By John Owoo

(In Accra – Ghana)

Gazing through its transparent glass doors, I harbor diverse visualizations as to what is in store from Ghanaian artist Elizabeth Efua Sutherland at Gallery 1957, a premium art space located within the premises of the plush Kempinski hotel in Accra.

I am immediately confronted with twelve head sculptures encased in glass with grass spurting out of the lips of some of them. They appear similar yet they are completely distinct in their own right as I take a critical look.

An overwhelming feeling of pleasure engulfs me as I walk around a maze of white heads encircled by plants, which Sutherland had installed in the rather spacious and well-lighted gallery. 

While feasting my eyes I remember why I am here – and I quickly notice the evocative qualities of material, form and weight of these sculptures that translate into potent sculptures. Undeniably, these images will definitely remain in the minds of viewers for a long time.

Titled “Aya”, the exhibition honours the rites of reflection, endurance and meditation while recalling the skills of ancient Akan female potters, who in ancient times cast terra cotta heads in commemoration of the dead.

Sutherland employs layers of white clay, plaster, white cement and red earth alongside a curious blend of deploying industrial and natural material in the alchemical process of casting. Although, they are largely from the same mould, each of the heads possess a discrete identity, which she achieves by cracking, carving, traumatizing and other forms of manipulation.

With a rather progressive, courageous and radical approach, the artist revisits the relationship between earth, humanity and heritage while exploring how the environment could spiritually and physically shape identity and legacy.

Sutherland has a BA Theatre with a minor in Education Studies from DePauw University (USA) and an MA in Contemporary Performance Making from Brunel University (UK). She works across theatre and performance art and is currently concerned with interactivity, video, sculpture and texture in making performance / performative objects.

The exhibition ends on Saturday February 15, 2020.

By John Owoo

(In Accra – Ghana)

Leaves on trees shifted listlessly from the rather warm winds on Saturday evening as a capacity crowd at the Alliance Française waited intently for Malian music couple Amadou and Mariam to appear on stage.

The crowd, which included several Malians resident in Accra, applauded and cheered as the pair, whose CD “Welcome to Mali” was once nominated for a Grammy Award, were ushered onto the stage by their guides.

The visually impaired couple immediately went into their own world as Amadou’s unique and robust guitar lines alongside Mariam’s expressive voice filled the air, while a burly percussionist enhanced sounds emanating from the stage with wild rhythms from a variety of drums.

“Seeing Amadou and Mariam perform live in Accra was a blessing. Performing for such a huge crowd they cannot see but definitely feel is worthy of note.  It demonstrates once again that African music is alive and carries a message of freedom and emancipation”, said Federico Masetti, Italian Founder / CEO of MusicXchange.

“They are absolutely pleasurable – indeed, they shared a lot of jokes and anecdotes about Mali as they entertained the huge crowd. In the process, the audience simply fell in love with them”, added Jacques Monteau, a teacher in Paris, France.

With both musicians being powerful songwriters, their sympathetic and stimulating lyrics caught the attention of French speaking members of the audience, who reacted with cheers and catcalls while jumping to the dance floor to showcase their skills.

A cool blend of Bambara rhythms alongside inflections of R & B alongside world music sent the audience on a journey into the past that traced the career of Amadou and Mariam and their various collaborations with diverse musicians in Africa and beyond. 

In 1998, the couple released their first album “Sou Ni Tile” and continued with a series of releases that highlighted their early work (both together and solo) before coming out with another album titled “Wati”.  

In 2003, world music luminary Manu Chao began to work with the couple and in 2004 Amadou and Mariam emerged from the studio with what was to be their landmark album, “Dimanche à Bamako”. The success of the album led to tours, awards and accolades from several countries in Europe and Africa.

By John Owoo

(In Accra – Ghana)

A group comprising classical musicians from Germany, France and Ghana on Wednesday delighted a capacity audience with diverse compositions as part of events marking the 2020 celebration of the Elysée Treaty.

Performing at the Goethe-Institut in Accra, they severally and jointly treated the crowd to diverse arrangements inlcuding “Trio in A Minor Opus 61 No. 3” (François Devienne), “Serenade” (Franz Schubert) and “Meditation from Thaïs” (Jules Massenet).

