Just Another Vanity Affair

The first article in the July 2007 issue of Vanity Fair is an extremely odd, conflicted one. Its title, "Its Bono, on Line One," is sprawled across a photo of an empty photo shoot setup, giving the impression of a clean slate, perhaps for Africa. Lisa Robinson, the author, begins with a small introduction explaining the special issue's 20 different covers, taken as a group of well-known people has a "conversation" about Africa. She does not provide their names, instead introducing them by their relation to the continent or livelihood, making them seem more personable. A quote from Annie Leibovitz, the photographer of the set, ends the brief article praising the group's effort to "make Africa better, get Africa self-sufficient, and try to get rid of AIDS on the continent." As it turns out, several of the 21 people featured in photographs and captions on the following 4 pages do specifically identify their "cause" in Africa as the treatment, prevention, and research for the cure of AIDS/HIV. Not that this an undeserving cause, but Leibovitz's choice to identify the whole group with possessing the sole aim of "ridding" Africa of AIDS makes her sound as if she had not read the captions underneath her own photos prior to publication. However, it was the author's choice to use this inaccurate, disappointing quote in the piece, which ultimately reflects a poor decision on her part. While Leibovitz may have dropped the ball on the quote, her beautiful photography all but makes up for it. The way these 21 people are paired not only illuminates each of their distinct personalities, but allows the reader to compare and contrast the two characters. Chris Rock playfully pulls the ear of Warren Buffet while a serious George Clooney speaks in hushed tones to Jay-Z on the next page. Each photo has its own appeal while adding to the overall aesthetics of those on the page. While the layout of the piece is balanced and fun to look at, it does more to idealize these celebrities for their contribution than it does to educate on their causes. The togetherness displayed in the pictures is not reflected as well in the paragraphs about each person's involvement with Africa found below them. Alicia Keys, who performed a concert in South Africa for a nonprofit, describes the continent as having a "resilient spirit" and claims it gives her a "sense of purpose," language that is reminiscent of the wise Africa stereotype. Iman, who Keys was paired with in a photo, might not share that view, as she describes her Africa as "rich in human resources and in dignity," not something that exists to provide a sense of purpose for an American musician.

Two Pictures in One

The image featured above was taken by Jonas Karlsson during a grand music festival held in the desert of Mali. The man pictured in the photo is Malian guitarist Habib Koite whose work is famous throughout the West African music scene. When first glancing through the “Showtime in the Sahara” article in Vanity Fair, the power of this image in particular catches your eye. The reason I believe this image is so powerful is the contrasting pictures of what we would expect to see in a photo from the Sahara Desert and that, which we would not, presented together.

In the background of the photo there appears to be a camp set up in the desert with a few people scattered around it. The pitched white tents that stretch as far as the eye can see do not stand out very much against the neutral color of the sand that is surrounding everything and everyone in the image. This is a typical picture taken in the Sahara Desert. However, in the front and center of the image is Habib Koite totally enjoying himself while playing his electric guitar. This is the other side of the image that you wouldn’t expect to see in the middle of the Sahara Desert.

This contrast is so special because it allows the image to play into what we think we know about Africa while showing a side we don’t know at the same time. While the background of the photo may seem standard, Koite’s image is not. The guitarist’s clothes aren’t what you would expect someone camping in the desert to be wearing. The expression on his face and the way he is looking up into the sun light give the image a feeling of liveliness and enjoyment. Feelings we wouldn’t regularly be shown in images taken of people in the desert. These aspects make this photo extremely powerful in representing the everyday light-heartedness of Africa that we are not often shown.

Festival in the Desert: A Statement on Music, Not on Africa

This photograph of guitarist Habib Koite at the site of the Festival in the Desert may at first appear to resemble some images that poorly depict Africa (such as Jay-Z’s Rocawear campaign). However, at closer look, it becomes apparent that the photograph is not just another image focused on a modern-day musician that reduces Africa to a backdrop of vast space. The picture, taken by Jonas Karlsson, makes a statement about much more than just the artist—it makes an argument about the role of music in the remote location of Essakane in Mali, at a festival that brings together people from all over the world to enjoy the best West African music. The photo’s purpose is not to make a statement about the continent of Africa, but to inform the viewer that music at the Festival in the Desert (and possibly in general) is a unifying element that breaks down cultural barriers.

One of the first reactions that the viewer may have to this image is that the central figure (Habib Koite) and his guitar seem out of context with the rest of the photo. The photographer strategically included a number of modern elements to juxtapose the vast, simple background. The only two distinguishable figures in the photograph are Koite and the Tuareg on the camel, walking casually in the background. The contrast between these two people alone is clear—Koite’s modern dress of sunglasses, a necklace, a watch, and clean sneakers and clothing is in complete contrast to the Tuareg’s figure which appears to be wrapped in layers of clothing, riding on a camel. The use of color in the image also depicts the contrast between the musician and the landscape of the festival—while Koite wears all black, the backdrop consists of all neutral colors.

The image informs the viewer of the extreme differences between the musician and the environment in Essakane. However, the central object of the image—the guitar—breaks down the differences in clothing, lifestyle and culture and unifies the diverse group of people who come to enjoy the festival.

