A Quote by St. Lucia
What I love about African-African music is how unselfconscious it is in so many ways.
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Shakespeare is in many ways an African writer and 'Hamlet' would be seen as a very accurate historical saga about an African kingdom.
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.
After Nigeria, we are the second biggest black African nation. We are the headquarters of the African Union. We are the only African country that has never been colonized. This is perhaps the last surviving African civilization.
One of the things that made the Black Muslim movement grow was its emphasis upon things African. This was the secret to the growth of the Black Muslim movement. African blood, African origin, African culture, African ties. And you'd be surprised - we discovered that deep within the subconscious of the black man in this country, he is still more African than he is American.
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?
Michael Jackson fundamentally altered the terms of the debate about African American music. Remember, he was a chocolate, cherubic-faced genius with an African American halo. He had an Afro halo. He was a kid who was capable of embodying all of the high possibilities and the deep griefs that besieged the African American psyche.
When I was a kid, I'd go to the African-American section in the bookstore, and I'd try and find African-American people I hadn't read before. So in that sense the category was useful to me. But it's not useful to me as I write. I don't sit down to write an African-American zombie story or an African-American story about elevators. I'm writing a story about elevators which happens to talk about race in different ways. Or I'm writing a zombie novel which doesn't have that much to do with being black in America. That novel is really about survival.
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.
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.
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.
I base myself in African-derived music. Blues is one of the modern forms of African music.
The African people and tribal chiefs are hospitable, and African music and dances are invigorating.
In L.A., I was a talent manager for many years. I represented many African-American actors. After a while, I became disheartened over the shortage of roles for African Americans.
It was easy to persecute me without people feeling ashamed. It was easy to vilify me and project me as a woman who was not following the tradition of a 'good African woman' and as a highly educated elitist who was trying to show innocent African women ways of doing things that were not acceptable to African men.
There is a tendency just to talk about foreign investors. Over 80 per cent of new investment in the South African economy is South African and therefore the engagement of the South African investor is also a critical part of this process.
Many South African tribes used extracts from the African bush willow to heal the sick.
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