Others are “Am Brunnen vor dem Tore” (Franz Schubert), “Sonata e Minor Opus 38” (Johannes Brahms), “Toreador Song” (Goerge Bizet), “Le Cygne” (Camille Saint-Saëns) and “Trio Opus 100” (Franz Schubert).

With Hannah Blattner (flute), Mieke Karpenkiel (clarinet), Kennedy Dankwa (vocals), Monia Schmid (cello), Luise Sandberger (vocals), Thea Sollwede (piano), Comisa May (violin) and Edwin Ferguson (piano), the group showcased attractive rhythmic patterns and lovely tunes that flowed in a continuous stream.  

Indeed, the instrumentalists played with robust energy yet in an amazingly relaxed manner despite a few days of rehearsals. No wonder they received applause from the audience, which included the German Ambassador to Ghana Christoph Retzlaff and his French counterpart Anne Sophie Avé.

Undeniably, vocalists Dankwa and Sandberger were the toast of the evening as their voices soared through the air with vitality while integrating with the instrumentalists in a cool balance. In the process, they delivered the act they have so gracefully mastered with vital clarity.

France and the Federal Republic of Germany signed the Elysée Treaty on 22nd January 1963. Following several decades of rivalries and conflicts, both countries sent a message of reconciliation and laid the groundwork for close bilateral cooperation to support European integration.

It is the result of two men – former West German Federal Chancellor Konrad Adenauer and French President Charles de Gualle – who opposed the Nazi regime and offered friendship to enemies of the past. With this treaty, they decided to establish a new relationship to seal a lasting friendship.

By John Owoo

(In Accra – Ghana)

Accragio, a multi-national choir recently surprised a near capacity audience at the Goethe-Institut in Accra with a performance characterized by purity of tones, intonation and lovely voices.

Conducted by Witsfiled Kwablah, the choir delivered a striking rendition of diverse compositions including “Joy to the World” (Traditional Christmas Carol), “A Spotless Rose” (O. Gjello), “No Room No Room” (R. Morris Gray), “Ring Christmas Bells” (M. Leontovich) and “Yeh Yeh Ahene Baasa” (A. O. Boateng).

Others are “O Come All Ye Faithful” (Traditional Christmas Carol), “All I Want for Christmas Is You” (Mariah Carey and arranged by M. Huff), “Angels We Have Heard on High” (Traditional Christmas Carol), “Afe Ako Aprow” (H. B. Sam) and a medley arranged by M. Brymer.

Dutch conductor Djoke Haven and Witsfiled Kwablah charmed the audience by mimicking cats during a duet while German violinist Thomas Woernle and flutist Felicia Schimtt brought in an instrumental interlude to a thrilling effect.

American singer Yvette N. Malcioln, appeared to sing from the bottom of her heart as she performed a solo piece with raw passion as pianist Carl Anthony Quaye supported with subtle notes thereby turning the evening into a memorable sonic experience.

Indeed, vocal textures, twinkling piano lines, captivating songs from diverse cultures, uniform solos and duets as well as smart voices from a well drilled choir ensured an engaging and tuneful concert that left the audience cheering and applauding.

Kinder Paradise Choir opened the concert, which was supported by Goethe-Institut Ghana, Ghana International School, Vlisco and NanaOSS. Accragio entertains guests with a diverse range of music genres including classical, pop, acapella, traditional African and Christmas carols.

By John Owoo

(In Bamako – Mali)

The Malian capital Bamako was last week awash with photographers, curators, critics, academics and arts professional from several countries as the country celebrated the 25^th anniversary of “Rencontres de Bamako” – easily the largest photographic biennial on the continent.

Inspired by “Streams of Consciousness”, a 1977 album by South African pianist / saxophonist Abdullah Ibrahim and American drummer Max Roach, the 2019 edition tapped into the sonic dialogue of the musicians – indeed, an animated notion of “Africanness and Blackness”, which served as a frame within which conversations can unfold.

Overshadowed by security issues facing the country – the biennial equally focused on the possibility of exploring the psychological and literary concepts of “Streams of Consciousness” into the realms of photographic practice. This was largely through artists whose works reveal their thoughts and conscious reactions to occurrences.

With exhibits from over 80 photographers / videographers from the continent and diaspora, the Biennial also explored the role of photography in defining and informing our understanding of Abdullah’s album, which according to curator Dr. Bonaventure Soh Ndikung, is spell bounding and enthralling owing to its sheer intensity, entrancement and alchemy.