The electric guitar is the center of the image both physically and metaphorically. The golden color of the instrument makes it stand out against the neutral background of the sand, tents and sky, and all-black clothing of the musician. Clearly, this what the photographer wants the viewer to concentrate on. By placing such great emphasis on the instrument, the image argues that music is the element that unifies these two very different worlds (exemplified in the contrast between Koite and the Tuareg and Essakane).

The mood of the photo is created by the use of light and warm colors. The sun shining on the musician and the tents delivers a sense of joy and happiness. By positioning Koite with his head toward the sky, also helps create a sense of enjoyment—the happiness brought on by playing the guitar and hearing the music. The use of pale, almost-white colors for the clear sky brings peace, tranquility, and grace to the photograph. The vast, remote background of sand and the lack of wind and movement in the photograph (though the article noted the strong winds at the Festival) show that the photographer wanted to capture a sense of quietness and simplicity—which Karlsson attributes all to the presence of music.

It has been said "a picture tells a thousand words." However, before those words are even constructed, that same picture evokes a thousand emotions. Pride, despair, love, hate, happiness, sadness and many other emotions all combine to generate the words every picture "tells". Immediately after viewing this picture, I felt a sense of pride. The same pride Iman (right) so effortlessly displays. Iman's role in this cover is of my particular interests; so poised, so graceful. She is displaying her true identity, being an African woman. So often we see the women of Africa shown in a terrible light. They are portrayed as uneducated, poverty-stricken, primitive individuals. We don't often see women of Africa in such a regal light. This cover takes our old ways of thinking and completely flips them around. With Alicia Keys (left), onlooking with a loving eye it is impossible not to feel a certain way about this picture. It almost looks as if Alicia is reassuring Iman that her part in this photo is to change our views of the women of Africa. That what Iman is doing is not in vain. Could this have been Vanity Fair's objective? If one picture such as this can be distributed worldwide by magazines such as Vanity Fair it can definitely affect its viewers and change our minds as well as out hearts.

The Death Of A Titan

The picture above represents the social tensions that exist in many African countries that occur in other places. Though the different reactions to the death of Eugene Terreblanche this picture gives an image of an Africa that is not dull. The people there go through problems that are familiar to many of us; there is racial tension, and there are different responses to these problems. This image shows how a single person can show the division that underlies in a society that appears to be peaceful and harmonious. The picture takes in the same space two opposite reactions to his death. There is hate and indifference as well as love represented side by side, all surrounded by violence.

Eugene Terreblanche, whose nickname was “the white supremacist”, was a political figure of South Africa that has always fought for segregation and dominance of the white minority over the rest of the population, mainly black. He was the founder and leader of the AWB, a political group that defended the apartheid regime and the creation of a new white-only country, the Independent Boer State. He and this group objected not only to black people, but also to Colored people (mixed races) and South Africans of Indian, English, Asian or Arabic descent. Terreblanche was killed by two of his farm workers because of unpaid wages. He was found dead in his farm, with his body half-naked and sexually molested. Another explanation to his nudity is that he sexually abused one of the murderers before he died, which was never proved. But what would one expect from a life and death surrounded by so much violence?

For many people his death was a breath of fresh air for a united South Africa. For them, his death represented the fall of yet another barrier to a more equal society. And, because his death and life were so twisted in violence and hate, there could have been be a violent reaction, even though showing happiness to his death. His farm, family, and many parts of the city he lived in had to be guarded by the military and police for fear of vandalism, violent protests, attacks and confronts between his followers and the opposition.

But, at the same time, contrary to what many outside South Africa would expect, his death was mourned by thousands of people, mainly Afrikaners (Caucasians). Many people found in this man a leader, a true South African, a gentleman. The many flowers and cards put outside his farm by many of his followers represent this affection that they have for this man. And an even bigger sign of adoration came from the over three thousand people that traveled to the small town of Ventersdorp to attend his funeral. The presence of guards around his property also shows his followers’ love for him, in protecting his family, his belongings, and his memory.

Another aspect of this image, even though I think was unintentional is that it shows how people in Africa are similar to western societies. The makeshift memorial outside Terreblanche’s farm is a way of commemorating a remarkable death that is very common in the United States and in Europe. It is just another small reminder that people in Africa are not different from people in the West.

BBC Image of Somalia

"Somalia continued to dominate the headlines with pirates increasing their reach, despite international naval patrols. Fighting for control of Mogadishu intensified between Islamist militia and the UN-backed government, which gained some ground by December."-BBC

The slide show of pictures from BBC, titled Focus on Africa in 2010, was really fun to go through and featured amazing pieces of photography in Africa. The only problem I found with this slide show is that it doesn’t properly represent all of Africa for the entire year of 2010. There are only twelve photos in the slide show and there are fifty three countries in Africa. There is no way this slide show can really capture what has actually occurred all throughout the continent in twelve photos and that is not its purpose. The purpose of the slide show is to show the most general and simple of overviews of the most significant events in the continent in 2010 and it is important that everyone who sees it understands this.

