Tag Archives: activism

BANTU charged and relevant as ever on What Is Your Breaking Point?

It must take a rare kind of resolve to continue to lay down the marker with daring political views as Afrobeat masters BANTU have done over the years, particularly on their latest record What Is Your Breaking Point?

What Is Your Breaking Point? album cover.

This article was written by Gabriel Myers Hansen and originally published on the Music In Africa webpage under a Creative Commons License.

The 13-piece collective’s new album, a brazen 10-track manifesto following 2020’s Everybody Get Agenda and2017’s Agberos International, not only strips back dire social circumstances that have bedevilled [insert African country] but also works as the soundtrack to an impending revolution.

What Is Your Breaking Point? is rooted in traditions originally plotted by Fela Kuti, and sees BANTU devotedly playing to the strengths and identity of Afrobeat. Mainly via the charisma of frontman Adé Bantu’s voice, the project bursts with the quintessential Fela-esque fury yet hopeful vision of Nigeria, driven by frantic percussion work, charged horn sections and biting allegories conveyed in English, West African pidgin, and Yoruba.

Shorn of filler verbiage or breathers, the collection invites listeners to engage with Africa’s dynamic political landscape while underscoring the transformative muscle of music, diving headfirst into the key issues: corruption, blind imitation of Western culture, the troubling perpetuation of gender norms and the danger of remaining silent.

Largely, when Afrobeat takes on the ‘S’, it paints a vain and glamorous picture preoccupied with love, sex and other nightlife rituals. Take the consonant away, and it’s serious business. What Is Your Breaking Point?, whose only guest is African-American rapper Akua Naru, does precisely this.

The feverishly paced ‘Wayo and Division’ kicks things off, tackling an integrity deficit among Africa’s leadership, which is often characterised by a strategy of deceit and division. ‘Japa’ is a cautionary tale against the mass exodus of Africans to the West, highlighting the perils of illegal migration and the illusory promise of greener pastures. “You just dey run from frying pan to fire,” a line goes. 

‘Ten Times Backwards’ rues the crippling of many an African dream by regressive structures, while ‘Worm and Grass’ returns to the topics of duplicity and manipulation among the ruling class. ‘Borrow Borrow’ examines the aftereffects of Western imperialism, while sobering revelations on ‘Africa for Sale’ summon more troubled sighs.

How much longer must this continue? When do we collectively decide that enough is enough? This is the focus of ‘Breaking Point’, and the question that shines throughout the project.

Focus track ‘Your Silence’, a sublime and reflective highlife (or Afrobeats) offering, resonates with the sentiments of German Lutheran pastor Martin Niemöller, invoking a connection to Niemöller’s famous quote on the Nazi atrocities. “First they came for the socialists, and I did not speak out – because I was not a socialist. Then they came for the trade unionists, and I did not speak out – because I was not a trade unionist. Then they came for the Jews, and I did not speak out – because I was not a Jew. Then they came for me – and there was no one left to speak for me,” Niemöller mourns.

The song prompts introspection and encourages listeners to consider the consequences of silence in the face of injustice. “The silence no go protect you,” is how BANTU puts it.

The project closes out with ‘We No Go Gree’, which retains the urgent ardour it commences 45 minutes earlier. “The political elites have only been concerned with short-term benefits,” Adé declares in his parting message, although if you are an African, this goes without saying. “We must take back our freedom, our voices and our future.”

These days, commentary surrounding governance on the continent can feel like a broken record, seeing how poorly a number of African countries have been run for decades. And so, while this new project, a fearless Afrobeat album of political resilience, represents an urgent and valuable perspective on the problem with Africa’s administration, I wonder how many more BANTU albums must arrive in the coming years to catalyse true transformation. As Sam Cooke once sang, “A change is gon’ come”, but when?

The answer remains vague, but until then, the struggle continues. Aluta continua!

Topeka musician navigates society through lyrics, activism and joy

This article was written by Sam Bailey and originally published on the Kansas Reflector webpage under a Creative Commons license CC BY-NC-ND 4.0.

