CONTINUED....
TALES OUT OF AFRICA

In the area of folklore, Brer Rabbit, Brer Wolf, Brer Bear, and Sis’ Nanny Goat were part of the folklore the Wolof brought by way of the Hausa, Fula (Fulani), and the Mandinka. Other West African tales of a trickster Hare were also introduced. The Spider (Anansi) tales appeared in the United States in the form of Aunt Nancy and Brer Rabbit stories. All the stories of Uncle Remus, as retold in the Sea Islands, are Hausa in origin via the Mande (Mandinka). These African tales laid the foundation for American nursery rhymes.

These stories found their way into American culture as told by slaves. The Chicken Little story is also part of this tradition, and originated unaltered from Africa. The Hare and Hyena, corresponds to Brer Rabbit and Brer Fox tales. African slaves who fled to the Creek Indian Nation introduced these West African Trickster tales, which were also adopted by the Seminoles.

[b]THE CONGO SQUARE

Le placed du Congo, Congo Square, is in old New Orleans. An ordinance of the Municipal Council, adopted on October 15, 1817, made the name of this traditional place law. It was considered one of the unique attractions of old New Orleans, ranking second only to the Quadroon Ball. At the square, women wore dotted calico dresses with brightly colored Madras kerchiefs tied about their hair, to form the popular headdress called the tignon.

Children wore garments with bright feathers and bits of ribbon. The favorite dances of the slaves in Congo Square were the bamboula and the calinda, two Congo dances, the latter being a variation of the former that was also danced in voodoo ceremonies.

Another favorite dance at the Congo Square was the Chica, which was very popular during the slave era. The talent of the female dancer resides in the perfection of her ability to move her hips, the bottom parts of her waist, with the rest of the body remaining in a sort of stillness which does not disturb the weak swaying of her hands, waving the ends of a handkerchief or her waist petticoat. A male gets closer to her, leaping up suddenly, and falls back rhythmically, almost touching her. He pulls back, leaps up again and challenges her to the most seductive duel. The dance gets animated and soon becomes lustful.

Another dance particular to New Orleans and the Congo Square was the Ombliguide. This dance was criticized in 1766 by the New Orleans City Council. The dance is performed by four men and four women and involved objectionable movements with navel-to-navel contact, a common trait of Angolan traditional dancing. Enslaved Africans came regularly to Congo Square to perform the Ombliguide and other Congo dances, such as the Calinda, Bamboula and Chica, all transplanted directly from Central Africa. The partial Europeanization of some of these African movements eventually created the native dances of Latin American countries such as the Marcumbi, a dance learned by the Spanish and later brought to Latin America. The Fandango, the national dance of Spain, originated in Cuba, from African dances. Other dances derived from the Ombliguide are the Chacharara, Cadomba, Melongo, Malamba, Gati, Samba, Rhumba, Mamba, Conga and Tango.

The “ring shout” was a dance performed in the Congo Square, also. This is a dance involving people moving around in a circle counterclockwise, rhythmically shuffling their feet and shaking their hands while those outside the ring clap, sing, and gesticulate. Movement in a ring during ceremonies honoring the ancestors was an integral part of life in Central Africa and is believed to have been transported to Congo Square directly from Africa.[/b]

Enslaved Africans maintained their music, song, and dance cultures as they adapted to life in the New World. Many African dances survived because they were reshaped and adopted by European Americans, while others remained intact, or changed with the new circumstances. For example, the ring shout started as a sacred Kongolese dance, but later found expression in non sacred forms of dance.

In both Africa and the New World, the circle ritual had different meanings in the distinct cultures. In the Kongo, the ring shout circle is identical to the Gullah counterclockwise dance, which is linked to the most important African ceremony – the rites of passage. Among the Mande, the circle dance is a part of the marriage and birth ceremonies, and in Wolof culture, the ring circle is central to most dancing.

The Bamboula and the Calinda, variations of voodoo dance, became popular forms of dance expression in early New Orleans. The Cakewalk and the Charleston traveled from Africa to become integral to American dance forms on the American plantation.

