19, August 2018
All Africa Music Awards unveils nominees for 2018 0
The 13-man Jury of the All Africa Music Awards, AFRIMA, on Tuesday, unveiled the nominees list for the 2018 edition. The event which held at the Eko Hotel, Victoria Island, Lagos, had officials of the African Union Commission, Jury members and some stakeholders in attendance. The released nominees list covers the five Regional Categories divided into Female and Male categories as follows: Best Female Artiste in Central Africa; Best Male Artiste in Central Africa; Best Female Artiste in Eastern Africa; Best Male Artiste in Eastern Africa; Best Female Artiste in Northern Africa; Best Male Artiste in Northern Africa; Best Female Artiste in Southern Africa; Best Male Artiste in Southern Africa; Best Female Artiste in Western Africa and Best Male Artiste in Western Africa.
A total of 79 songs made it to the Regional nominees list. Cameroon takes up four of the eight spots in the category for Best Female Artiste in Central Africa, followed by DRC (2), and Angola (2). In the category for Best Male Artiste in Central Africa, Democratic Republic of Congo (DRC) takes the lead with five spots followed by Cameroon 2 and Chad 1.
From Eastern Africa, the female category Kenya holds three spots while Uganda takes 2 with Ethiopia, Rwanda and Tanzania occupying one nomination slot respectively. In the male category, Kenya and Tanzania maintain three nominations each Tanzania ties with Ethiopia & Tanzania registering one nomination apiece. The Algerian female artistes have a lead ahead of their male counterparts as they took four out of the six spots in the category for Best Female Artiste in Northern Africa, with Tunisia and Egypt holding one spot each.
The Male category has Moroccan artistes occupying four of the eight spots, Algeria 2, Egypt and Tunisia earning one nomination each. The Southern African region is dominated by South African artistes both in the male and female categories, with a total of nine spots, followed by Zimbabwe- 3, while Swaziland, Namibia, Malawi, and Zimbabwe take 1 spot each. The Western region Male category is having great contenders between Nigeria and Ghana. Holding up 4 spots is Nigeria, closely followed by Ghana (3), while Guinea and Cape Verde hold 1 spot each. The Best Female Artiste in the Western region has Nigeria and Ghana in a tie of 2 spots respectively, with Benin (1), Mali (1), Senegal (1), and Cote d’Ivoire (1).
While providing insights into the process by which the entries were reviewed and graded, the spokesperson for the International Jury of AFRIMA and the Programme Director, Cameroon TV and Radio, CRTV, Mr. Robert Ekukole (representing Eastern Africa) explained that tasked with the responsibility of carefully and mindfully sieving through 8,009 entries submitted by African music professionals within the awards validity period of August 1, 2017 to August 1, 2018, “the jury members have no choice but to be thorough and deliberate about their work because we will be doing artistes and creators of these works a great injustice if we don’t accord them the review their works deserves”, “The AFRIMA Nominees list we arrived at reflects and represents the top-notch creative expressions of music talents and professionals within the relevant regions and validity period. However, we also have a challenge where some artistes failed to enter for the awards and as such missed the opportunity to be evaluated or possibly nominated for AFRIMA”.
The AFRIMA adjudication is carried out electronically via the proprietary AFRIMA Adjudication Software, which was designed by AFRIMA in 2014, has been deployed for use since the 2015 annual adjudication process. When public voting opens on the AFRIMA website on Monday, August 27, both continental and regional nominees in the 38 AFRIMA award categories will compete against one another for the coveted 23.9 carat gold-plated AFRIMA Trophy.
Nominees will now depend on votes from their fans and followers spread across the globe to vote for their songs in an open voting process via the AFRIMA website, www.afrima.org From August 7, when the annual adjudication process began, the 13-man AFRIMA Jury worked painstakingly and tirelessly in assessing and grading the submitted entries which was an astronomical increase of 63% against the 2017 entries received by AFRIMA.
