Le Président oublie/ Oublie le Président! Okay I know it's been a while since the last post, but instead of giving you a laundry list of what I've been up to, I thought I should jump right into what's up and on my mind at the moment. I'm actually coming full circle back to my last post on the FESMAN because the official launch of the nine-month pre-festival events was a free hip hop concert that Duma dragged me to last night. Among the notable performers was our fabulous rapper friend, Moona, the lauryn-esque Njaaya and DJ Awadi (the title of this post is one of his lines, translated as: the President forgets/ forget the President). Our friend Tinari plays drums for both of them - which is why I found myself standing outside in the cold (everything is relative) at 1am on a Monday morning (Duma, you still have to name your first child after me - here's hoping it's a girl). Anyway, I'm glad I did because it was refreshing to hear the bold political commentary in the lyrics and reflected in the audience. I already know how hip hop has influenced politics here, but it's been cast as somewhat of a dead dynamic.

Senegal's local elections are coming up on March 22nd and my neighborhood's walls are graffiti'd with the names of candidates and slurs against their rivals. It is both fascinating and a bit depressing to consider the difference between the U.S. electoral process (local or presidential) and what goes on here. I have not heard one debate, not seen one poster listing goals, not even seen any superficial marketing ploys associating candidates with acts of charity or social programs....Granted I don't have a TV here - something tells me I am not missing any kind of political forum. I have heard mixed reviews about the upcoming local elections. Some people are excited by the fact that, for the first time, the candidates are comprised of some professionals (many from the private sector) instead of the same old career politicians. However, I've also heard that pretty much everyone, including the so-called 'opposition,' has some affiliation with either the current regime or the former regime and is therefore not really fresh blood. Of course the most controversial aspect of the elections is the fact that the president, Abdoulaye Wade's, son, Karim, is running for Mayor of Dakar. Many see this as sign that he is being groomed to 'succeed' his father. This begs the question: what is the real difference, if one exists at all, between monarchy and political dynasties (Kennedy's, Bush's...)? Is one more acceptable than the other?

We had a guest speaker come and talk about democracy in Senegal for one of our courses today. His appraisal of Senegal as a transitional democracy a step above arbitrary rule and a step below actual rule of law was dead on, in my opinion. A student asked about the residual affects of colonial rule and the lecturer made a great point in response. He said that without a sense of national pride a country cannot develop independently. And it is clear that Senegal lacks this sense of pride and autonomy. He said, ministers who send their pregnant wives to France or the U.S. so that their children can be born French or American are doing exactly the same thing that young people boarding pirogues to cross the ocean to Spain are attempting to do. Both demonstrate a total lack of faith in the future of their country. Why, then, are we so shocked when these kids risk their lives to leave Senegal? When Wade retires he will likely move to France with his French wife, just as Senghor and Diouf did before him. If even the political elite don't have a stake in the country's future, then who does? Oh yeah, China!

Ok, ok...enough politicking. On a more begge note (begge, Wolof for fun, happy, everything good in life), I went to a Seun Kuti concert on Friday and got a pic with Fela's son!

More begge to come....

If you’ve ever wanted to come to Senegal, December 2009 is IT: Listen up everyone and listen well! In December 2009 Senegal is going to make history again by hosting the third edition of the World Festival of Black Arts (FESMAN III). The first edition of the festival was in Dakar in 1966 and featured world renowned artists. Here is a look into the history provided on the website:

FESMAN ’66 was in essence a thunderbolt: the Festival was the visible, tangible product of the years spent by Black peoples to win back their dignity. It delighted the audiences and critics who were sufficiently open to understand its importance. And this great event took place in an African land that had only recently been returned to African rule, in a creative explosion that brought together a range of disciplines and different generations.

Whether or not they were in favour at the time of the concept of Negritude in theory, the artists and intellectuals taking part in the Festival nevertheless kept their artistic promises. Where else, if not at the FESMAN, could one have then found both the American Negro Dance Company with Arthur Mitchell and Alvin Ailey, the great Bahia capoerists such as Mestre Pastrinha alongside the Senegalese National Ballet Ensemble? Where else could audiences have listened to the two great stars Duke Ellington and Marion Williams, along with Julie Akofa Akoussah and Bella Bellow, both unknowns at the time, and a Samba queen such as Clementina de Jesus? Under what other circumstances could the international literary jury members Aimé Césaire and Langston Hughes have awarded prizes to the writers in their thirties Tchicaya U’Tamsi (for Epitome) and Wole Soyinka (for The Road) and to the author of a first book published the previous year, entitled No Easy Walk to Freedom, by a certain Nelson Mandela?

FESMAN II, hosted in Lagos, Nigeria in 1977 was also a worldwide hit and a step forward in the creation and fortification of our most cherished black art institutions:

The programmes were once again exceptional. In the field of music in particular, the FESTAC caused a sensation, with not only a retrospectively impressive line-up (Stevie Wonder, Myriam Makeba, Gilberto Gil, King Sunny Ade, Gil Scott-Heron, Tabu Ley Rochereau, Sun Ra, mPongo Love, Carmen McRae, Pépé Felly, Caetano Veloso, Donald Byrd, Hoballadii Waaberi, Isaac Hayes, Les Amazones de Guinée, Randy Weston, Mighty Sparrow and Sidiki Diabaté to name just a few), but also an unprecedented impact from the South to the North of the planet, owing to the development of radio, records and cassettes…

The other disciplines were not to be overshadowed, particularly in the IN, which notably saw the confrontation of the first fruits of cultural development initiatives undertaken by African States during the first FESMAN (schools and centres for choreographic and theatre creation and the visual arts) as well as by independent companies and movements in the United States, Brazil and the Caribbean, which were also often facing difficulties in their respective countries to achieve recognition of their specific requirements and commitments (for example the Americans Angela Jackson and Barbara Ann Teer, the founder of the National Black Theater of Harlem, the Brazilian Abdias do Nascimento, etc.).

