Thursday, 23 May 2013

President Mahama's tribute to Nigerian author Chinua Achebe



Politics and Prose: A tribute to Chinua Achebe

Renowned Nigerian author Chinua Achebe, who died in March, is due to be buried in his home town in Anambra state.

Mr Achebe's body arrived back in Nigeria on Wednesday from the US. The author died in Boston at the age of 82 following a brief illness.

Ahead of the burial, President John Mahama pays his tribute and that of Ghana.


Below is President Mahama's tribute

Since the death of Chinua Achebe on 21st March, much has been written about the tremendous impact his work had on the world of contemporary African literature.

Many writers on the continent and in the diaspora, myself included, felt as though we had lost a mentor and literary godfather. But writers were not the only ones who held him in high esteem. In the same way that Mr. Achebe’s books helped foster the talent of countless writers in Africa’s post-colonial era, they also inspired a number of Africa’s current political leaders.

Achebe had such influence on the African political landscape that three years ago he started convening an annual colloquium at Brown University, where he was a professor that brought together leaders, scholars and artists to discuss “strengthening democracy and peace on the African continent.”

When I was introduced to Mr. Achebe’s writing in the 1970s, during secondary school, there seemed to be no discernable separation in Africa between politics and the arts. We attended demonstrations almost as frequently as we attended discos. The music that we listened to, from Fela Kuti to James Brown, was filled with racial pride and political protest.

It was, however, the literature of Achebe, namely his classic novel Things Fall Apart that provided me with a larger context for the various maladies that were taking place on the continent. Reading that book was like a rite of passage. The books that I’d been reading previously were peopled with foreigners whose lives and concerns, though fascinating, bore no resemblance to mine. I read about Okonkwo, and his story resonated because it was rooted in a culture that felt familiar.

“Storytelling has to do with power,” said Achebe. “If you do not like someone’s story, write your own.”

After Things Fall Apart, I read Mr. Achebe’s other novels; I read the works of other African writers, such as Wole Soyinka, Ngugi wa Thiong’o and Ghana’s own: Ayi Kwei Armah, Ama Ata Aidoo, and Kofi Awoonor.

This literature empowered me, and others to believe in our ability to create change. They urged us to see the value of our cultural inheritance and the potential of our continent and its people. It was this vision that challenged many of us to pave the paths upon which we now find ourselves walking. In my case, activism was, and remains, a natural bridge between politics and the arts.

During a recent discussion about Achebe, a political contemporary asked me if I felt as though I had somehow become part of the system that we so bitterly decried in our youth.

“No,” I replied without hesitation. “I entered politics because I wanted to be a part of changing that system.” One of the things I learned from Achebe’s work is that “the system” is nothing more than a collection of people, their values and their behaviours. We are all a part of a system; and all systems are subject to change.

Change can be difficult, even for those who claim to want it. Nostalgia is a powerful force. It can keep us locked in the status quo.

Africa is constantly amending its story and adding new chapters. We have experienced political, cultural, and digital revolutions. Those who stay beholden to only the story of colonialism, apartheid and ethnic warfare will never allow themselves to know the Africa that now also tells a story of equality, democracy, and capital cities that are as crowded and cosmopolitan as those of any other continent.

Likewise, those who still talk of African leadership using only words like corrupt, dictator or despot will miss the opportunity to take part in creating a new vocabulary—be it one of praise or criticism—for the men and women who are now working with the citizens of their countries to craft new styles and processes of leadership.

Missing out would truly be a shame because just as we must all play a part in nation-building, we must also play a part in the writing of our stories. This is the new Africa we are creating.

“Africa is people” may seem too simple and too obvious to some of us. But I have found in the course of my travels through the world that the most simple things can still give us a lot of trouble, even the brightest among us: this is particularly so in matters concerning Africa.”—Chinua Achebe


From : President John Dramani Mahama 

Airtel congratulates EL for winning Album of the Year at VGMAs




Airtel Ghana has congratulated it brand ambassador EL, for winning the Album of the Year at this year’s Vodafone Ghana Music Awards with his album titled “Something else”.

