This song is called “Sangweni.” It was written by Yolanda Zama with Masauko Chipembere. It is inspired by the kwela/ marabi style from South Africa. The sound made popular by Miriam Makeba and Dorothy Masuka. – Manawanga
Catherine Chipembere, wife to late Masauko Henry, on Saturday night proved age is nothing but a number when she took to the floor at Mibawa Café in Blantyre dancing to her son, Masauko’s song, ‘Old Shackles.’
Braving the cold and rainy weather, she joined an impressive audience to sample music vibes from Masauko.
“This is really nice, I want you to join me in this song. It’s good to be back home and perform and I am happy my mother is dancing as well,” said the dreadlocked Masauko.
He told the audience ‘Old Shackles’ was composed through his late father’s words “freedom is meaningless unless people can see change.” – Sam Banda jnr
The American Embassy in Malawi will next week play host to American-born Malawian musician Masauko Chipembere.
Spokesperson of the Embassy’s Public Affairs Section Benjamin Canavan said that the musician, who jetted into the country on Tuesday, will interact with local musicians, arts organisers, students and the public.
Masauko, the last child of legendary Malawian politician Henry Masauko Chipembere, was born and raised in Los Angeles, California while his parents were in exile from Malawi. His music is a bridge between his African past and his American present.
– Jack McBrams
On May 11th, a diverse group consisting of students, professionals, musicians, and artists, gathered in Brooklyn for an engaging discourse on African music as a tool of change in the continent of Africa.
The forum, hosted by the Filmmaker, Poet, and Activist Rebekah Frimpong, was titled, “Young African Visionaries – A Discussion of Africa’s Youth Through Music”, and brought together various African Musicians and Media Executives on a panel to share their views on the current state of African music, and how the longest form of communication can be used to inspire change locally, and to revamp the image of Africa internationally.
The panel consisted of guests including Ngozi Odita of Society HAE (Nigeria), Cassi Amanda Gibson blogger/photographer (Mozambique and Uganda), Masauko Chipembere award winning musician of the duo Blk Sonshine (Malawi and South Africa), Emmanuel Gamor of Sunlight Radio (Ghana), Benita Bortey of Akwaaba Media and 5Ave Entertainment & Media (Ghana), and Kalab Berhane of Africology (Ethiopia).
The forum also featured a special listening party with conscious Ghanaian Musician, Mensah, who hailed from London and blessed the room with his talent. He was also a Guest Panelist.
When asked to share their thoughts on how African music can be used to bring change to Africa, the panel agreed that Music is a universal language, and for that matter, its power can never be refuted. Mensah believes that one of the ways to affect change through music is to be as original and be keen on using music as a platform to showcase our identity. “When it comes to music, we have to be as original as possible because music gives us a certain super power. We may ignore it or may not even realize it but it does,” he added.
Emmanuel Gamor, who agreed with the statement added that consumers must also help musicians maintain that originality by accepting their music no matter how different it may sound. Emmanuel used the different types of Ghanain music as an example of how diverse the continent of Africa is when it comes to music.
He added that sometimes consumers shun away from certain types of music because they may be different or unfamiliar. However these may be the types of music which reflect the cutures and identities in Africa. So how do we continue to pay attention to these types of music which may not resonate with us but may have strong messages?
One of the issues that came up during the discussion is the lack of appreciation of African music by Africans themselves. The panel noted that the only way African music can rise to the internationally level and make any progress towards the revamping of Africa’s image, is if Africans start appreciating their local music as much as they appreciate Western Music.
Some may wonder the role that African governments can play in helping our musicians maintain originality and encourage them to use music as a form of communication instead of merely entertainment.
Most African musicans are struggling because although they may have all it takes, they lack an effective system that pushes them forward. Communication laws are very weak, and it is almost as a “scramble” or a “survivor of the fittest” type of system for musicians.
With the spread of Itunes, Youtube, and other music sharing sites, African musicians are suffering tremendously from terrible album sales. Most of them make a living from touring and shows, however to make a name for themselves and get to the point of winning a reasonable amount of people to attend their shows is another hassle in itself.