To read the full history of FESMAN click here. Watch excerpts from the famous William Greaves documentary on FESMAN ’66 and the Peter Gaunt documentary on FESMAN ’77.

FESMAN III will be held from December 1^st to December 21^st, 2009 in various venues throughout Dakar and the rest of the country. Although the full program has yet to be unveiled on the website, it has announced that several notable figures and artists do plan to attend: Manu Dibango, Césaria Evora, Danny Glover, Salif Keita, Tracy Reese, Youssou N’Dour, Sidney Poitier, Gilberto Gil...to name a few.

So I invite you all to come to Dakar anytime, but especially in December! The sooner you buy your tickets and confirm with me the better.

And if you’re not impressed by my invitation, here’s one from Mr. Abdoulaye Wade, President of Senegal:

I chose a theme of great relevance: “the African Renaissance.” Indeed, Motherland Africa has the duty to contribute to the emergence of a universal civilization, in which all cultures are represented in order to share and to grow. I am certain my Senegal, along with the Teranga (hospitality) of its citizens, will help in this regard. This meeting will be decisive. It will be a display of brilliance of Black World fertile creativity. It will also be a moral rebirth and a mobilization of all forces towards Africa’s development…

I call all Africans, all the sons and daughters of the Diaspora, all my fellow citizens, all the partners that are ready to walk by our side, all States, all international organizations, foundations, firms, etc. for a shining success for this Festival, and for the rise of a new Africa.

His Excellency Maître Abdoulaye Wade
President of the Republic of Senegal
FESMAN 2009 Honorary Committee President

Music and Politics: Senegal is often lauded as one of (if not the most) stable democracy in West Africa. In 2000 when former opposition leader and current president, Abdoulaye Wade, won against the leader of the 'socialist' party who had been in power for 20 years, it truly was a free and fair shift of power. What many people don't know is the important role artists, especially hiphop artists had in that transition. Hiphop in Senegal is still very political. The other day when I was talking to students in the program about the interesting comparison between the now extremely commercial phase of hiphop in the U.S. and the still politically relevant content of hiphop in Dakar, I felt like I was met with a room of blank stares. Hiphop as a social resource? Huh? Anyway, the apparent lack of basic knowledge about the evolution of hiphop in the U.S. just confirmed my point. In Senegal on the other hand, those labeled as 'hiphop artists,' whether in the realm of rap, graffiti, breakdance, or even traditional senegalese wrestling are known for their social commentary (interestingly enough, a famous wrestler here who named himself Tyson and is known for draping himself in the American flag has played a major role in expressing the political rebellion of Senegal's hiphop generation). When Wade ran in 2000 he had the full support of this outreach machine. When he ran again this past summer it was another story. Now, after mismanaging the country's limited funds and trampling civil liberties (sound familiar?), Wade has become the last politician on earth these artist want to mobilize popular support for (well, maybe not the last). Just a few days ago El Malick Seck, a local newspaper editor, was sentenced to three years in prison for running an article allieging that Wade and his son were involved in money laundering from Cote D'Ivoire. With the media being practically shut down by Wade and his pack, it is quite possible that hiphop is the only channel left to voice the disenchantment of the people.

Luckily we Americans don't have to worry about the depressing effects of a coopted media - we're democratic and free!! (note the sarcasm)

If you have time on your hands and happen to find this topic interesting, check out this series of short documentaries about politics and hiphop in Dakar around election times. The series, Democracy in Dakar, was produced by a former student from our program and features, Serigne Ndiaye, my colleague here in Dakar.

On another note....In defense of Salsa Dancing: Last night I danced the night away with friends to a live Orchestre Baobab performance. ("Ramadan's a-comin - got to get your fun in while you can" seems to be a popular sentiment right now). I'm not sure how familiar people are with Orchestre Baobab, but many of their classics have very latin-sounding rhythms (which, of course, are just cyclng back to their African roots). So the main way to dance the night away to Orchestre Baobab is to salsa with a partner. Now although dancing face to face with a partner does make one vulnerable to sweaty, hairy-chested, old French men approaching you out of nowhere, it also has many social and artistic advantages. To name a few: 1) Conversation: Conversation actually precedes physical contact in this alternate universe of dancing! Men actually approach women, offer a hand, and ask. From there the possibilities for further verbal exchange are limitless: "I'm Christian from Berkley. I work for a women's microfinance NGO.... I'm Courtney .... I have 53 students who arrived last week....etc." 2) Dance Steps: You can either know what you're doing ahead of time or learn as you go, following the lead of your partner (who you can see!). 3) Twirls and other fun surprises: If you are lucky to have a good partner who knows how to dance you will be twirled, dipped, and whipped around like it's nothing. Your partner can make you look good. Plus there is always room for little garnishes of hand movements, dramatic facial expressions and head tosses.

This, silly as it may seem to readers over 40, is my defense of a breed of social dancing that seems to be dying. Young people: Keep hope alive! Take a salsa class and download some Orchestre Baobab.

C'est tout.

Oh, and I totally have my parents to thank for teaching me what dancing with someone should be. Mom and Dad, thanks for that (and everything else too, of course).