthetic. “But the plethora of comics and graphic novels that are available is certainly a new experience.”Graphic novels published in January included “After the Rain,” an adaptation of a short story by the Nigerian-American author Nnedi Okorafor, and “Infinitum,” a tale of African kings and space battles by the New York-based artist Tim Fielder.For “Infinitum,” released by the HarperCollins imprint Amistad, the artist Tim Fielder created Aja Oba, an African king cursed with eternal life. Credit…Harper CollinsThis month marks the long-awaited return of the “Black Panther” comics written by Ta-Nehisi Coates, which the National Book Award-winning author began in 2016, as well as the latest installment of “Far Sector,” a series written by N.K. Jemisin and inspired by the actor and musician Janelle Monáe, about the first Black woman to become a member of the intergalactic Green Lantern Corps.Even older works are getting new looks. Black superheroes from the ’90s-era comic company Milestone — including Icon, a space alien who crash lands on Earth in 1839 and takes the form of an African-American man — are finding new readers on DC Universe Infinite, a subscription service that launched in January. Meanwhile, the Oregon-based publisher Dark Horse plans to release the comics of the Nigerian-born writer Roye Okupe, who previously self-published them, including his Afrofuturistic series “E.X.O.,” a superhero tale set in 2025 Nigeria.Comics are particularly well suited for Afrofuturism, Womack said. Many Afrofuturistic narratives are nonlinear, something that comics, with their ability to move and stack panels to play with notions of time, can convey. Comic artists can also employ visual elements such as images from the Black Arts Movement, or figures from Yoruba and Igbo mythology, in ways that aren’t available to prose writers.“Afrofuturism is constantly moving into the future and back into the past, even with the visual references they’re making,” Womack said.John Jennings is the founder and curator of Megascope, a publishing imprint “dedicated to showcasing speculative works by and about people of color.”Credit…Jamil Baldwin for The New York Times“After the Rain” marks the launch of Megascope, an imprint of the publisher Abrams “dedicated to showcasing speculative works by and about people of color.” Its advisory board includes the scholar and author Henry Louis Gates Jr.“Afrofuturism is the catchall,” Jennings, the imprint’s founder and curator, said. “It’s really Black speculative fiction. But that’s sort of a mouthful. I just don’t want people to think that Megascope is only Afrofuturist. We’re dropping horror books, crime fiction, historical fiction.”Okorafor, the author of the imprint’s leadoff title, “After the Rain,” considers her work “Africanfuturism,” a term she coined to describe a subcategory of science fiction similar to Afrofuturism, but more deeply rooted in African culture and history than in the African-American experience. “Nnedi is a very hot author right now,” Jennings said, “so I thought it would be a great kickoff.”In April, the imprint will publish “Hardears,” a fantasy-adventure story set on Jouvert Island, a version of Barbados populated by mythical creatures — giant “moongazers” and shape-shifting “soucouyants” — drawn from Caribbean folklore. “Black Star,” a cat-and-mouse tale of two astronauts stranded on a desolate planet, comes out in May.“After the Rain,” adapted from a short story by Nnedi Okorafor, was published in January.Credit…Abrams BooksA professor of media and cultural studies at the University of California at Riverside, Jennings has devoted much of his career to Afrofuturism, writing scholarly works about it and leading panels devoted to Afrofuturist comics. He has worked with the artist Stacey Robinson, as the duo “Black Kirby,” to reimagine the work of the Marvel artist Jack Kirby through an African-American lens: for example, “The Unkillable Buck,” based on “The Incredible Hulk.”To Jennings, the Rev. Dr. Martin Luther King Jr. was an Afrofuturist. “The mountaintop that Dr. King spoke about does not exist in this universe,” Jennings said. “It’s an imaginary construct of what the future could be.”For “Infinitum,” released by the HarperCollins imprint Amistad, Fielder created Aja Oba, a powerful African king cursed with eternal life. Oba travels from Africa to the United States and beyond, witnessing Hannibal’s crossing of the Alps, the rise of American slavery, the civil rights movement and (spoiler alert) the death of our solar system.Despite the fleet of spaceships on the cover, much of Fielder’s narrative is set in history. “Afrofuturists do not have the privilege, like general futurists, of just looking forward constantly,” Fielder said. “There’s so much of our work that was ignored, discarded or destroyed that, as an Afrofuturist, I’m forced to work on projects that are based in the past.”“Black Star,” a cat-and-mouse tale of two astronauts stranded on a desolate planet, comes out in May.Credit…Abrams BooksFielder’s immortal hero is also a response to the longstanding cinematic trope of Black men dying before the final credits roll. One of his strongest childhood memories was watching the Black hero’s untimely end in the 1968 horror movie “Night of the Living Dead.” “The white guys are all losing it, and it’s the one brother who keeps his wits about him,” he said. “And then he’s killed. I never forgot that.”“Infinitum” has a distinctly cinematic feel — Fielder’s influences include the “Star Wars” artist Ralph McQuarrie — and the shared references and influences between comic books and movies are likely to continue. After Coates restarts (and ends, after three issues) his run on “Black Panther,” Marvel Studios is expected to release “Black Panther II,” while over at Disney, producers are working with the comic-book company Kugali on “Iwaju,” an animated series set in a futuristic Lagos.Perhaps more than anything, Afrofuturist comics are a means of staking a racially inclusive claim on a multitude of futures. “And just because it’s about a Black subject doesn’t mean it’s just for Black people,” Jennings said. “I love Daredevil, but Marvel would never say: ‘Oh, you know what? This is just for white, poor Irish-American people.’ These stories are for everyone.”Follow New York Times Books on Facebook, Twitter and Instagram, sign up for our newsletter or our literary calendar. And listen to us on the Book Review podcast.AdvertisementContinue reading the main story More