Wan Fambul/One Family Artist Profile – Saba Saba

Posted on May 10, 2012 by Hannah Ewing

This profile of Saba Saba is the final entry in our new Artist Profile series, intended to introduce each contributing musician featured on the Wan Fambul/One Family benefit album. This compilation is available for a donation, with all proceeds going to the groundbreaking grassroots peacebuilding efforts of Fambul Tok in Sierra Leone.  You can catch up on all of our other great artists by visiting the Wan Fambul blog page.

Saba Saba

Saba Saba, Ugandan hip hop/Lugaflow artist & cultural activist, has been performing since 1994. Performing as Krazy Native, he was a founding member of the Bataka Squad, a Ugandan hip-hop group that originated the use of the Luganda language in hip hop music (Lugaflow). Saba Saba established himself as a solo artist with 2005 release of Tujja-Babya, a song on his album by the same name. Tujja-babya (meaning “to breakthrough” in Luganda) earned him a nomination for best hip-hop artist and song at the 2006 Pearl of Africa Music Awards. His music addresses daily struggles and triumphs of African life, while honoring his African culture through the use of his native language and musical references to traditional music and drumming. He co-founded the Ugandan Hip Hop Foundation and since 2003 has organized a yearly hip-hop summit in Kampala Uganda.

Saba Saba has been a guest artist and speaker at numerous events in Africa and the United States representing Uganda through his music and lectures on African culture and music. Highlights include his 2005 participation as a representative of Uganda at the UN’s first African Global Hip Hop Summit in Johannesburg, South Africa, his 2007 performance alongside Michael Franti and a crowd of 70,000 at the Power to the Peaceful festival in San Francisco and most recently in March 2008 he performed and served as a panelist for Harvard University’s Conference “African Youth Development through Art and Technology – The Role of African Hip Hop.”

Saba Saba sees corruption as the most important issue Uganda is facing and directly confronts the issue in his music.  He encourages people to “come visit Uganda and experience everything his homeland has to offer, including his homeland’s rich musical heritage, not to mentions its wonderful weather.”

His current music projects include a solo album titled “Cup of Coffee With Idi Amin” and a collaboration with the internationally recognized artist DJ Spooky.

To learn more about Saba Saba, visit his webpage.

Click here to learn more, sample or download Wan Fambul/One Family .

Bio compiled by Marshall Henry of Modiba Productions.

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Wan Fambul/One Family Artist Profile – Dengue Fever

Posted on May 3, 2012 by Hannah Ewing

This profile of Dengue Fever is the twelfth entry in our new Artist Profile series, intended to introduce each contributing musician featured on the Wan Fambul/One Family benefit album. This compilation is available for a donation, with all proceeds going to the groundbreaking grassroots peacebuilding efforts of Fambul Tok in Sierra Leone.  Take a look at our earlier post on Sierra Leone’s Refugee All Stars, and be sure to keep an eye out for next week’s profile, Saba Saba !

Dengue Fever

Even when you consider the cultural cross-pollination that goes on in large metropolitan areas, Los Angeles’s Dengue Fever had perhaps the strangest genesis of any band in recent memory. It’s odd enough for a group of white musicians to cover psychedelic rock oldies from Cambodia, but finding a bona fide Cambodian pop star to front the band — and sing in Khmer, no less — is the kind of providence that could only touch a select few places on Earth. Formed in L.A.’s Silver Lake neighborhood in 2001, Dengue Fever traced their roots to organist Ethan Holtzman‘s 1997 trip to Cambodia with a friend. That friend contracted the tropical disease (transmitted via mosquito) that later gave the band its name, and it also introduced Holtzman to the sound of ’60s-era Cambodian rock, which still dominated radios and jukeboxes around the country.

Since their inception, the band’s unique take on 1960s Cambodian pop and American surf rock has garnered praise and attention from fans and critics alike. True Blood named an entire episode after one of their songs and featured the band’s music throughout the show, Spin highlighted the band in their ‘Breaking Out’ section, and profiles on the group have appeared in the New York Times, Magnet, Wired, and NPR’s “Fresh Air” and Radio Australia. Ray Davies from the Kinks called them “a cross between Led Zeppelin and Blondie.”

The band is very much inspired by the political climate that spawned 1960’s Cambodian pop-music: “These original musicians were killed for playing music. By shining more light on this incredible body of work, it allows more people to learn what happened when Pol Pot and the Khmer Rouge took over Cambodia. It must never happen again.”

Dengue Fever is comprised of Cambodian songstress Chhom Nimol, Zac Holtzman (guitar/vocals), Ethan Holtzman (keyboards), Senon Williams (bass), Paul Smith (drums) and David Ralicke (horns). They have released three albums, Dengue Fever, Escape From Dragon House Venus On Earth and the DVD/CD soundtrack to the band’s documentary Sleepwalking Through The Mekong, in addition to a collection of lost Cambodian classics, Dengue Fever Presents: Electric Cambodia. Their debut release on Fantasy Records, a division of Concord Music Group was released in April 2011.

To learn more about Dengue Fever, visit their webpage.

Click here to learn more, sample or download Wan Fambul/One Family .