The picture of the Somali soldier in the BBC selection of pictures of Africa in 2010 really stood out to me. The purpose of this photo is to show an image that represents the issue of Somali pirates but this, in turn, portrays a specific image of Somalia that the rest of the world digests.

The issue at hand is the increasing power and reach of the Somali pirates. For the past twenty years, there has been no real functional form of government in Somalia and the region has become dangerous. Right now, the Islamic militant group, Al-Shabab, has power and control over most of the country through support of local warlords and weapon technology and intends to turn Somalia into a purely fundamental Islamic state through strict interpretations and enforcements of sharia law. Al-Shabab is officially loyal to Al-Qaeda, the terrorist network of extremist Muslims lead by Osama Bin Laden. The Somali pirates were generated through reaction to the poverty and lack of government. They are responsible for much of the economy of several regions in Somalia. They are a combination of people who were previously fishermen, militia and technicians who now form militias claiming to be guarding the coast of Somalia. They are employed as mercenaries by warlords and live off whatever they can steal, working solely for the purpose of financial reward.

The picture meant to represent the issue of Somali pirates was probably included in the slide show for 2010 because their impact has not been very significant until recently. Until the attack on the American ship, the Maersk Alabama,and recent attacks on Americans, the global eye has not really paid attention to them.

The picture itself features a man, heavily strapped with weaponry, looking out to sea, a symbol of what has become of Somalia. It represents Somalia as being dangerous and uncontrollable, and in some ways it is, but this is not meant to embody all people of the country. There are people working towards forming an efficient government and creating peace. It must be clear that this photo is not something symbolizing all of Somalia, but it is creating a picture of the recently recognized spread of violence in the area.

Freedom and Vuvuzelas

The caption of this image states, "Football fever overtook the continent in June, With the vuvuzela- South Africa's plastic trumpet- becoming the sound and image that many will remember from the first World Cup to be held in Africa." Vuvuzelas are the symbol for South African football and the reason as to why the 2010 FIFA World Cup was hosted, for the first time, in South Africa. Known to the US as "Stadium Horns," vuvuzelas are used for enthusiasm in community gatherings. This image portrays a sense of freedom and excitement through the use of vuvuzelas, intense color, and open space.

Even though there was much controversy present in Africa at this time, the World Cup was still a time of celebration where individuals could come together to cheer their team to victory. The use of vuvuzelas in this image shows the excitement of the people. The image doesn't focus on the actual people or what they are excited about, but the use of these horns allows the audience to depict the excitement present because of the horns symbol of spirit and intensity. The intense colors put a major focus of the image on the horns, allowing once again the audience to obtain a sense of excitement from the image. This image explains a lot with little detail.

The open space present in the image gives off a feeling of freedom. The image's focus is on the vuvuzelas and the individual's outstretched arms, leaving a lot of open space filled in by blue skies. This lack of clutter shows a freedom aspect. Even though the World Cup itself is filled with huge crowds and much shoving, nothing to this affect is shown in the image. This fact brings up the point again that even in times of chaos, a freedom to be excited is present. The vuvuzelas, intense colors, and open space of this image work together to portray both freedom and excitement even in harsh times present in South Africa.

RECONCILIATION

There is a lot to be said about good versus evil. Ezra is a tragic example of the natural struggle to be self-fulfilling and righteous, especially in a psychologically trapping environment. Not all people are capable of resisting the war mentality. They become blood thirsty and, as we see in child soldiers especially, grow to believe in the cause so strongly that they grow to sacrifice themselves completely; already dead. Ezra partly proves my theory that people are inherently good and only some choose to represent it. Within everyone is the capability of locating and acting on emotions. The sociopathic exceptions still are intellectual and aware of the scale of right and wrong. I was inspired by Ezra and his ability to grow away from the rebel army. The first inclination we witness is his search for his family and reunion with his sister, but the internal battle really began when he met his wife. She provided a valuable perspective on the war, having grown up with radical parents who taught her about the state of the government and the people. She was raised a rebel, fighting to clean the blood money and bring it back to the people. Her story undoubtedly contrasts Ezra's, who was kidnapped and trained young, without preconceptions of the war. In school they discussed what they love about their country and in the army they learn that this country has no justice. They are forcefully trained to be ruthless, passionate, killers who will stop for nothing until the revolution succeeds. Child soldiers are victims of a brutal mental struggle. I think that most of them become toy soldiers, victimized by their fetal inhibitions and easily brainwashed. The line between instinct and societal expectations is drawn very thin for these people, but still... a sixteen year old boy somehow manages to create a choice for himself. The first lesson a kidnapped child receives is that “success is only coming through the barrel of a gun”; a disgustingly violent outlook on life, but one that is all too true in the war ridden society. Still, Ezra chooses family and love over the cause, willing to risk his life to disassociate himself from the PRF. I found that to be a beautiful moment of awakening in the human spirit. Even though his life inevitably falls into shambles by the end and he will live the rest of his life with a very large mental burden, I think that the lesson is valuable.

"may the spirit of everyone who's died in this war forgive me"

I would also like to express one thing that lightweight scared me....