Marty Hillard appears for a July 12, 2023, recording of the Kansas Reflector podcast in downtown Topeka. (Sherman Smith/Kansas Reflector)

TOPEKA (USA)— Marty Hillard has seen firsthand the ways systemic racism can destroy and consume lives, but the Topeka musician, who writes about resilience and advocacy as he holds a lyrical mirror to the Midwest, is determined to experience joy and help others do the same.

Hillard, director of community engagement at Kansas Children’s Discovery Center in Topeka, has worked in the community to combat police brutality and is a member and lyricist of the hardcore hip-hop trio Ebony Tusks, whose music often speaks on resilience and advocacy.

“Freedom is very important to me; joy is very important to me,” he said during an interview for the Kansas Reflector podcast. “These are things that I’m actively seeking out, despite what I might have experienced in the past, or what I may continue to experience as a Black man in America. I am resolute in finding joy, in as many experiences as possible for all of the years that I was sort of lost in my indignation.”

Through his work at the discovery center, he helps provide children and families learning opportunities through play. One partnership is with the Kansas Department of Corrections: Every few weeks, women who are incarcerated can spend the day and play with their children. Additionally, sensory friendly Sundays allow children on the autism spectrum to experience the center if they are unable to attend during regular hours.

“While the primary goal is for there to be an environment of play where learning can occur, it’s just really exciting to see people engaged in joyful experiences … and ones that they see themselves reflected in,” Hillard said.

Activism against violence

On Sept. 28, 2017, two Topeka police officers shot and killed Dominique White, a Black man. The officers were responding to a report of a disturbance in a park when they confronted White and noticed he had a gun in the pocket of his shorts. The officers shot White in the back as he ran away from them, and the district attorney cleared them of any wrongdoing.

Hillard, who knew members of White’s family, said the community was frustrated with not only White’s death but the level of violence in the city. In 2017, Topeka recorded 29 homicides, breaking the previous record from 1994, according to a Topeka Capital-Journal article.

The list includes homicides that were considered to be justified — such as police shootings.

“A big personal concern is knowing that as much as violence occurs in our society, at the hands of one citizen to another, I think it’s of the same importance that we recognize the violence that’s enacted by our local police department,” he said. “And so I think that’s a big part of why I wanted to get involved.”

From December 2017 through April 2018, Hillard helped organize No Confidence, a series of workshops allowing for members of the community to share their experiences with local law enforcement and give honest feedback.

Growing up in central Topeka, Hillard said he has a personal history of negative interactions with past iterations of the Topeka Police Department. He said being a part of a marginalized group can be all-consuming, but a lot of that has changed for him as he focuses on joy.

“There’s a point where you get exhausted being on fire all the time, being angry and feeling like you have to carry the weight of how you’re being perceived in the world around you,” Hillard said.

Hillard said while he can’t withhold realities of being a Black man in America from his child, he is grateful to be able to raise an emotionally intelligent child who can draw their own conclusions based on observation.

“We are very determined that as much as it’s a priority to want to protect your child’s innocence,” he said, “we also have to equip our child in a way that they can navigate the world as it exists, and they can have a better understanding of not only the world around them, but the world that my wife and I were raised in and the experiences that we’ve had.”

Marty Hillard, director of community engagement at Kansas Children’s Discovery Center and member of Ebony Tusks, uses music to spread messages of activism and resilience. In 2017 and 2018, Hillard worked in the community to try to combat systemic racism after the death of Dominique White. (Sherman Smith/Kansas Reflector)

Reflecting society through music

Hillard and his sister grew up singing songs on the radio and worship songs in church. When he was 11, Hillard and his brother started a rap group, and soon after, Hillard learned how to play guitar and began writing folk music and poetry.

In 2010, Hillard, Daniel Smith and Geese Giesecke formed Ebony Tusks. The hardcore hip-hop group often writes about resilience and activism through the lens of Kansas and Missouri, Hillard said.

Hillard said as a poet and rap writer, what he says is more than just words, so sometimes lyrics take years to write.

“I recognize a deep sense of responsibility to the words that I say,” he said. “And so I just want to make sure that I’m saying things that are really meaningful.”

Hillard said the words in Ebony Tusks songs are not only a reflection of the world around them but themselves, and he hopes that if there’s a message to be found in his lyrics, it’s that “our music becomes a vehicle for people to do that same analysis on themselves.”