Indeed, Ndikung, who is also the director and founder of Berlin based Savvy Contemporary, did put together an exceptional program for the Biennial, which runs until Friday January 31 at various locations in Bamako. These include the National Museum, Memorial Modibo Keita, Lycee Ba Aminata Diallo, Galerie Medina, Conservatory of Arts, Crafts / Multimedia and Palais de la Culture Amadou Hampaté Ba among others.

It is showcasing some of the international names in African photography and videography including Felicia Abban (Ghana), Adamah Jalloh (Sierra Leone), Emmanuelle Anndrianjafy (Madagascar), Nirveda Alleck / Katia Bourdarel (Mauritius), Eric Gyamfi (Ghana), Guy Woete (Cameroon), Yasmine Hajji (Morocco) and Fanyama Hlabangane (South Africa) among others.

Titled “Streams of Consciousness – A Concatenation of Individuals”, Dr. Ndikung was supported by a curatorial team comprising Aziza Harmel (Tunisia), Astrid Sokona Lepoultier (France), Kwasi Ohene-Ayeh (Ghana) and artistic advisors Seydou Camara (Mali), Akinbode Akinbiyi (Nigeria) and Cheick Diallo (Mali).

With Gallerist Lassana Igo Diarra as the Delegate General, the 2019 edition is an invitation to contemplate about the artistic practice of photography as a stream of consciousness as well as to consider photography beyond the tight corset of the photographic. 

Initiated in 1994, “Rencontres de Bamako” is aimed at promoting the various trends in contemporary photography and video in Africa by creating international exchange among artists, curators, media, collectors and the general public.

It ends on Friday January 31, 2020.

By John Owoo

(In Bamako – Mali)

A group from the Department of Painting and Sculpture, Kwame Nkrumah University of Science and Technology KNUST (Ghana) was on Monday engaged in a panel discussion on the 21^st Century Emancipatory Pedagogy in Africa in the Malian capital Bamako.

The team, which is in Bamako for the 12^th edition of Rencontres de Bamako (African Photographic Biennial) that was opened last Saturday by the Malian president Ibrahim Boubacar Keïta, dilated on the liberation conduit, which they have taken for nearly a decade. 

Led by Dr. karî’kachä seid’ou, the group, which include Dr. Edwin Bodjawah, Robin Riskin, Ibrahim Mahama, Selorm Kudjie, Afranie Bediako, Selasi Sosu, Eric Gyamfi, Edward Onsoh, Tracy Thompson, Edward Onsoh and Kwasi Ohene-Ayeh, enumerated the successful transformation of weather beaten colonial curricula that has remarkably expanded the range of artistic practices in Ghana.

These include lens-based and durational formats, extra-pictorial practices such as curating systemic forms of local artisanship, site and context-specific projects, among others. It equally encourages artists to curate their own exhibitions and also fosters independent thinking, political sensitivity to the workings of the global marketplace alongside cutting-edge exhibition cultures and emergent practices.

Touching on blaxTARLINES KUMASI, Dr. seid’ou stated that is an experimental contemporary art community and network that is constantly energizing the radical repositioning, which has without doubt steered the Department of Painting and Sculpture at KNUST towards an unrestricted philosophy.

The collectivist orientation of blaxTARLINES has also inspired networking initiatives, which has led to the formation of start-ups and micro-communities with both local and international partners. These include Savanna Centre for Contemporary Art (Tamale), which was set up by the internationally acclaimed artist Ibrahim Mahama.

blaxTARLINES has both local and international affiliates – these include Foundation for Contemporary Art Ghana, @thestudioaccra, Städelschule, Exit Frame and Asafo Black among others. Indeed, it has organized three large-scale exhibitions, which took place in Kumasi and Accra.

Panel members equally shared their work with the audience and discussed their inspirations, which were largely triggered by the emancipatory pedagogy. Works by some of these artists have been shown in Accra / Kumasi (Ghana), Venice (Italy), Kassel (Germany), Stellenbosch (South Africa) and Manchester (United Kingdom).  

Undeniably, blaxTARLINES inspired exhibition-making practices coupled with the Emancipatory Art Teaching project instigated by Dr. seid’ou, has resulted in a transformation in the Ghanaian visual arts landscape.