The rapper, songwriter and music producer beat Cwesi Oteng, Okyeame Kwame, D-Black, and Asem to win the enviable award.

“Something else” is a double CD compilation with 24 tracks including the very popular “Kaalu’, “Obuu mo” and “Auntie Martha”.



Head of Corporate Communications at Airtel Ghana, Donald Gwira said in a statement, “the album is indeed a good one and it is not surprising that it notched the award. EL is a hardworking artiste who gives off his best all the time and that can be heard throughout the 24 tracks on the album. We at Airtel are proud of his achievements”.


Airtel earlier this year signed EL, known in private life as Elorm Adablah, as its new brand ambassador.

EL composed and performed the signature tune heralding Airtel's new thematic campaign, 'my paddies, my network'. 



In an earlier interview, the 'Kaalu' hit maker explained that he bought into the friendship concept of Airtel because it bore a striking semblance with his own rise to prominence.

EL is billed to perform at Sunyani, Takoradi and in Accra during the Airtel Rising Stars competitions, which start from May 31 in Sunyani in the Brong Ahafo Region.

Ghana, Nigeria to renew fierce musical rivalry on June 29





The third edition of the Ghana Meets Naija series is set to take centre stage on June 29.

Arguably the fiercest and biggest musical clash between two of West Africa’s dreaded rivals – Ghana and Nigeria – the concert will see top notch artistes from each country perform on one stage and on one night.

Set for the Accra International Conference Centre, organizers – Empire Entertainment - promises a fun-packed, adrenaline filled musical showdown between some of the biggest acts to have ever graced the African and world music stage.

This year, the concert will be introducing new breed of legends who have in their own rights carved a niche for themselves; a marked departure from the previous editions which saw old acts wow the audience in many significant respects.

In the Ghanaian corner is an impressive list of acts - R2Bees, who just won six awards including Artiste of the Year at the 2013 Ghana Music Awards; Edem, Okyeame Kwame, Raquel, E.L., Xo Senavoe, and Dobble while Africa’s hottest act Wizkid, Burna Boy, and Timaya, will seek to jointly repel the Ghanaian opposition for Nigeria.

Nathaniel Kwabena Anokye Adisi popularly known as Bola Ray, CEO of Empire Entertainment speaking at the launch at the Holiday Inn Hotel Wednesday said the concert was built on the solid foundation of harnessing the talents of both countries for unity.

“The concept of Ghana Meets Nigeria was built on celebrating, uniting and exploring the different, yet similar musical taste, cultures and artistes of both Nigeria and Ghana and this year I can assure you, I can tell you confidently that we bringing to you the most exciting and outstanding show that you will ever see in terms of shows right here in Ghana,” he said.

Last year's show, Bola Ray noted, exceeded expectations and it has moved on to become “the biggest and most exciting musical concert [ever to be staged in Ghana]. We went on to win an award for that.” He acknowledged the support of patrons for being a part of its success.
Wizkid speaking at the launch also said, “I was actually supposed to do this show last year but we couldn’t make it possible because I was nominated for the BET Awards ...this year I’m definitely going to be there giving one of the best performances of my life in Ghana.”

The Matter hit singer thanked fans in Ghana for their support over the years and stated that, “I wouldn’t be here without you guys.”

Other artistes on the bill also promised to give Ghanaians and Nigerians a concert of a lifetime.

This year’s concert is sponsored by MTN, rlg, Moet and Chandon, Hennessy, Holiday Inn, EuroStar Global Limousine Limited and Sky Airlines.

