Tag Archives: Africa

In Togo, singer Elias Atayi uses music as a vehicle for human rights

This article was written by Jean Sovon and translated into English by Alyssa Olivier. It was published by Global Voices on February 6th 2023 as part of their article series about African music. The article is republished here in accordance with the media partnership between Global Voices and Shouts.


Elias Atayi playing the guitar. Photo by Jean Sovon, used with permission.

Elias Atayi is a Togolese musician and singer who uses his music to champion the human rights of women and children.

The protection and promotion of human rights are of the utmost importance for many Togolese, manifesting in the local grassroots activism, arts, and culture scenes. Even as authorities are attempting to improve the situation, challenges remain regarding human rights protections in Togo. Citizens, for their part, are doing their best to construct a state where respect for human rights is prioritized.

This is the case of Elias Atayi, or Eli Amate Ataya as he is known to the state. He is an artist committed to the cause of human rights, a columnist, and co-host of the show Nek’tar on TVT, a Togolese TV channel. He is one of the few artists regularly denounces abuse and raises awareness of the rights of women and children through his music. He uses his art to bring about positive change, as seen in this YouTube video:

Global Voices met with Elias Atayi via Whatsapp to understand more about his approach to activism.

Jean Sovon (JS): Where does this love of music come from?

Elias Atayi (EA): Music is innate and I have practiced it since I was young. Growing up, I went to music classes from Togolese musicians such as Gospel Renya and Edi Togovi. I went to music groups and choruses. I started playing instruments including my guitar, which has always been my faithful friend. I joined the University of Lomé orchestra where I saw many names go through who are now established Togolese artists: Foganne with whom I released Mon Rêve (a song which paints the world in white) and Victoire Biaku (winner of The Voice Francophone Africa).

JS: In your songs, we sense a commitment to human rights. Why do you use your music to address human rights issues?

EA: In 2018, I joined the Documentation and Training Center for Human Rights (CDFDH). During various trainings and activities in the field, my commitment became stronger. With this framework, the opportunity was given to me to compose and record a song accompanying Xonam, an app used to defend human rights. It was a beautiful experience and it reinforced my commitment. The concept is simple: the message and means must be adapted to the goal. If young people like rap, let’s bring them ideas about human rights with rap. I am one of those who thinks that the artist has a big role in achieving the Sustainable Development Goals ODD. The artist is heard, loved, and followed by millions of people. Their message and pleas will therefore have a greater impact and initiate more change from their followers. Because music is found in all homes, and when music is well-played, the lyrics stay anchored in the mind without us knowing it. This is the goal of my work: that the lyrics of songs have an impact on habits and behaviors. During Covid, when the pandemic was at its height, we released two singles (Respecte les mesures and La prophétie) to raise awareness among the population about the pandemic and its harmful effects. The message was well received even if these songs were not hits, I think it’s a start, especially since our means were limited.

JS: What is your impression of the human rights situation in Togo today?

EA: There is still a lot of work to be done, especially in rural communities; millions of people who do not know their rights, women abused without a voice, uneducated children – especially girls. It’s true there has been progress, but we are far from meeting the minimum.The human rights situation in Togo in the 80’s is nothing like the 2000’s. But we must do more to find new strategies, new ways of involving the youth, women, and children. We must bring joy and light to millions of youth in remote areas by organizing various initiatives based on human rights themes, as well as practical training to equip our population. We are ready to hit the ground running.

JS: Besides music, what other ways do you contribute to the advancement to human rights in Togo?

EA: In 2019 I created my organization Equal Rights For All (ERFA) to promote human rights and civic participation in art, culture, and sport. A bet not easily placed given the role art takes in politics. Yes, it takes art to promote human rights because people who do not know their rights will not be able to defend them. Often, people do not know whether the oppressor is violating their rights or not. Therefore they sit powerlessly in situations where they should seek justice for violations committed and demand respect for their rights. Currently, we have outlined several strategies that are very innovative and youthful. We have planned dance competitions, football matches, marathons, film nights, and a series bringing together local comedians around our theme. All these actions are aimed towards young people who are our first priority.

JS: Do you plan on making an album that would be dedicated to this cause?

EA: A 12-track album called Life’s Colors about which we find themes like Child in the Street, Civic Engagement, Peace, No to Violent Extremism, Environment Protection, Equality, etc. I am also focused on authenticity, Africa, its culture, its rhythms. It will be a purely human rights album with African sounds.

JS: Any final words for our readers?

EA: We believe in a better world and we believe that art, culture, and sport can bring a radical change and enormous impact. I am calling on my fellow artists : it is time to convey important messages without too much vulgarity. With what we see and hear today in the media, I fear for our young brothers and our children. Regarding the organization, we have planned a campaign which will be launched shortly on networks followed by strong actions, but I would like to already raise awareness through this interview.

Malian singer Oumou Sangaré set for Apollo Theater debut on 29 October

This article was written by Gabriel Myers Hansen and originally published by Music In Africa under Creative Commons Attribution-NonCommercialCC BY-NC licence.


Malian Wassoulou musician Oumou Sangaré will perform for the first time at the Apollo Theater in New York on 29 October.

📷 Oumou Sangaré

The gig, presented by the World Music Institute, forms part of the US-based non-profit Women’s Voices series celebrating the role of female artists in preserving and promoting their respective cultures and traditions.

It also forms part of Apollo’s Next Movement season of performances throughout this Fall.

The Grammy-winning songstress, who is behind eight albums, will perform songs from her expansive catalogue, including her recent critically acclaimed collection, Timbuktu.

“Over the past eight decades the Apollo has amplified Black voices and used its platforms to create an intersection of art and activism,” Apollo’s executive producer, Kamilah Forbes, said.