By John Owoo

(In Bamako – Mali)

The 2019 edition of Rencontres de Bamako (African Photographic Biennial) was on Saturday opened by the Malian president Ibrahim Boubacar Keïta during a short but colorful ceremony at the National Museum in the capital, Bamako.

In a short speech, the president stated that the biennial is a true platform for exposure and promotion of African and diasporan photographers and videographers adding that it has catapulted several artists onto the international scene.

He likened photography to light, which he said illuminates the world as compared to wars, which is often associated with darkness. The biennial, he said will continue to ensure that light continuously shines on African photography while stressing that the commitment of the Malian people is unshakable.

Minister of Culture N’Diaye Ramatoulaye Diallo paid a glowing to the late Nigerian independent curator Bisi Silva, who headed a team of curators for the 10^th edition of the biennial, which took place in 2015 in various locations in Bamako.

She revealed that the biennial offers the opportunity to celebrate the arts in general and photography in particular, which is a powerful antidote to ideological drifts as well as a wonderful vehicle for the promotion of cultural diversity, tolerance and peaceful coexistence.  

Curator Dr. Bonaventure Soh Ndikung stated that the theme for 2019 hinges around the circulation of ideas, humans, forms and the fluidity of photography adding that artists need to think of their work as the expression of an inner self.

He added that photography should be seen as a dialogue between artists and spectators or as the artist’s sensory reactions to external events whilst offering thanks to all who made the 2019 edition possible.

French Ambassador to Mali, Joël Meyer, reiterated his country’s commitment to continue its support for Mali’s development agenda including the cultural sector while reminding the crowd of the exemplary partnership between Mali and France.

The 2019 edition was conceived by Dr. Ndikung (Cameroon) with a curatorial team comprising Aziza Harmel (Tunisia), Astrid Sokona Lepoultier (France), Kwasi Ohene-Ayeh (Ghana) and artistic advisors Seydou Camara (Mali) Akinbode Akinbiyi (Nigeria) and Cheick Diallo (Mali).

With Igo Diarra as the Delegate General, the 2019 edition is an invitation to think about the artistic practice of photography as a stream of consciousness, as well as to consider photography beyond the tight corset of the photographic. 

Titled “Streams of Consciousness”, a total of eighty-five artists from Africa and the diaspora are participating in this years’ biennial. Indeed, photographs on display were for the first time printed in Mali to support the local industry.

It ends on Friday January 31, 2020.

By John Owoo

(In Rabat – Morocco)

The Moroccan capital Rabat, which is also known as the city of lights recently hosted diverse music groups, solo artists, promoters and festival directors from all continents during the 2019 edition of Visa for Music Festival.

Under the direction of Brahim El Mazned, concerts during the festival, which ended on Saturday November 23, encompassed venues such as King Mohammed V Theatre, Palais Tazi, Villa des Arts and Salle / Club Renaissance, which are all located in the centre of Rabat.

Year after year, the festival continues to spread its colourful wings, allowing its curators and experienced professionals to bring together an array of diverse talent while ensuring effective / fruitful networking and collaborations among all categories of participants.

“The sixth edition also featured conferences on various themes, panel discussions, presentations, speed meetings, round table deliberations, formal / informal training workshops, professional meetings and networking”, said director El Mazned.

“Aware of the wealth of this intangible capital, Morocco is resolutely committed to making arts and culture a lever of its development in accordance with the vision of His Majesty King Mohammed VI”, continued Mohcine Jazouli, Minister delegate to the Minister of Foreign Affairs, African Cooperation and Moroccans Resident Abroad. 

Topics considered during the discussions and presentations, which were held at the Institut Français, Instituto Cervantes, Place de la Grande Poste and Palais Tazi include “Role of Universities and Educational Institutions in the Cultural Field”, “Copyright – A Right, Not a Due” and “Markets and Festivals”.

Others are “Culture at the Heart of Social Peace”, “Positions Held by Women in the Music Industry”, “Music as a Driving Force for Sustainable Development in Morocco” and “The Role of Young People in the Territorial Development Process”.

Dozens of concerts in various venues, which started on schedule, revealed the explosion of creative power as well as sharp and witty improvisations, collaborations and top-notch compositions that left audiences, which comprised people from all walks of life asking for more.

“The development of the music sector in Morocco and Africa requires as a priority, the strengthening of capacities of the cultural actors and support must be provided to the various components of this sector, whether they work at the level of creation, production or distribution”, added Younes Boumehdi, president of the HIBA Foundation in Morocco.