Source:Myonline

Wednesday, 15 May 2013

Bola Ray explains 'Ghana Meets Naija





Bola Ray, the Chief Executive of Empire Entertainment, organisers of ‘Ghana Meets Naija’, the biggest ever musical concert in Ghana, slated for June 29 at the Accra International Conference Center, has put on record that the ultimate aim of the event is to use showbiz to further unite Ghanaians and Nigerians.

“It is all about unification and brotherliness within the spirit of having fun with our Nigerian brothers and sisters. We have lots in common and there is no better way to express that than through a concert. Yes, we do that through football matches, we do that through diplomatic and bilateral arrangements and cultural exchanges, but we believe that as entertainers, we can also do something to strengthen that unification. History says some Ghanaians actually migrated from Nigeria so it is also a homecoming thing,” he told NEWS-ONE in an interview.
Top artistes from both Ghana and Nigeria are expected to battle it out on one night on one stage and NEWS-ONE has gathered that the Nigerian team of musicians would be led by Wizkid, known in private life as Ayo Babalogun, the top Nigerian musician Chris Brown credited for being the originator of the Azonto dance.

Ghana, reports say, would be led by Sarkodie and Samini.
According to Bola Ray, his outfit would release the full list of performers from both countries at a media briefing on May 22.
What appears to be a ‘difficult to handle’ challenge is the absence of a big-enough venue to host the program.

The Conference Center seats a maximum of some 2000 persons while the programme is on record to have attracted some 8000 persons in previous editions.
Organizers are however compelled to squeeze into the Conference Center because the Dome, that has hitherto served as venue for the event, is currently under renovation.
“But that should not be much of a problem because the programme would still maintain the high quality of the event. That has been our hallmark and we won’t compromise on the quality; otherwise we could have easily shifted the venue to the stadium,” Bola Ray explained.

He also denied speculations that the ticket pricing would be doubled because revenue from ticket sales is expected to drop by some seventy five percent due to the smaller size of venue: “We are not quadrupling or doubling ticket prices as has been speculated. Just a slight upward review to meet current price hikes. Nothing to get scared about.”

Saturday, 11 May 2013

Full list of Vodafone Ghana Music Industry Awards 2013 winners


Record of the Year
Best In Me By Efya
Gospel Album of the Year
Mercy Project By Cwesi Oteng
Lifetime Achievement Award
Gyedu Blay Ambolley
Producer Of The Year
Killbeatz
MUSIGA Merit Award
Asabea Cropper
Traditional Artiste of the Year
Sherifa Gunu
Instrumentalist of the Year
Dan Grahl
Song Writer Of The Year
Okyeame Kwame
Sound Engineer of the Year
Kaywa
Music for Development
Nahna (Akoo Nana)