Payola is still very prevalent in Africa, where musicians have to pay radio stations or even TV stations to get their songs aired. Essentially, a person could be tremendously talented, but without the financial ability or necessary resources, they may never be discovered.
The governement needs to tke a more proactive approach towards protecting our musicians and providing a platform that will enable them to compete on an international level and spread the positive things about Africa.
Overall, this ws a great discussion that instigated many more thoughts and ideas about the current state of African music and the role that the youth can play in maximazing its impact. Face2face Affrica apllauds Rebekah Frimpong for seeing the importance of this issue and taking the initiative to provide a thought provoking platform where people can share ideas on how to affect change.
When I first listened to Blk Sonshine at Satta Art Gallery over a decade ago, I knew in my soul that I had been in the presence of angels. I cried. From the first melodic note, my heart opened and a heavenly essence came upon me.
That was about ten years ago. Since then, Blk Sonshine (Masauko Chipembere and Neo Muyanga), have released another album while maintaining a level of consistent excellence with a uniquely original sound. Masauko, who was born in the United States to politically exiled Malawian parents, presently resides in Brooklyn, New York. I was fortunate to capture a few moments with him to learn more about his life and passion for music exclusively for Afro-Futures Magazine. – Tantra Zawadi
Back in the Nineties, Blk Sonshine bucked the trend of kwaito, with its mostly repetitive beats and fickle lyrics. They gave listeners a bit of heaven with their self-titled debut album in 1998 and waited more than 10 years to release Good Life.
Surely there must be something else other than music that they have been working on. Why does it take them so long to release these much loved albums?
“Blk Sonshine has never been about quick album releases,” says the ever serious Neo Muyanga.
“The first album was made up of songs we began writing when we were teenagers. It only came out ten years or so after that.”
via Inspiring sonshine.
via Inspiring sonshine.
BLK (read “black”) Sonshine that is Masuko Chipembere and Neo Muyanga. They performed on the rooftops of JOZI CBD their fusion of hip hop, jazz and traditional African influences, blending soulful melodies and percussive flurries over unplugged guitars.
|By Ewetse Khama & Blk Sonshine
|Neo Muyanga and Masauko Chipembere are two of Southern Africa’s greatest living musical artists in a humble yet significant way. The duo is an unassuming pair who has been known to use their voices and stringed instruments to stir it up. Kojo Baffoe, long time friend, and admirer of Blk Sonshine perhaps put it best when he said of their performance, “There are moments in time when there are no words that can adequately capture the emotion, the experience.” With an almost magical quality to their art these two Librans left an indelible mark on the South African music conscience with just one album. AfricaBe caught up with Neo in Cape Town and Masauko in Brooklyn, New York to get at the method to the magic.
AfricaBe: To set the record straight once and for all. Where were you born?
AB: What do your names mean?
AB: Why did you leave Africa?
AB: What brought you back home to Africa?
AB: Is there anything you feel you missed out on in Africa spending so much time abroad?
AB: Where did Neo and Masauko first meet, and how was that first meeting?
AB: How did it transpire that Yeoville in Johannesburg ended up being the birthplace of Blk Sonshine?
AB: How did California then become where the first Blk Sonshine album was ultimately recorded?
AB: How do you manage to give a diverse range of global citizens access to your music?
AB: What were some of the influences that were similar at home and abroad about Blk Sonshine the debut album?
AB: What do you do individually when you are apart?
AB: What sort of performances do you stage as individuals?
MC: The first CD came about because we had been playing live a lot and people wanted to take the music home. Our audience sort of demanded the ability to hear the music in their own spaces at home.
AB: How did you manage to make such an impact off of one album, Blk Sonshine?
AB: How did you structure a deal which allows you generous freedoms in terms of producing albums?
AB: Is this a good business method?
AB: Is a message in the music also good business?
AB: Has it always been that way?
AB: What is it that artists need to think about when they want to sign on with a record company?
AB: New Album, Good Life… what doest it say about Blk Sonshine’s growth over the last 10 years since the first album?