Bio compiled by Marshall Henry of Modiba Productions.

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Wan Fambul/One Family Artist Profile – Sierra Leone’s Refugee All Stars

Posted on May 1, 2012 by Hannah Ewing

This profile of Sierra Leone’s Refugee All Stars is the eleventh entry in our new Artist Profile series, intended to introduce each contributing musician featured on the Wan Fambul/One Family benefit album. This compilation is available for a donation, with all proceeds going to the groundbreaking grassroots peacebuilding efforts of Fambul Tok in Sierra Leone.  Take a look at last week’s post on Mashrou’ Leila, and be sure to keep an eye out for our next profile, Dengue Fever!

Sierra Leone’s Refugee All Stars

As they languished in a squalid refugee camp in Guinea during the brutal civil war in Sierra Leone of the 1990s, the members of Sierra Leone’s Refugee All Stars, could not have imagined what the future would hold for them. In just five whirlwind years, the group has been the subject of an acclaimed documentary film, toured the world to support a critically revered album, appeared on the Oprah Winfrey Show, had their music featured in a major Leonardo DiCaprio film, and shared the stage and studio with Aerosmith, Keith Richards and other international stars. SLRAS have risen like a phoenix out of the ashes of war and have captivated fans across the globe with their uplifting songs and pure energy live shows. The band is a tangible example of the redeeming power of music and the ability of the human spirit to persevere through unimaginable hardship and emerge with optimism intact.

In the mid 1990s, band-leader Reuben Koroma and his wife Grace found themselves in the Kalia refugee camp near the border with Sierra Leone, and joined up with Francis John Langba (aka Franco), another musician in the camp, to entertain their fellow refugees. Even the refugee camps were not safe havens, however, as they were attacked by the Guinean military and civilian militias who believed the camps were being used as staging ground for cross border attacks by the Sierra Leonean rebels. Eventually, Reuben, Grace and Franco ended up in the more stable Sembakounya Refugee Camp, and there they put the call out for musicians to audition to form a band. After a Canadian relief agency donated two beat up electric guitars, a single microphone and a meager sound system, Sierra Leone’s Refugee All Stars were born.  The next three years saw the fledgling band being relocated from camp to camp, bringing much needed joy to fellow refugees with their heartfelt performances (The award winning eponymous documentary film chronicles this period).

The war in Sierra Leone came to an end in 2001, and over time the All Stars returned to Freetown, where they met other returning musicians who eventually joined the band’s rotating membership. It was there in the tin-roofed shacks of Freetown’s ghettos that SLRAS recorded tracks that ended up, along with unplugged recordings made in the refugee camps, being the basis for their debut album, Living Like a Refugee, which was released on Anti-Records in 2006.

Despite their success, back home in Sierra Leone it was becoming clear that even though the war was over, there were still difficult challenges to overcome the world’s third poorest country – this has only strengthened the resolve SLRAS to do what they can to turn their country around. Their weapon in this struggle is music, and their message, while offering critique and condemnation of wrongdoing, remains positive and hopeful. Optimism in the face of obstacles, and the eternal hope for a better future motivates their lives and music.

“It’s been a long struggle out of the war, out of miserable conditions,” notes Koroma, “So now we are trying to develop ourselves as a band and be based in our country. We are really moving towards finding ways of elevating ourselves somehow. But we do not just think about ourselves alone, we try to bring out sensitive issues that are affecting the world. It is all of our responsibility that the masses are suffering. We bring our positive messages into the world so we can expect a positive change in the world. And, most importantly, bring about peace.”

Their sophomore album “Rise & Shine” displays how much SLRAS have grown since their early days jamming around campfires in isolated refugee camps. The title of the album reflects the band’s desire to remain positive in the face of struggle, always greeting a new day with a spirit of excitement over what the future holds.  Their third album, Radio Salone, will be released in spring of 2012.

To learn more about SLRAS, visit their webpage.

Click here to learn more, sample or download Wan Fambul/One Family .

Bio compiled by Marshall Henry of Modiba Productions.

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Masongbo Peace Mothers on Cassava Production

Posted on May 1, 2012 by Solomon Yarjoh

Immediately after their bonfire and reconciliation ceremonies in Madina village, Masongbo section, Makari Gbanti chiefdom, Bombali district last year, Bombali district staff, like their colleagues in other districts, encouraged community members to work as one family. The idea of peace mothers in Masongbo section was enthusiastically embraced for the fact that women have not been working as a unit in that part of the country.

According to community members, many non-governmental organizations have worked in the section but have failed to bring together all 8 villages to work as one family for the development of the section.

Cassava farm in Worreh Moria, Makari Gbanti chiefdom, Bombali district

Speaking to section chief Pa Alimamy Sorie Kamara, we learned that it has been very difficult for the community to work as one. One of the main reasons, he stresses, is that there is no women’s organization in the region, with the exception of Fambul Tok Peace Mothers. “That was why I personal talked to my colleagues to offer 8 acres of land to Peace Mothers  to plant cassava because this is a new initiative in this chiefdom, “Pa Kamara says.