The immediate reaction to this war is naturally to oppose it. The soldiers of the Peoples Revolutionary Front are merciless. They are "evil" and sweep the country destroying towns and killing people when they are told. Peaceful factions see them as the enemy, but behind the mask of murder and pillagery is a very nationalist and arguably righteous motive: to regain the natural resources of Africa for the people. This film unwillingly made me conjure the idea that what the PRF was doing as a whole was righteous. I guess it had something to do with my perception of societies who's judicial method of justice is murder by the barrel. I shed my humanitarian ideology and adopted a more cynical, violent outlook on life. As if the only road to success IS through the barrel of a gun. Later I saw that even within the brotherhood there is corruption. The same men who lead the front to take back the diamonds for everyone are keeping them for themselves! This raised a lot of questions about people and the order of the world. Does righteousness exist?

Ezra, Blank Face

The story of Ezra is a powerful tale about a child taken away and raised under the iron fist of a rebel leader. In Africa, a handful of countries that are dealing with corrupt governments or civil war contain half the number of the world’s child soldiers. As a problem that is out of our hands, as movie watchers we witness the specific story of Ezra, and his experiences.

In the movie, many names and places are left blank: the name of the country, the rebel leader, and most last names as well. This gives the story a sense of anonymity, letting it be an outline and explanation for thousands of stories about children in guerilla groups. The filmmaker makes sure to give enough detail that we relate to Ezra as a real person and not just as a story. If Ezra had been any vaguer it would lose any sense of reality and automatically become a fiction tale in our minds.

Although it’s left unclear, Ezra most likely takes place in Sierra Leone. Sierra Leone is most well known for the blood diamond situation it faces and the recent civil war, which ended in 2001. As portrayed in the movie, many guerrilla groups cut off hands and feet of male and female people alike. Many people automatically assume that the soldiers doing this are heartless or cold-blooded, but in Ezra it shows the brainwashing, sleep deprivation, and amphetamine injections of the children making them zombies and unaware of their actions.

The movie’s cinematography is strategically placed flashbacks that happen during a trial before the Truth and Reconciliation Commission. The trial is a great present-day place for the movie because it displays the process of recollection of memories and thoughts in contrast to who he really is as a person, post-war. It’s hard to see this kind of reality, and in Ezra the trial is hope for the future and the beginning process of healing.

Ezra, the Human Being

Ezra, directed by Newton I. Aduaka, is essentially a film exploring the life and personal battles of a child kidnapped and forced to work for a corrupt man in the conflict diamond business. These conflict diamonds have been a source of a considerable amount of civil war in countries in Africa such as Zimbabwe, Sierra Leone, The Republic of Congo, and Angola. While these diamond wars clearly cannot be ignored, they are often shone in a very irresponsible light, which leads me to my argument -- that this movie,  Ezra, allows the viewers to see the personal affects attributed to a child fighting a corrupt war.  Unlike views of Africa we've seen in the first half of the semester, this view gives the main character dynamics and emotions. This captivating story of one child soldier creates an empathetic attitude towards those who are committing such brutal and ruthless crimes as he is. There are two contrasting views that are portrayed in the media--the children mutilated by these wars, and the children holding guns and machetes responsible for it. In Ezra, we are given the point of view of one of the children responsible for these acts of horror, including killing and mutilating civilians. Through this movie, we are allowed to see what we have been deprived of as a culture--the actual brainwashing and struggles of this child forced to fight "for the cause." Rather than being seen through the eyes of a Westerner, as seen in Blood Diamond starring Leonardo DiCaprio, Ezra provides a refreshingly accurate depiction of what portrayals like Blood Diamond is ultimately missing--the actual suffering of the people involved in these diamond wars on the side of the infantry and the civilians. By making Ezra, former soldier of war, and Ezra's sister, a civilian, the main characters and plot movers, we as the audience get what has deprived of Africans for years-- a very personal story and the life-long after effects of these diamond wars.

Conflict Diamonds in Sierra Leone

In America and Western Europe, diamonds are an extremely desirable indication of wealth. In Africa, however, diamonds are a catalyst of crime, war, and corruption. Such violence is depicted vividly in the movie Ezra, in which a boy recalls fighting since his youth in the rebel army of Sierra Leone. Upon his arrival at the war camp, Ezra, along with countless other child soldiers, are brainwashed by the immoral generals through involuntary drug use and constant practices of warfare. The children are told to forget about their respective families and hometowns, for they are now apart of the ‘brotherhood’. While the generals preach to the soldiers that their cause is just and the government is crooked, these same Klan leaders are profiting from the diamond trade right under the soldier’s noses. In more than one scene of the film, the generals are shown doing business with white men who either don’t know or don’t care about the horrible war crimes these ‘businessmen’ are committing on a daily basis. Throughout the civil war of Sierra Leone, approximately 120,000 deaths were totaled, along with numerous accounts of limb-hacking. The majority of these murders were committed by the soldiers who were torn from their homes and thrown into the war. The film does justice to these unconscious killers by recognizing that Ezra himself was not being tried for any of the terrible things he did. The question as to who should be blamed for these casualties goes beyond the physical combat. There are plenty of fingers to be pointed in the business of “conflict diamonds”. The rebel leaders are the enforcers of violence throughout Sierra Leone. They are the frontline root of the issue. The federal government of Sierra Leone does not deal appropriately with these criminals, and they are unable to hold anyone accountable for their actions. Finally, America and Western Europe are the biggest markets for the diamonds, which rationalizes the entire procedure in the minds of the greedy rebels. Unfortunately, there is as much a chance that the violence will stop as is the chance that Westerners will stop revering diamonds.