Their music is available on Apple, Spotify, YouTube and other streaming platforms.

In April, Hillard’s friend Jeff Ensley, 45, died by suicide. Ensley was an important factor in Hillard pursuing music and a huge positive force in Hillard’s life. Hillard is designing a tattoo for a lyric in the song “You are Invited” by The Dismemberment Plan, a band Ensley showed Hillard a few years before he died.

“The lyric is: ‘You are invited by anyone to do anything. You are invited for all time,’ ” Hillard said. “And as I reflect on his life and the permission that he gave me to be the person that I am today, that lyric has become really important.”

Digital rights activist groups urge tech giants to defend against Hong Kong’s injunctions against protest anthem

This article was written by Oiwan Lam and originally published on the Global Voices webpage on the 24th of June 2023. The article is republished here in accordance with the media partnership between Global Voices and Shouts.

A screenshot from the orchestra version of “Glory to Hong Kong” on Youtube Blackblog channel.

After Hong Kong’s High Court postponed the hearing of the Department of Justice’s (DoJ’s) application for injunctions for a complete ban on the protest song “Glory to Hong Kong,” the DoJ set up a counter at the Wan Chai police station, inviting anyone who opposes the injunctions to register and receive copies of the relevant documents by June 21, 2023. 

The registered parties will be given another week to prepare for their submission to the court before the hearing reopens on July 21, 2023.

On the last day of the registration, more than 24 overseas human rights and digital rights groups issued an open letter urging international tech firms, including Apple, Google, Meta, Twitter, and Spotify, to “intervene and oppose the injunction,” stressing that it would have a “disastrous effect” on freedom of expression and information access, with global implications. 

The injunctions, once passed, would force online platforms to take down the protest songs. While the DoJ stressed that the Hong Kong government was not aiming for a global takedown, human rights and digital rights groups suggested otherwise. 

In the open letter, the groups pointed out that Meta was forced to remove content globally for 50 instances between July 2020 and June 2022. Also, evidence suggested that the Hong Kong authorities were monitoring social media content posted from overseas — in March this year, a 23-year-old student who studied in Japan and returned to Hong Kong was arrested for her Facebook posts. She was eventually charged with committing acts with “seditious intention” even though she was not in Hong Kong when she published the posts.

The groups thus stressed the “growing tendency of Hong Kong authorities to apply abusive laws outside Hong Kong’s territory.

Citing Google’s legal action in Canada over a global content removal request (Google v. Equustek Solutions Inc.), the groups urge tech giants to take similar actions to oppose the Hong Kong government’s injunctions: 

“It is critical that internet intermediaries take a collective stance against Hong Kong’s censorship.”

In the court case between Google and Equustek Solutions in 2017, Canada’s Supreme Court ruled that Google must block certain search results worldwide, but a U.S. court told Google not to comply as the Canadian court order violated the U.S. law to protect free speech. 

Official versions of the protest anthem “Glory to Hong Kong” abruptly vanished from major music streaming platforms on June 14, two days after the initial injunction application hearing. This triggered a panic that the song might be taken down across the internet.

The creator later explained that the move was to address some non-platform-related technical problems. One week later, on June 20, the creator uploaded the 2023 edition of the protest song with ten different versions to all platforms and stressed that the creative team opposed any act that curbs freedom of speech and thought. 

The DoJ’s injunctions seek to prevent anyone from broadcasting, performing, printing, publishing, selling, offering for sale, distributing, disseminating, displaying, or reproducing the protest song in any media form, including on the internet that might (a) incite secession or sedition intentions, and (b) mislead others into thinking the song is Hong Kong’s national anthem or insult the national anthem. A list of 32 YouTube videos, which are different versions of the protest song, was attached to the writ.

Thus far, none of the big tech companies has responded to their users’ concerns, nor the Hong Kong government’s legal action.

Meanwhile, the Hong Kong Journalists Association stated that it would consider stepping into the court as an interested party in the injunction hearing on the protest song. The organization stressed its role as an interested party rather than a defendant, as it had no intention of distributing the song. Its bid is to protect press freedom by asking the court to exempt journalistic practice from the injunction orders. 

Advox

This post is part of Advox, a Global Voices project dedicated to protecting freedom of expression online. All Posts