List of Regions
Ansar ud-Dine speak up…at last! The Touareg lead mujahedeen group currently controlling large tracts of northern Mali have finally posted their ‘Political Platform’, on their website. It’s one of the most illuminating and troubling documents that I’ve read so far during this entire crisis.
A few days ago, the pro-Azawad website Toumast Press reported that Algerian army personnel were in Gao training fighters belonging to Ansar ud-Dine and MUJAO, the Islamist militia who recently drove the Touareg separatist MNLA from the city. They also reported that the Algerians have been sending heavy weaponry to the city under the guise…
Since the accords between the NMLA and Ansar Eddine were rejected by the NMLA political leadership at the end of May, it’s been fascinating, if not painful, to watch the contortions of the NMLA leadership as they attempted to accommodate Ansar Eddine, a movement with which they had plenty in common ethnically, but very little ideologically or strategically.
A few days ago, I managed to reach an MNLA fighter called Intarhia on his satellite phone. He was in a 4×4 that was being driven across open desert, seemingly at top speed. This a transcript of our interview:
Baloji produced his first solo opus ‘Hotel Impala’ in 2007 and is currently limbering up for the worldwide release of his new album, ‘Kinshasa Succursale’. It hits you a bit like Central Africa’s answer to The Beatles’ ‘White Album’
The Tap Tap is the local transport in Port au Prince, the capital of Haiti. As the country struggles with every cataclysm and curse known to a nation, it’s public transport system remains one of the beautiful in the world. How about that for a paradox?! Tap Taps are decorated with a baffling mix of…
Their driving force is the unmistakable takamba rhythm which pulses on the boom and bip before lurching at the end of every phrase, catching the uninitiated in mid-step. Try and imagine the lope of a camel combined with the flow of a vast sedate river and you’ll be getting close.
When the record producer Nick Gold traveled to Cuba in the early 1990s he had the genius to perceive the well-spring of love for Cuban music that still flowed through Mali and West Africa and appreciate the strength of their intertwining histories.
It took a rapper to light a firecracker and lob it at Tunisia’s youth, whose frustration had been distilled into liquid hydrogen by years of government corruption, nepotism, ineptitude and general state imposed joylessness.
“Africa needs to speak out right now,” says Ousco calmly over a crackling phone line from Bamako. “Africa must stop crying.” His words are a neat little summary of what African rap is all about: No mincing words or metaphors. No ancient musical traditions that cosy up to power. No decadent ghetto fabulous fantasies. None of that.