Teacher Don't Teach Me No Nonsense

“Teacher Don’t Teach Me No Nonsense” is a song about the results of an English education on Fela Kuti’s generation of Nigerian students. When I first heard the song, I noticed that it had a somber tonality to it. The beginning organ solo had many dissonant chords, notes played at the same time that don’t necessarily sound pretty. In this way, Fela musically introduced the song to be one of turmoil and trouble. The song talks about education in Nigeria.

When he says, “All the wahala, all the problems, All the things, All the things they go do, For this world go start, When the teacher, schoolboy and schoolgirl jam together”, he means that all the world starts when schoolchildren met their teachers. “When we be pikin, ‘FATHA BE TEACHER, When we dey for school, TEACHER BE TEACHER, When we dey University, LECTURER BE TEACHER, When we start to work, GOVERNMENT BE TEACHER, Who be government teacher? CU-ULTURE AND TRADITION” means that when we are children, our parents teach us, when we are in school, our teachers teach us, when we are in college, our professors teach us, when we get a job, the government teaches us, and culture and tradition form the government. “Now the problem side, of a teaching student-ee, I go sing about” means that he is about to sing his song about the problems of his teachers. He goes on to sing about the problems with the government in his recent past, referencing Shehu Shagari, the president of Nigeria’s second republic, who was known to be corrupt. He then plays with the word, democracy, calling it “demo-crazy…crazy demo…demonstration of craze…crazy demonstration…” His view or democracy is a result of how Nigerians in the past had taken advantage of the democratic system and did not go about it the correct way.

In an interview, Fela discussed his inspiration for the song. He says that all of his education was in English and that all he learned about were English people. He never knew what it meant to be an African man until he experienced racism during his stay in England. The song is a reflection of this education. It also references to how the English taught democracy to Nigeria, but did not follow through by helping Nigeria when it’s presidents were corrupting the democratic system.

Fela Kuti's Controversial Song "Zombie"

The song that I chose to analyze was Fela Kuti’s Zombie, the title track to his album which was released in 1977 and contains four controversial songs in Fela’s Afrobeat style. Both the song and the album criticize the Nigerian government, using the zombie in the song as a metaphor for the Nigerian armed forces. Although before he was successful with Koola Lobitos, Fela’s first band in London, he admits to not being politically minded at all, “I made my comment as a citizen. I was just another musician playing with Koola Lobidos and singing love songs, songs about rain… What did I know?” After experiencing the Black Power movement when he lived in America in the 1960s, Fela Kuti was deported back to Nigeria due to his political affiliations ands started the band/renamed the band to “Afrika 70” with whom he produced Zombie. The song portrays the Nigerian army as faceless and senseless, an army of zombies mindlessly following orders, “Zombie no go think, unless you tell am to think.” Fela’s mockery of the Nigerian army with its upbeat rhythms and almost taunting vocals are tools used in the song to raise support against the government, taunting the military to its breaking point. After its release, the song led to a swift revenge by the Nigerian armed forces when they wrecked the compound Fela had established in Nigeria. During the attack Fela was severely beaten and his mother was thrown out of a window which ultimately killed her. Fela Kuti’s multiple albums with “Afrika 70” contain confrontational and controversial songs towards the Nigerian government and the Nigerian army. After being banned from Nigeria because of Zombie, Fela Kuti formed his political group MOP or Movement of the People, never resting and touring non-stop spreading his message. Zombie itself holds to be one of the most confrontational pieces in music and Fela’s message resounds ultimately in his multiple albums.

Coffin for Head of State

In 1976, Nigerian Vice President Olusegun Obasanjo succeeded Head of State General Mohammed. after his assassination, and continued the military junta until 1979. In 1978, Afro beat musician Fela Kuti’s Kalakuta Republic (commune) was stormed by Obasanjo’s military, Fela’s mother being thrown from a two story window and dying of consequent injuries. Fela Kuti’s song Coffin for Head of State is a voice expressing the political corruption, religious differences, and the people’s way of life in Nigeria, while also exposing a personal account of how Kuti’s life was affected under the military regime.

Coffin for Head of State is like a narrative, bringing listeners on a “waka” through Nigeria in 1978. First Fela starts out in “any village anywhere in Africa,” seeing the pastor’s house, the poor living conditions, but then eventually seeing the “business places.” Fela’s diction of business is business, but is likewise addressing the government. In the 1970s, Nigeria was governed by the economics of the oil boom which fed into the corruption of the state.

In Nigeria, there is a religious divide, Northern Nigeria being mainly Muslim and Southern Nigeria being mainly Christian. Throughout the song Kuti praises “Through Jesus Christ our Lord, by the grace of Almighty Lord” but eventually transitions to “Through Mohammed our Lord, by the grace of Almighty Allah,” speaking for all Nigerians to pray to God to end the military rule.