The Calinda, also known as La Calinda, is one of the earliest forms of African dance seen in America. This Kongo/Angolan dance first became popular in Santo Domingo, then in Haiti and New Orleans. La Calinda is first reported by Dessalles in 1654 and by a French monk, Jean Baptiste Labat, who went to Martinique as a missionary in 1694. The Calinda is a variation of a dance used in voodoo ceremonies, and is always performed by male and female dancers in couples. The dancers move to the middle of the circle and begin to dance. Each dancer chooses a partner and performs the dance, with few variations, by taking a step in which every leg is straightened and pulled back alternatively with a quick strike, sometimes on point, sometimes with a grounded heel. This dance is performed in a manner slightly similar to that of the Anglaise. The male dancer turns by himself or goes around his partner, who also makes a turn and changes her position while waving the ends of a handkerchief. Her partner raises his hands in almost clenched fists up and down alternately, with his elbows close to his body. This dance is vivid and lively. In 1704, records show that a police ordinance was issued prohibiting night gatherings from performing the Calinda on plantations.

SLAVE MUSIC AND THE BANJO

The dance now known as the Charleston had the greatest influence on American dance culture than any other imported African dance. It is a form of the jitterbug dance, which is a general term applied to unconventional, often formless and violent, social dances performed to syncopated music. Enslaved Africans brought it from the Kongo to Charleston, South Carolina, as the juba dance, which then slowly evolved into what is now the Charleston. This one-legged sembuka step, over-and-cross, arrived in Charleston between 1735 and 1740. Similar in type to the “one-legged” sembuka-style dancing found in northern Kongo, the dance consists of “patting” (otherwise known as “patting Juba”), stamping, clapping, and slapping of arms, chest, and so forth. The name “Charleston” was given to the Juba dance by European Americans. In Africa, however, the dance is called the Juba, or Djouba.

Thomas Jefferson wrote in 1781: “The instrument proper to them [African American] is the Banjar, brought from Africa, and which is the [form] of the guitar, its chords being precisely the four lower chords of the guitar.” The banjo was known in America as an African instrument until the 1840s, when minstrel shows took it as a part of their Blackface acts. As a result, the banjo became a badge of ridicule and Blacks abandoned it, allowing southern whites to claim it as their own invention.

Benjamin Latrobe, an American architect, while in New Orleans also noticed that the banjo was particular to Africans. In his own words, “a crowd of 5 or 600 persons assembled in an open space or public square. I went to the spot & crowded near enough to see the performance. All those who were engaged in the business seemed to be Blacks. I did not observe a dozen yellow faces. They were formed into circular groups [sic] in the midst of four of which, which I examined (but there were more of them), was a ring, the largest not 10 feet in diameter. In the first were two women dancing. They held each a coarse handkerchief extended by the corners in their hands & set to each other in a miserably dull & slow figure, hardly moving their feet or bodies. The music consisted of two drums and a stringed instrument. An old man sat astride of a cylindrical drum about a foot in diameter, & beat it with incredible quickness with the edge of his hand & fingers. The other drum was an open staved thing held between the knees & beaten in the same manner. They made an incredible noise. The most curious instrument, however, was a stringed instrument which no doubt was imported from Africa. On the top of the finger board was the rude figure of a man in a sitting posture, & two pegs behind him to which the strings were fastened. The body was a calabash. It was played upon by a very little old man, apparently 80 or 90 years old.”

Other African instruments that survived the Middle Passage were the thumb piano also known as the mbira, common in the late 19th century in New Orleans, and the cane fifes found in both West and Central Africa. The making and playing of cane fifes survived the Middle Passage. Africans and African Americans use the same technique to make them.

African drums were common until the Stono Rebellion of 1739. Talking drums were well known on both sides of the Atlantic, especially for their use in slave revolts. The first description of the use of drums in America comes from the official account of the Stono slave rebellion in South Carolina where they were used by Angolans. Afterward the colony of South Carolina in the Slave Act of 1740 passed laws prohibiting “drums, horns, or other loud instruments.”

One of the most popular chordophones is from the Kongo/Angolan area, the mouth-resonated Musical Bow. It only appeared sporadically in African American culture when compared to its diffusion from Africa to South America and the Caribbean, where it is played by Africans, Native Americans and mixed groups. Today the African Mouth Bow’s greatest U.S. distribution is in isolated white communities in the Ozark and Appalachian mountains.

AFRICAN INFLUENCES ON WHITE AMERICAN CULTURE

David Dalby has identified early linguistic retention and traced many Americanisms to Wolof including such words as OK (okay), bogus, boogie-woogie, bug (insect), John, phony, guy, honkie, dig (to understand), jam, jamboree, jitter(bug), jive, juke(box), fuzz (police), hippie, mumbo-jumbo, phoney, root toot(y), and rap, to name a few. Other linguistic Africanisms first used by Americans includes words such as banana, banjo, cola (as in Coca-Cola), elephant, goober (peanut), gorilla, gumbo, okra, sorcery, tater, tote and turnip. [For further reading on African Linguistic retention, see Holloway and Vass, The African Heritage of American English].