Speaking on the parameters considered by the Jury during the adjudication process, Jury member representing Diaspora (North America), Hadja Kobélé Keita, a music executive with work experience in international music companies like Universal Music Africa and Island Africa, reiterated the AFRIMA objective, which is about rewarding and promoting talents and
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19, August 2018
An attempt to define the undefinable: Petit Pays the phenomenon 0
Here is a man who for more than 30 years has evolved himself into the most significant and un-avoidable cultural phenomenon in Cameroon. There is arguably no other individual in the history of this country who has sketched, defined, defied, influenced and shaped popular or public opinion. Void of fear, he has gone on to put on the table of public debate, the most inflammatory topics, as per African society-with issues like, homosexuality, sex positions and the eventual death of African Presidents. To name a few
Being the epicenter of contradictions that he is, Petit Pays has proven himself capable of articulating in sound and text, the transcendental dimension of Love a la Eros in tracks like “Ne me Quitte pas”. And on the other hand, has made evident his ability to excel in the profane-by making edible the breast of a woman in a song Like ‘’Bobee’’. Again he is credited with “Loba” one of the most favorite gospel and soul-searching songs in Cameroon; but on the other side of the coin he has gained alarming value in controversial currency for his song “Pede”; which is nothing else but a comic recognition and description of homosexuality in Cameroon. He is continuously seen putting on the griot’s attire for men in power-then will again come up with S.O.S songs decrying the deplorable living conditions of the citizens under their governance. “Refusing to kill the child” in him like every other genius, he is seen on his album covers playing with his sex (Maestro, 2002), dressed like a woman (La Monaco, 2005), and with virtually no quantum of shame
Posing naked (Class F and Class M, 1996), making his entrance into concerts in a coffin, dubbing himself with a multitude of titles and names ranging from Effata to Raba Rabbi or from turbo to omega. As he describes himself, “It seems like I have the genius to shock.” For sure there is no doubt, which the ability to perennially reconstruct one’s image and to surprise the audience is the mark of every true artist.
He remains one of the few Makossa artists continually redefining the genre. For example, by collaborating with the Cape Verdean musical director, Manu Lima, in the early 90’s he created a sub-genre today called Makossa-Love; characterized by the ubiquitous presence of the clavier and its sentimental effect; immensely influenced by the afro-zouk groove popularly played in Lusophone Africa. He as well injected pop and rock colors into Makossa by crowning the presence of the drums in his compositions. To create what can be defined as Makossa-pop; characterized by quick-exciting drum movements.
As a groundbreaker, he made his entrance into the musical scene with two instant hit albums; “ca fait mal” in 1987 and “Ancien Parigo” in 1988 till date considered by most critics as a masterpiece. He holds till date the speed record for album sales in Cameroon after selling in a week 50000 cassettes of his double album “Class F and Class M’’in 1996.
Using the autobiographical elements of his former marriage to a French woman, popularly known as Maria, Petit Pays composed songs and introduced a mythic character into the love mythology of the Cameroonian society called Maria. A character defined by her elusiveness and the sensuality of all her parts. And overtime Maria has gained grown as a mythic character in the country, virtually everybody has heard about her, but on the other hand, almost nobody can recognize her without the introduction of her former husband (Adolphe Claude Moundi)
Considered by some as an incarnation of the devil and by others as an incarnation of God the father love or hate him, it is impossible to be insensitive or indifferent in Cameroon and in Africa at large at the mention of the name Petit Pays. And once indifference seizes to be presented as a reaction to a man or objects, then we are sure to be witnesses of something great; irrespective of how one may like to define the word “great.”
And am sure my Cameroonian counterparts would agree with me that, there is no way to escape, forget and ignore a man in this country who stands up to say “a Etoudi et a Mvomeka C’est Nioxx.” Finally, In his new album coming this summer, titled ” Renaissance” Petit pays brings a cultural rebirth of his musical career with themes from the 80s through the 90s, based on the reawakening of Makossa love the strengthens till today.
By Siben Gerard