“Having Oumou perform a range of music from Wassoulou music to contemporary sounds is exactly the kind of artistic conversation that we champion.”

An activist and businesswoman who goes by the nickname ‘The Songbird of Wassoulou’, Oumou Sangaré’s work spans traditional Wassoulou music and contemporary sounds. Thematically, her music centres on social criticism, particularly women’s low social status.

Her illustrious career has drawn comparisons to global performers such as Jamaican great Grace Jones and US legends Nina Simone and Aretha Franklin. She has also been celebrated by pop stars including Beyoncé and Alicia Keys for her powerful voice and unwavering commitment to the betterment of women.

Tickets are on sale now at www.ApolloTheater.org.


Banned Songs From Nigeria And Uganda Which Represent The Voices Of The People

These songs challenged governments and oppression alike

Fela Kuti Birthday Tribute” Image by Lucy Anne, October 15, 2010 (CC BY-ND 2.0).

This article was originally published by Global Voices on 21st of March 2022 and is republished here with permission of the authors, Richard Wanjohi and Nwachukwu Egbunike.


A little over 6o years ago, African states gained independence from their colonial masters. It was assumed the wind of change would bring with it a new sense of nationalism, common good, and identity. However many of the heads of state and governments almost immediately broke their promise to promote a different form of governance.

Music has always been integral to Africa’s liberation and freedom struggles. In South Africa, anti-apartheid music faced significant censorship Similarly, in Nigeria, musicians stood in solidarity with South Africans, calling for the release of Nelson Mandela or calling out police brutality, while being the voices of protests. These African musicians felt they could not go on dancing when everything around them was not worth celebrating.

They felt a responsibility to use their voice to speak to the times they were living. In the same vein, many countries found their voices with popular groups and musicians, though initially accepted by the authorities, they ended up being sanctioned and/or banned altogether.

In this two-part series, we go into the history of various musicians around the continent whose music was deemed too political and explore why their music was considered so ‘dangerous’ by their governments.

Nigeria

In his lifetime, the late Afrobeat legend, Fẹlá Aníkúlápò Kútì witnessed quite a number of sanctions, court cases, police brutality, and a radio ban on his revolutionary music. Despite the state pressure, he never ceased to dish out the melodies that many Nigerians and Africans all over the world relate to.

In the then military era of Nigeria, it was forbidden for any radio station to play Kútì’s songs and any citizen seen associating with the revolutionary musician either in person or through his songs was deemed an enemy of the state. Once upon a time, Fẹlá’s residence, in Lagos, Nigeria’s commercial capital, known as the Kalakuta Republic was attacked by a thousand soldiers, who committed various wicked acts like raping, stealing, and beating citizens. During the assault, his elderly mother was thrown from a tall building, an incident that led to a broken leg and eventually her death. After that military invasion of his house, Fẹlá released “Zombie” and “Unknown Soldier” in 1981, both songs, dedicated to the soldiers that invaded his house. 

An artistic representation of Fẹlá Aníkúlápò Kútì. Image by Danny PiG uploaded to Flickr on September 11, 2012. (CC BY-SA 2.0)

In 2004, former Nigerian president, Olúṣẹ́gun Ọbasanjọ́ banned the popular themed song of the poverty-stricken nation titled “Jàgà-jágá.” In Jàgà-jágá, a song that went viral even outside Nigeria, Eedris Abdulkareem sang in anger, lamenting the state of the suffering of Nigerians and also the social ills that ensued as a means of survival in the face of abject poverty. The controversial album led to the ban of the song on radio and television, it secured him an invitation to the presidential villa (Aso Rock) in the Federal Capital Territory where the president warned him to desist from releasing songs that ridicule the country and place it in a bad light to the outside world. The artist remained obstinate and aired the president’s request in another song titled “Letter to Mr. President” released the following year.  

Uganda

In 2017, Robert Kyagulanyi Ssentamu also known as Bobi Wine while serving as a Member of Parliament in Uganda’s Parliament released a song titled “Freedom.” Using his platform as a local leader and influence among the urban youth in the country, Bobi’s song sought to address the country’s challenges of overstaying leaders. He mentioned Uganda’s Bush War of the 1980s that saw current president Yoweri Museveni oust Milton Obote. He asked why Museveni is practicing what he fought against — comparing the current government to slavery and the tension to South Africa’s apartheid system.

Bobi Wine by Mbowasport is licensed under CC BY-SA 4.0 

Bobi also questioned the purpose of the Ugandan constitution which he calls the country’s last hope. He mentioned the lack of freedom of expression in the country, urging Ugandans to speak up against injustice with freedom being for all — regardless of age, social class, religion, or education.

One of his more popular songs, “Ghetto,” talks about police brutality against people residing in the slums of Kampala and the inadequate services delivered to them. In April 2019, Bobi Wine under went house arrest, and during this time, he composed another multilingual song about police brutality entitled “Afande,” a Swahili word for an officer.

Since 2018, some of his songs have been banned from being performed, or even played on-air, as state functionaries believed he would use his music for political and promotional purposes. Shortly thereafter, he declared his interest in running for the country’s presidency in elections that took place in early 2021.

Joining him in the elections circuit was another popular musician Joseph Mayanja also known as Jose Chameleone. His entry into politics by declaring his candidacy for the mayoral position of Kampala, saw his concerts canceled. In 2016, the artist turned politician assaulted a journalist and DJ resulting in his music being banned by Trace TV, a French-based music TV channel that airs music across the globe.

Please see part two of this series here.

Find Global Voice’s Spotify playlist highlighting these and other banned songs from around the world here. For more information about banned music, see our special coverage, Striking the Wrong Notes.