In a very relaxed mood in Masongbo town, Chairlady of Peace Mothers, Madam Adama Kalokoh, alias Dam Dam, gave a brief background of the cassava project in Worreh Moria. She explained that the cultivation of the 8 acre cassava project started in December 2011, and went on to state that immediately after hosting other Peace Mothers from Kono, Kailahun, Moyamba and Koinadugu districts in an exchange visit in Makeni, they were shocked to learn the progress made by their colleagues as they organised themselves without external support to embark on various activities, and therefore after sharing experiences, they decided to do their own independent cassava project.

She said that initially, it was very difficult to contribute towards food for work as they have no external support but aded that with determination and perseverance,they made headway to actualize and progress the project.

On the question of what plans they have in mind in terms of processing the cassava, she says that will be determined by all peace mothers. Presently, they are weeding the farm to get rid of pests and scare away rodents, and are determined to do more activities this year to challenge other districts.

Madam Kalokoh concluded by extending thanks and appreciation to traditional leaders for offering Peace Mothers land free of cost, while calling on other organizations to support them in their farming activities.

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Wan Fambul/One Family Artist Profile – Mashrou’ Leila

Posted on April 26, 2012 by Hannah Ewing

This profile of Mashrou’ Leila is the tenth entry in our new Artist Profile series, intended to introduce each contributing musician featured on the Wan Fambul/One Family benefit album. This compilation is available for a donation, with all proceeds going to the groundbreaking grassroots peacebuilding efforts of Fambul Tok in Sierra Leone.  Take a look at Tuesday’s post on Bhi Bhiman, and be sure to keep an eye out for our next profile, Sierra Leone’s Refugee All Stars!

Mashrou’ Leila

Formed in 2008, Mashrou’ Leila (Arabic: مشروع ليلى‎ sometimes transliterated as “Mashrou3 Leila”, meaning “night project”) has quickly emerged as one of the most exciting, original and successful bands in Lebanon today – if not all of the Middle East.  The group began without any preconceived expectations when American University of Beirut students Haig Papazian (violin) and Omaya Malaeb (keyboards) posted an open invitation to musicians, looking to jam.  The group’s lineup was solidified with the addition of guitarists Firas Abou Fakher and Andre Chedid, bassist Ibrahim Badr, drummer Carl Gerges, and vocalist Hamed Sinno.  The overnight jam sessions (from which the group got its name) served as an outlet for the musicians to vent the stress of college and the unstable Lebanese political situation.

From these late-night jam sessions Mashrou’ Leila developed their unique brand of Middle Eastern rock that draws on the influences of traditional Lebanese and Armenian music, fused with Western rock music. The group’s 2009 self-titled debut album’s nine songs wittily discuss war, politics, security and political assassination, materialism, lost love, immigration and homosexuality.  Now a major fixture on the Middle Eastern festival touring circuit Mashrou’ Leila has given concerts in Egypt, The United Arab Emirates, Qatar and Jordan.  In the summer of 2011, Mashrou’ Leila released the 7al Romancy E.P., five songs of new material recorded in the abandoned concrete dome in the Tripoli world Fair.

Mashrou’ Leila has taken an active role in promoting causes through their live performances.  For example, in December 2010 to commemorate World Aids Day the band played at a sold-out benefit concert that raised over $20,000 for the HIV/AIDS fund at AUB-Medical Center Out Patient Department.

The band members were all born during the end of the brutal Lebanese Civil War and therefore it is hard for them to fully grasp how the civil war has affected Lebanon.  In regard to the current state of the country, the band explains: “While the civil war has had a tremendous impact on the economy, the damage is secondary when compared to the effect it has had on the average Lebanese citizen’s way of thinking. The civil war has left most of the Lebanese extremely wary of fellow citizens from other sects/political groups. On the other hand, the country remains notorious for it’s party scene, night life and tourist destinations, a somewhat hypocritical curiosity that serves as a testimony to the population’s yearn for life and happiness.”

Mashrou’ Leila sees their music as a first step in helping to unify the divisions caused by the war and the subsequent “decades of turmoil.”  They feel most of Lebanese society’s problems are due to their way of thinking and they hope that “simply bringing some of these issues up will force people to come to terms with the problem.” So far their message seems to be getting across.  The band proudly declared: “fans are identifying with the situations we describe, the images our lyrics create – and for the first time, they feel that there’s something within their culture that represents them, and their thoughts.” However, at the same time Mashrou’ Leila is confronted with conservative people that are “bothered by the honesty of our words – and would like to keep these issues not discussed.”  This “silent treatment” is similar to how they feel the Lebanese media refuses to address certain issues. “We swear in some songs, we sing about intimate sexual details, we talk about unconventional love – people need to come to terms with the real world – it’s not perfect.”

When asked what they thought was important for audiences outside Lebanon to understand they explained: “While people living in North America might be familiar with Lebanon’s political problems, it is important to keep in mind the Lebanese people’s diversity in terms of both lifestyle and way of thinking.”

To learn more about Mashrou’ Leila, visit their webpage.

Click here to learn more, sample or download Wan Fambul/One Family .

Bio compiled by Marshall Henry of Modiba Productions.

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