A Quote by Paul Robeson

In my music, my plays, my films, I want to carry always this central idea: to be African. — © Paul Robeson
In my music, my plays, my films, I want to carry always this central idea: to be African.
The southward advance of native African farmers with Central African crops halted in Natal, beyond which Central African crops couldn't grow - with enormous consequences for the recent history of South Africa.
I was in the school plays, I did a lot of music. I carried on through university for short films and loads of plays.
I did not like that name "world music" in the beginning. I think that African music must get more respect than to be put in a ghetto like that. We have something to give to others. When you look to how African music is built, when you understand this kind of music, you can understand that a lot of all this modern music that you are hearing in the world has similarities to African music. It's like the origin of a lot of kinds of music.
We know that the African regimes, many African regimes have failed their people and many Africans want regime change, and there are a lot of African leaders who make promises but don't carry them out. I mean, the progress - I mean, it is noble for the rich countries to help Africa, but then the question is: What are African leaders themselves doing to help their own people?
That's one of the hardest parts of putting together an album - finding that concept, that unifying idea. Especially as I write mostly in instrumental music, the idea of having a central concept that unifies the music is very important to me.
I want to make films that are political and social. Films with a message or an idea. Films that dare to ask.
As a youngster, my parents made me aware that all that was from the African Diaspora belonged to me. So I came in with Caribbean music, African music, Latin music, gospel music and blues.
Congolese rumba was so huge in Africa that everybody was inspired by it. But my African roots brought me this music. In every African family, parties in Brussels, we used to listen to this kind of music. And salsa music as well.
Ideas rather than methods are central to they way I work, although drawing plays a central generative role in everything I do.
I am very proud to be African. I want to defend African people, and I want to show to the world that African players can be as good as the Europeans and South Americans.
I've been composing music for feature films since 2007. I've been creating music for films for 13 years and I totally enjoy and love doing that. However, I have a lot of music inside me which I want to share with you all in a different way.
I've always thought of music as something which gives the words their flight and their wings and the music often comes first, although sometimes I'll have a concept, a title idea, a lyric idea that I want to write and the lyric will come first.
Sometimes you can't fight change, because you're a part of it, and I feel that in the context of these films that are happening now, there is a kind of change coming in terms of how history is represented on film, and the African, and the African-American and British African experience.
When it comes to African Americans and African American actors, Hollywood has always felt that if you can make us laugh, that's fine, but we don't need to see you do a 'Schindler's List,' where there's no jokes or music or comedic through-line.
I'm suspicious of the idea of categories in music and this idea of things being in boxes. To me, that seems unnatural. I write the music that somebody with my biography would write, and the thing that's always driven me is an enthusiasm for the material. I sort of follow the notes to where they want to go.
The idea of a hypnotic riff as the prime mover of a piece of music has been around for a long time, whether you're talking about the Delta blues or music from Middle Eastern and African cultures.
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