Thursday, 9 May 2013

2013 Vodafone Ghana Music Industry Awards Is May 10



This year’s Vodafone Ghana Music Awards (VGMAs) is inching closer to its climax which falls on May 18.
But before the main awards to be held at the Accra International Conference Centre, there will be an Industry Awards Ceremony on Friday, May 10 where some 10 awards including the ever competitive Song Writer of the Year will be presented.
The event which will come off at the Ridge Arena of the plush Alisa Hotel, with a full course dinner, will honour and celebrate the country’s hard working musicians and music industry players.
With an exciting and seasoned array of performers including Raquel, Celestine Donkor, Afriyie Wutah and Nii Lante, the much anticipated night is expected to leave lasting memories of joy in the hearts and minds of the many artistes vying for the 10 awards on offer.
The ten categories include the Gospel Album Of The Year which was won by Gifty Osei’s Fefeefe album last year, Music for Development, won by Okyeame Kwame, and Producer Of The Year, won by Apietus on Okyeame Kwame’s Faithful.
The categories also include; Sound Engineer Of The Year, won by Kaywa, Traditional Artiste Of The Year, awarded to Guy One, Lifetime Achievement and MUSIGA Merit Honours bestowed on Pat Thomas and Diana Hopeson respectively.
The ever competitive Song Writer of the Year award went to none other than Okyeame Kwame for his Faithful.
This year, the Gospel Album Of The Year is being contested by Obaa Christy’s Back To The Sender, Cynthia Maccauley’s Wait, Nicholas Omane Acheampong’s Zaphanat Panea, Cwesi Oteng’s Mercy Project, and Joe Dee Owusu’s Christian Life.
The Song Writer Of The Year will be a tussle between Mugeez Abdul Rashid for his Odo, Nana Wiafe Asante-Mensah & George Kwabena Adu for Bye-Bye, Kwame Nsiah Apau for Sika, Akwaboah for Best In Me, Frank Osei Afriyie for Love Of My Life, Kwame Tsikata for Makaa Maka and Nana Yaw Oduro for Not Alone.
Kaywa, Killbeatz, Nshorna Music, Eyoh, E.L., Appietus, and Nicholas Omane Acheampong will slug it out for the Producer Of The Year award.
Nii Ayite Hammond – VGMA Board Chairman and head of Productions at Charterhouse noted that, “In the past we have also rewarded the best male and female vocals on the industry night, but various pundits and industry gurus have strongly criticised this arguing that it’s more talent than technical related and must be taken to the main night.”
“They also advised that the record of the year was more of a technical award that ought to be given on the industry night. So these are the two major changes that have been made to the industry night,” Nii Ayite Hammond added.

I’m not interested in writing a book on HIPLIFE” – Reggie Rockstone

  

Almost two decades now after giving birth to hiplife, Reggie Rockstone has confirmed he is not interested in writing a book on hiplife, despite all criticisms for him to do so.Undoubtedly, no human being in this world can take the cachet from Reggie Rockstone as the originator of the music genre, hiplife, which is actually a fusion of Ghana’s highlife music and the western hiphop. We all woke up last year to hear a female author by name Halifu Osumare from University of California has authored a book on Ghana’s hiplife titled;’The Hiplife in Ghana – West African Indigenization of Hiphop in Ghana’ with Reggie Rockstone’s picture boldly registered on the front cover of the book.
Last two weeks 11th April, 2003, saw the launch of another book on hiplife at Reggie Rockstone’s own Grand Papazz spot titled,“Living the Hiplife,” authored by Jesse Weaver Shipley. The book was first published by one of the top academic presses in the world; Duke University Press. The book talks about hiplife from the angle: Celebrity and Entrepreneurship in Ghanaian Popular Music. It is a historical and social account of hiplife, from the 1990s till date. Since Reggie Rockstone is the one who originated hiplife, many pundits and reviewers have lambasted him for not writing a book on hiplife.
Pravda radio therefore contacted the ‘Grand Papa’ for his take on such criticisms and this is what he said; “I am not interested in writing a book on hiplife. I am not a writer. I am a musician. Even if I will write a book, it will be an autobiography. Those who are interested in writing a book on hiplife came to me and I gave them the information they required to do so.”
Pravda radio asked Reggie if he stands to gain some financial benefits from such books and he added; “I have not gone into any talks or contracts with any of them on financial benefits for now. If it becomes necessary, I shall talk to them about it. Hiplife is now generic. Hiplife is for the people.”From Reggie’s inclination, he has no shame for saying he is not interested in writing a book on a music genre he originated.
Writing a book on hiplife and writing his own autobiography, which one does Reggie owe to Ghanaians and Ghana’s music industry? Grand Papa has spoken. Let’s all keep the discussion alive.

Why Is Comedy in Ghana Still Not Flying?






Anytime, I broached a topic on various platforms on why Ghanaian comedy was still in the doldrums, I received comments like “Ghanaian comedians are not funny,” “Comedy is not a Ghanaian thing,” or “Ghanaians don’t support their own.”
At least, basic logic tells everybody that humour is subjective; you need not be a theatre artist or comedian to know this. Different people of different classes, statuses and geographical locations and social orientation will react differently to same joke by a comedian.