The acculturation process was mutual, as well as reciprocal. Africans assimilated white culture, and planters adopted some aspects of African customs and practices, such as the African agricultural methods of rice cultivation, African cuisine (southern cooking), open grazing of cattle, and uses of herbal medicines to cure New World diseases. For example, Africans are credited for bringing folk treatment for small pox, knowledge of birth by Caesarian section (pharaonic in origin), and cures for snake bites and other poisons.

Through the root doctor, Africans brought holistic health practices to the plantations. The African house servants also learned new domestic skills, including the art of quilting from their mistresses. They took a European quilting technique and Africanized it by combining their appliqué style, reflecting a pattern and form which are still found today in the Akan and Fon textile industries of West Africa. While many of the Mandes were enslaved as craftsmen, artisans, and house servants, the field slaves were mainly Central Africans who, unlike the Senegambians, brought a homogeneous, identifiable culture. The Bantus often possessed good metallurgical and woodworking skills. They had particular skill in iron working, making the wrought iron balconies in New Orleans and Charleston.

As field workers the Bantus were kept away from the developing mainstream of white American culture. This isolation worked to the Bantus’ advantage in that it allowed their culture to escape acculturation and maintained their homogeneity. Bantu contributions to South Carolina and Louisiana included not only wrought iron balconies, but also wood carvings, basketry, weaving, clay-baked figurines, and pottery.

Cosmograms, grave designs and decorations, funeral practices, and the wake are Bantu in origin. Bantu musical contributions include banjos, drums, diddle bows, mouthbows, Quilts, washtub bass, jugs, gongs, bells, rattles, idiophones, and the lokoimni (a five-stringed harp). The Bantus had the largest constituency in South Carolina and possibly in other areas of the southeastern United States, including Alabama and Louisiana. Herskovits noted that the cultural center of the Bantu in North America is in the South Carolina Sea Islands off the Carolina coast.

Given the homogeneity of the Bantu culture and the strong similarities among Bantu languages, this group no doubt influenced West African groups of larger size. Also, since the Bantus were predominantly field hands or were used in capacities that required little or no contact with European Americans, they were not confronted with the same problems of acculturation as West African domestic servants and artisans were. However, the Mande had a greater influence on white American culture.

Coexisting in relative isolation from other groups, the Bantus were able to maintain a strong sense of unity and to retain a cultural vitality that laid the foundation for the development of African American culture.

AFRICAN CROPS TO THE NEW WORLD

Crops brought directly from Africa during the transatlantic slave trade include rice, okra, tania, Blackeyed peas, and kidney and lima beans. They were consumed by Africans on board the slave ships on the way to the New World. Slavers collected local cultivated crops such as rice and yams, and included dried beans, peas, wheat, shelled barley and biscuits to feed the cargo.

African women prepared much of the food during the transatlantic voyage as suggested by an entry from the journal of the ship Mary from Monday June 20, 1796: “The Women Cleaning Rice and Grinding corn for corn cakes.” These foods were mixed with a sauce of meat or fish, or with palm oil. Once they survived the Middle Passage, the meals they consumed in the plantation fields consisted of boiled yams, eddoes (Tania), okra, callaloo, and plantain heavily seasoned with cayenne pepper and salt.

Other crops brought from Africa included peanuts (ultimately from South America), millet, sorghum, guinea melon, watermelon, yams (Dioscorea cayanensis), and sesame (benne). These crops found their way into American food ways and became part of the ingredients found in the earliest cook books written by Southern Americans.

HISTORICALL AND CURRENTLY u guys have never been a musicall POWERHOUSE. Sorry...
AFRICA'S NUMBER 1 UNIVERSITY MUSIC STUDENTS CAN TELL U WITHOUT A DOUBT THAT WEST AFRICA ISN'T A MUSIC POWER HOUSE. Only west africans that can play good music are Senegambians (hence South Africans invite Baba Maal, Salif Keita,Youssou Ndouretc. for Jazz festivals) and to a lesser extent Yoruba.

Saying Nigerians are good musically is an INSULT TO ART CALLED MUSIC. These people are always OUT OF BEAT/RYTHM. ;DThey dont have RYTHM like southern and central Africans. FACT.

"AFRICAN CONTRIBUTIONS TO AMERICAN CULTURE" a book that show cases African contribution to new world black music.

Joseph E. Holloway Ph.D (he's an African American HISTORIAN in AFRICAN STUDIES and academic).