At the end of the song, Fela sings, “I go government places, I see see see, all the bad bad bad things, them dey do do do,” pointing out Obasanjo and Yar’Adua. Kuti then proceeds to list the “bad bad bad things” the government has done, from stealing money, to killing students and burning houses. The song then switches to a personal note, for “they kill my mama.” Kuti then describes his embark up to the doors of Obasanjo and Yar’Adua to deliver his mothers coffin, where “them no want take am, but them take am!” The acceptance of Kuti’s mothers’ coffin symbolizes the beginning of the end to the Nigerian military governance.

Coffin for Head of State is not merely an Afro beat song by Fela Kuti, but an account of the political corruption and military government Nigeria faced for over a decade, as well as a personal story of how this regime affected the Nigerian people, like Fela Kuti himself.

"Zombie", a political crisis musical.

The song/instrumental that I chose to analyze is one that comes from the musician, Fela Kuti. The name of the song is called Zombie, which not only has lyrics from Fela Kuti, but also instruments that are put together by a band named Africa 70. As the song first comes on there is simply nothing but instruments being played with a funky/jazzy vibe that caught my ear. Before I go into the lyrics that Fela Kuti chose to put with the melody of the beat, i would like to focus on the title of the song for a better understanding. As I do this I plan to give an explanation of why "Zombie" is a word that can describe what is going on and maybe why it was chosen by Fela Kuti. The song may have a title that is deadly, but the instruments of Africa 70 along with the vocals of Fela Kuti are what brings the song to life for listeners.

Zombie is a word that is usually used pertaining to those who are dead, but have the ability to come back to life. A zombie is also seen as a mindless human being. For the time period in which this song was made and performed there was a political struggle with the military government. From information I looked up about the song it deeply explains the wrath of the government in which Fela Kuti was also subject to. Not only is Zombie a song from the great musician Fela Kuti, but it is also a full length album that focuses on issues dealing with the Nigerian military.

I would now like to focus on the lyrics chosen from Fela Kuti in order to put this track together. As Fela Kuti starts of with the word Zombie, there are also other phrases and statements he puts in his lyrics to give a better understanding of exactly what or who he is addressing. By stating the word zombie, following with something as "no go, unless you tell them to" or " no go stop, unless you tell them stop", he is showing how a specific authority has control over these "zombies", in this case the definition being a mindless human being. The authority being the military government that has these soldiers, but are metaphorically looked at as zombies. The last couple of words said towards the end of the lyrics of the song are those dealing with military commands. Fela Kuti vocally states; "about turn", "salute", "halt". This gives me more than enough reason for me and anyone else to understand that the Nigerian military are these mindless zombies that are targeted through the music of Fela. Fela Kuti is a very talented musician who seemed to express exactly what was going on through his eyes and was able to put it in his music to show the attacks which were made on Nigerian people by these political zombies.

Another Artist

If I were to ask you in which country this photograph was taken, or even to name the continent, I don't think you would be able to do so without taking a lucky guess, a 1-in-6 chance like rolling a die, because this could be of a village in Nicaragua, a hillside town in China, a painter's home in rural Pennsylvania, a cabana on an Australian Beach, or a corner shop in the English countryside, but I doubt that the answer elicited would that of a "Commercial Artist's Shack" in Kumasi, Ghana, which is indeed what the image depicts. Robert Lyons' photograph, from his book Another Africa, neither confronts nor confirms any of the widely held opinions about Africa because it is simply ridiculous that such a picture, if any, could make a statement about an entire continent, and that is what is so refreshingly fantastic about this image. Yes, the "shack" as Lyons titles it, leads one to assume that this artist is poor, but that is a statement about artists not Africa. Throughout history and the world today, artists have lived a simplistic way of life and continue to do so. In another culturally and ethnically diverse place, New Orleans, I have seen an artist, a rapper, record in a studio (insert: empty, unfurnished house in the 9th ward) for days on end in the insatiable quest for artistic recognition and maybe even some money for dinner. Not so different, I would imagine, from the artist here who paints portraits and logos for commercial consumption, using the same essential marketing strategies that the rapper does. To market his talent, this artist has chosen to paint a quite realistic portrait of classic icon recognized all over the world, James Bond, and by displaying it on his storefront, has chosen to allow passersby to consume his art for free. The rapper aforementioned, named Bruce Dillon, recently covered "What's My Name" by Rihanna, and released it on Youtube; he used an icon that everyone knows, added his own talent to it, then gave it to the public for free so that they might consider purchasing some of his art at a later date, sound familiar? To establish his ethos, this painter has chosen to inscribe two verses from the King James version of the Bible, so that his potential patrons will know that he is a man of God, similar to how the rapper says he is a man of God on his Facebook page. Across varying times, nations and people, many things are done differently, but what Robert Lyons has done with this image is show that this is not "Another Africa", it's just another artist.

Another [Less Exoticized] Africa

The above picture is one that majorly arouses suspicion, with the majority of it being negative in nature. My point is that even the simplest things of everyday life that we could somehow identify with, and even things we cannot, produce some of the more negative connotations in the minds of unwary onlookers who have been brainwashed to believe that Africa is this one place where normal things cannot take place.