But the same basic logic also indicates that objectivity is collective subjectivity, and that is where numbers come in. Where a comedian is able to send a lot of people laughing, you cannot tell me he is not a good comedian.
I am among few writers who have always advocated that Ghanaians supported Ghanaian comedians by giving them big platforms that are given their Nigerian counterparts so that even if it is true that our comedians are not funny, they will be magnetized the more as much as they share stages with the acclaimed Nigerian comedy colossi.

I have suggested that corporate institutions support people who present proposals to them to unearth comedy talents or put up comedy shows. I have since its inception, written about David Oscar’s ‘Corporate Comedy Series,’ that this was a renaissance of GH comedy and needs to be supported.
In the first place, I like people who are bent on delivering what is good even if the whole world is against them. David Oscar, Aglah, Percy, DKB, Foster, Khemikal, James Brown and the like are Ghanaian comedians who are doing well and are striving to change the negative perception about Ghanaian comedy.

Even though people like David Oscar had disagreed with me when I had said that Ghanaian comedy is in the doldrums, I still stand by my assertion. If “doldrums’’ is a school of 4 classes, I will place Ghanaian comedy in the third class. I believe it is this Corporate Comedy Series initiative by Oscar and possibly others that may have pushed our comedy from the bottom to the third class.
That our comedians are gradually doing better doesn’t mean we are out of the ‘doldrums.’ We haven’t even started the journey my brothers and sisters.

We always use Nigerian comedians as example because they have a lot of comedians and day in day out they keep producing a flurry of more good ones. Ask how many comedians Ghana is able to produce in a year. According to Nigerian comedian Basketmouth, there a lot of comedy clubs in Nigeria where comedy talents go to showcase their potentials. How many of such clubs do we have in Ghana? When we keep insulting our comedians, how can they fly? I am not saying we should hail them even when they don’t do well but we need to be positive in our thinking. Let us criticize but do so constructively.

My headache is that, why are Nigerian comedians able to send a whole auditorium laughing with their acts? I don’t subscribe to the notion that it is their accent that makes them funny. I rather believe it is their choice of words and how well they weave their stuff.
Some have blamed Charterhouse for inundating our stages with Nigerian comedian all these years, consigning ours to the background. They think we could have more Ghanaian comedians on their Nights of Laughs and Music series than the one, two they put in the midst of a thousand Nigerian comedians.

I have personally heard some entertainment critics say that few times when our own comedians had been given the chance to strut their stuff on this Chaterhouse platform, they failed to impress. And this could be the reason why Chartehouse also stopped using most of them. Now, it is only Funnyface that is ‘chosen’ and being as Charterhouse comedian, thank to his manager George Quaye.
But the truth is that, most of our Ghanaian comedians have a lot of work to do if they want to take comedy higher. You need to be very creative and intelligent to be funny. Like KSM said, you guys need to study hard and perfect your skill.

Charterhouse is out with a comedy reality show dubbed ‘Laugh Out Loud GH’ which is meant to unearth comedians in Ghana. I personally have not been happy about how after discovering David Oscar in the maiden edition of ‘Stars of the Future’ they just parted ways with David. Was he not right when at a point he requested that, Chaterhouse not give him same amount they give Nigerian comedians, but at least increased his fee a bit? So why did they ditch the young man?
I like the idea of this new reality show. In fact, Chartehouse has helped improve Ghana’s entertainment industry in diverse ways but I think they need to do more. After discovering the comedian they seek in this contest, let them not despise and jilt him like they did to David Oscar.

I am also suggesting that we invigorate the concert parties we had back in the day. At least those were comedy for the masses. It is difficult for the ordinary person to relate to comedy done in English language.
As we advise Ghanaian comedians to work hard, I implore all Ghanaians to throw our support behind them to pull Ghanaian comedy out of the doldrums.


Credit: Kwame Dadzie