Pictures – Visa For Music

By John Owoo

(In Rabat – Morocco)

Fra Band, a Ghanaian Afro fusion group mesmerized a capacity audience on the final day of Visa for Music Festival with a dramatic synthesis of Highlife, Rock, Soul, Jazz and Afro Beat.

In a magnetic performance at Club Renaissance, an arts hub in the center of the Moroccan capital Rabat, the group captured the imagination of the audience with a continuous stream of music that is unique and utterly compelling.

With intricately woven / intense acts that kept all corners of the stage constantly busy, members of the group managed to engage the attention of the audience, who virtually joined in the performance as they stood in awe of talented young men sharing their passion.

“Unquestionably Fra is one of the hottest bands that participated in the 2019 edition of Visa for Music Festival. More than half of the audience seemed to be dancing from the beginning to the end of the concert”, said Lucien Jacquemot, a teacher from Paris, France.

Performing at Salle Renaissance, Zimbabwean singer / bassist Edith Weutonga exhibited a vibrant rendition of Jiti, Chimurenga and Shona music spiked with elements of rumba, jazz, calypso and reggae.  

Showcasing dexterity on her bass guitar, Weutonga alongside rhythm guitars, congas, percussion, drums and keyboards swayed the crowd with sustained Zimbabwean resonances thereby bringing the Southern African country into sharp focus.

Earlier, Salle Renaissance witnessed yet another soulful voice during the performance of Soufiane Nhass, a Moroccan singer who literally set the hall ablaze with pop and Arabic music through his own musical style and improvisations.

Also an author, composer and performer, Nhass inundated the hall with gentle pulses together with slow paced songs that equally projected the power of his voice while serene, methodical grooves and melodies filled the air.

Held under the auspices of King Mohammed VI, Visa For Music aims at promoting the constitution of a music marketplace in Africa and the Middle East in order to offer greater visibility as well as an environment that favours creativity and professionalization in the cultural sector.

Directed by Brahim El Mazned, the festival is also a means to galvanize the cultural and creative industries of the concerned region in order to stimulate their economy while providing platforms for musicians to showcase the artistic creations and the stimulation of intellectual dialogues. 

By John Owoo

(In Rabat – Morocco)

The Tune, an all female band from the Republic of South Korea with a flashing charismatic singer charmed a capacity audience at the Visa for Music Festival, which ended last Saturday in the Moroccan capital Rabat.

In a performance at Palais Tazi, the five-piece band with members who are all multi instrumentalists and singers, exhibited a curious blend of Korean traditional music, jazz, contemporary, gypsy and shamanistic music, which recalled ancient Korean traditions.  

Clad in all white costumes, the group involved the audience in the performance who gracefully provided a chorus to one of their tunes as the Haegeum, a traditional instrument alongside various percussive instruments and piano traversed the cool night air. 

Gorgeously focused voices and instruments that emanated from the stage dazzled the audience, who simply cheered as the lead singer picked up cymbals while proving her dexterity with diverse instruments.

The performance really provided an insight into Korean traditional and folk music and its contemporary extensions – it was a magical show”, said Steve Jones, a musician from the United Kingdom.

Inspired by traditional melodies from Northern Mali and Southern Algeria, Touareg guitarist / singer Kader Tarhanine together with his group enchanted the audience with diverse rhythms gracefully crafted into modern Touareg music.

With lyrics on love, peace, exile and the desert, Tarhanine, who was obviously immersed in his guitar, charmed the audience with a cool technique that resulted in vocal quality and melodic power, which created a sense of admiration.

French Oud player Léo Fabre-Cartier together with Araw N Fazaz group treated the audience to Amazigh music, which comprises traditional and popular genres of Berber ethnic groups in various North African countries.

Together with a female vocalist, the group sent nostalgic feelings to members of the crowd who are familiar with this rather astonishing form of music that is largely unknown around the world.

Held under the auspices of King Mohammed VI, Visa For Music aims at promoting the constitution of a music marketplace in Africa and the Middle East in order to offer greater visibility as well as an environment that favours creativity and professionalization in the cultural sector.

Directed by Brahim El Mazned, the festival is also a means to galvanize the cultural and creative industries of the concerned region in order to stimulate their economy while providing platforms for musicians to showcase the artistic creations and the stimulation of intellectual dialogues.