In the photo referenced above, how many of us could say that the first thing to catch our attention was not the fact that there was an African woman holding a baby that appears to be white. This primary aspect of the picture draws a significant amount of attention from other things that could be taking place at the time the photo was taken. For example, only after a second look did I take the time out to admire the elaborate and royal designs on the dress of the woman. I also failed to pay any attention to the motorcycles in the background. Now, I could be finding out that I am a hopeless racist who notices nothing but color, or there are some people reading this who can relate.
Upon first glance, the common onlooker who has been fed by American media would maybe firstly think, “Why is she holding that baby that is obviously not hers” or “I bet she’s the nurse maid for some white woman”. But please take this time to second guess yourself.
Why is it automatically more plausible for this woman to be a nursemaid than for her to be holding a close friend’s child, or to have even adopted this child herself?
We, Americans primarily, have this tendency to view color as the primary defining facet of every person that we meet. As we encounter different people, the first thing we notice of course is ethnicity and/or race. This is the foundation for who that person is to us a lot of the time, and plays an important role in the perspective we have of that person. Why do you think we ask a person their race when we cannot readily identify it ourselves? We take into consideration what experience perceptions we have had pertaining to others of their race or ethnicity, and attribute it to that person. Automatically, by color contrast with the baby, we have already presupposed that there could be no real positive reason that this woman could be holding this child.

Based on difference instead of similarity, we find ways to "other" people, especially those in Africa who we have not given the proper chance to make an impression on us for themselves.

I do however, think that the photographer Robert Lyons does an excellent job of taking pictures that would not interest the common American looking for exoticism, and it calls for you to ask yourself what is the real reason you do or do not enjoy or appreciate the photos in the book. If you are looking for the wonder displayed in media, you may be disappointed.

Another Africa

“Another Africa” provides pictures taken by photographer Robert Lyons in the African countries of Senegal, Mali, Nigeria, Burkina Faso, Ghana, Kenya, Uganda, Tanzania, and Ethiopia. The photos taken by Lyons present a hopeful counterpoint to the untrue portrayal of Africa as a place of drought, famine, primitivism or constant civil war as well as the opposite extreme that Africa is an overly exotic land. Lyon’s addresses Africa on its own terms, as an insider that does not have the clouded perspective that has been intentionally formed by non-Africans who have much to gain by misrepresenting the continent. Inaccurate worldviews involving contemporary Africa are prevalent in modern society, but are never seen as the driving force in Lyon's photos, signifying that African stereotypes are never the leading components African society. Lyons addresses that the common misconceptions exist but must be eradicated. Through his photos, Lyon’s suggest that we are all humans and we all share most of the same desires and daily routines. He brings to light a reality that differs greatly from the view that Africa is just an exciting place of exotic plants and animals and constant chaos, but beautiful place that needs to be seen in its true form; as well as place where people experience daily struggles and mundane, routine lives just like most others around the world.

Robert Lyons aims to present Africa in a way that is highly relatable to non-Africans to emphasize that the continent does not reflect the prevailing misinformed, stereotypical perceptions.

In the photograph below, a scene of Africa is present that demonstrates the established impression of African life by most uninformed non-Africans. It is a scene that encompasses many of the words and images commonly associated with Africa including the small huts, mesmerizing sunsets, livestock running free, women carrying water basins on their heads, endless nature and serenity with little development, and so on. All of these depictions seem to represent a very primitive way of living that is routinely associated with modern day Africa. Even though the painting is the central focus of the photograph, Lyons is not attempting to prove that this is the predominant lifestyle for Africans; the scene is merely a painting on a wall of a modern African building. This layout illustrates that while stereotypes exist and can seem to be the reality like the belief that the African lifestyle is less advanced, the true reality of Africa is a lot more familiar and less glamorized than the false images engrained in most people. In actuality, Africa does not represent the widespread misjudgments and Lyon’s asserts this truth by including the building surrounding the painting that looks like it could be from any contemporary country.

There is nothing super glamorous about this next photograph scene. The woman is simply reading a book (implying that she is literate and educated despite the belief that in Africa this is uncommon). The set of keys lying in front this woman suggest that she either drives a car or lives in a house (she probably does both), implying that her lifestyle is modern and not representative of African stereotypes concerning modes of transportation and living. In addition, most uniformed observers invision African's concept of beauty to be greatly contrasting other cultures around the world. Contrary to this belief, this woman's jewelry looks very similar to jewelry seen in every other modern culture. It is not outlandish or shocking, it is womanly and fits the standard of beauty accessories around the world.

On Lyons’s website he states his aim of these compilation of photos, “What I’m hoping to do is to show you what we share, what human beings share. Rather than saying what the differences are, I’d like to celebrate our common humanity.”

Jay-Z is More Worried About His Image than the Image of Africa

After analyzing this photo of Jay-Z campaigning for Rocawear apparel, it is apparent that the Brooklyn born rapper/entrepreneur cares about his personal image and wealth, but does not care to address America’s interpretation of Africa. Instead, Jay further embeds America’s ignorant depiction of Africa by using a remote setting (Madikwe Game Reserve, South Africa) along with ‘exotic’ animals. Jay is a talented rapper and a savvy businessman, but his mistake of misrepresenting Africa has repercussions that he may never comprehend.

Let’s assume that Jay was not considering his impact on the image of Africa while he stood next to two gorgeous women holding lion cubs in the middle of a South-African game reserve. If Jay had understood how great of an influence he holds on America’s illustration of Africa, would he have taken the shot in the most stereotypical African scenery? As the owner of Rocawear, Jay could have chosen any male-model to be in the picture, yet he chose himself to strike the powerful pose. He could have chosen any place in the world to take the shot, yet he chose an area of Africa that is home to tourists and wild game. He could have made a positive difference in the way Americans perceive Africa, yet he showed the continent as an uninhabited territory that epitomizes the western world’s ignorant concept of the land. Although Jay’s conscious intentions likely included appealing to the masses, glorifying himself and his product, and making money, his exotic approach towards accomplishing success is no different than that of the colonial European map-makers, who recorded Africa solely to appeal their consumer’s interests and desires. With Urban-America in the palm of his hand, Jay-Z has unintentionally engrained the stereotypical image of Africa into the minds of America’s youth.

Water For Life or Rocawear?

Hip hop's President and CEO of Def Jam Records, Shawn “Jay-Z” Carter, is seen in this image walking through the roads of South Africa. With a model of one of his hoodies from his clothing line, Rocawear, Jay-Z has been captured around Africa appearing to be focused on more than just his Whater For Life campaign. This pushes forth my argument that Jay-Z may not only be devoting his time to the Water For Life project, but also to the South African look for his Rocawear campaign as well. Although Jay-Z has been successful with the Water For Life campaign, he also has a buzz from his Rocawear campaign that has both wardrobe and photos pertaining to African culture.

Jay-Z has a video/diary that shows the struggle in which young African children go through pertaining to trying to get healthy and clean water. Research says that nearly two million children die from unhealthy water and inadequate sanitation. This caused Jay-Z to get involved with this issue that is big in Africa. He states, "It’s the most basic element on the planet. It gives life to everything and it’s seemingly plentiful. But more than a billion people can’t get clean water for cooking, cleaning and bathing. 2.6 billion people don’t have access to adequate sanitation and 2 million children die every year from diseases caused by contaminated water." Jay-Z show his concern by teaming up with MTV and UN, in which he manages to tour several developing countries meeting with young people who do not have access to clean water. The campaign itself is a successful operation, but as my argument states there might be another reasoning behind his visits through the continent. Africa was one of the rapper/entrepreneur's tour stops and he says that at his stay there he was struck at how many of the world's poor lacked such a basic necessity. Did Jay-Z actually see the need of this continent or did he see a good advertising establishment? This would be a good rhetorical question to be asked to those who really may not know which to beleive.

In this image Jay-Z is presented as a leader of the young african communtiy where he has children following behind him. It is a known fact that the rapstar is a Godfather in the HipHop world, but it appears that he also wants be recognized as a top icon throughout Southern Africa. Not only does the picture present this type of image, but he is also wearing his Rocawear clothing which appeared in magazines for his company's advertisment. Jay-Z stairs into the camera, while the youth following behind and along him stair away. Noticing this in the image it makes the thought of Jay-Z seeing where he is going with his Rocawear campaign while others stair away withought the knowledge of what is going on in order to sell his product. He may have good intentions with is Water For Life campaign, but as some Europeans used highlights on Africa in order to sell a certain product or image he his doin the same.

Jay-Z Uses Stereotypes to Sell Rocawear

Jay-Z's Rocawear campaign in Southern Africa is filled with stereotypical images which motivates my argument that Jay-Z is ultimately using Africa as merely a marketing tool to add a stereotypically exotic African element to his clothing, increasing desire and exclusiveness, thus hoping to increase customers. 

  In this particular photo taken during Jay-Z's Rocawear South African campaign, he is standing betwixt two beautiful models with his arms draping both of them. This alone exhibits the idea of African women being objectified as plentiful and their main goal being to sexually satisfy men. The fact that he has more than one woman on his arms in an example of stereotypical idea of Africans having many wives. Both of the models are holding lion cubs, which suggests that the American influence can tame even the wildest "kings of the jungle," which is what Europeans thought they were doing to the Africans when they began colonizing the continent.  Also, more apparently, this adds to the exotic feel. It might make a potential customer feel as though by purchasing Jay-Z's clothes and accessories, they will also be seen as brave, exotic, unusual, and ultimately exclusive. This also ties into the fact that both models are wearing cheetah print, which is stereotypically associated with Africa pointing to the animals as the most important feature rather than the people.

Upon looking at direct responses to this campaign, people were generally praising Jay-Z for "showing that he cares." This all goes into the attitude that Africans are in dire need of a Western savior, which dates further back to the whole reason Europeans justified colonizing African territories in the beginning. Though Jay-Z may be motivated by good intentions, he is actually reinforcing stereotypes of Africa and carrying along the very European attitude that attempted to strip Africa of its identity.