After reading his books and Dr Kevin Roberts, Dr Heywood and Dr Vass one can only say its not SUPRISING that Africa's GRAMMIES come from BANTU AFRICA.

vivaciousvivi:


Let me be stalker

A lot of girls would give an arm and a leg to be stalked , shows your appeal gets the men wowing.

neoapocalypse:


A lot of girls would give an arm and a leg to be stalked , shows your appeal gets the men wowing.

Well I prefer to keep all my limbs Neo,

SWAG AND CLASS. LA CLASS!!!!!!SA HAS CLASS. FACT.
Channel O awards pics...

CASPER NYOVEST'S fiance...He and took 3 awards..

THE LAND OF BEAUTIFUL PEOPLE WHO HAVE CLASS.

Xhosa chicks ROCK. FACT.
I will never date a Xhosa woman, theyr too beautiful for my liking. Am the jealous type. MY HEART NEARLY STOPPED... DJ SBU once said if u want headaches in your life date a Xhosa woman, theyr head turners...Make sure you have a FUNERAL COVER cause jealousy will kill you, they STAND OUT AND SEXY.

In SA I have seen alot of African immigrants guys dumping their wives for these ladies....

This Swazi princess got my body VIBRATING lika cellphone.....

Zulu princess, miss Thusi....
One Yoruba chap married to a Southy once said in SA BEAUTY IS GALORE. He said in Nigeria you have to travel to see beautiful women. Even their Tayo on BBA says he likes SA AND SEES S.A. as his second home. SA women top his list. pity most are too much for him/not in his class.
Hence Nigerian,Ghanaian,Congolese etc..use SA WOMEN for their music vidoes. Nigerian woman are "MANLY AND UGLY". FACT. The olympic games are proof that Nigerian women are MANLY. Theres plenty of Casters in Nigeria like in Super Falcons, Cynthia Uwak's and other SHEMAN.

THE FLAT BUMS!!!!!!You cant tell if shes coming or going.

phantonce:
What do you expect from that crap that he sang recently

#She say she no wan designer
She no wan ferrari
She say na my love o o o
She belong to me cos I belong to you.#

Seriously,which lady doesn't want ferrari?
Bros,stop giving guys fake hope


His dirty and smelly cloth didn't even help the matter.








Via Nairaland for iphone

phantonce:
What do you expect from that crap that he sang recently

#She say she no wan designer
She no wan ferrari
She say na my love o o o
She belong to me cos I belong to you.#

Seriously,which lady doesn't want ferrari?
Bros,stop giving guys fake hope


His dirty and smelly cloth didn't even help the matter.








Via Nairaland for iphone

phantonce:
What do you expect from that crap that he sang recently

#She say she no wan designer
She no wan ferrari
She say na my love o o o
She belong to me cos I belong to you.#

Seriously,which lady doesn't want ferrari?
Bros,stop giving guys fake hope


His dirty and smelly cloth didn't even help the matter.








Via Nairaland for iphone

if you don't know what to say just blow #whistle... #smellos

MduZA:
[img][/img]

lol..laughing in Yoruba language...you guys try hard to portray yourselves as big in everything but in reality you have got nothing to show,south African music and movies are making waves at big stages while yours stuggle to make inroads...when your artists come down here they visit every studio , take pictures with our local low class musicians and upload those pictures on internet to impress you guys back home...your musicians go as far as shooting videos here ,proudly lie to you guys back home that those videos were shot in Europe...
show your muscles after winning an Oscar or Grammy,in the mean time you are not in the same league with SA..

you made no sense sir!! I really don't know where to start from, well i remember you, the desperate, and dogmatic safrican that'd even lie to make a point!!! Tell me the sane nigerian artiste that'd go to sa and get all famzing with y'all, like tf does that even sound right to you! Weight it up in your minute brain [NIGERIA sa]!!! Don't y'all just get it! How small you guys are.....well we got love for all our african brothers, that respect us in all.....breakforth the southern region though. Bc recently, songs frm tanzania, kenya, are competing with y'all in getting airplays on radio stations in NIGERIA, so y'all cockksuckers still have a lot to do, other that coming here spilling crappp! Broke artistes, smh. Flee!

God will punish you for this crapp you just posted! Are you sane....did you even read your poem, and what i posted at your psychotic counterpart. How did it relate pls?? You don't like nigerian music, thats you problem. Let it be, now you getting out your way just to get at me!!! Do whatever makes you sleep at night homeboy! Never quote my such bs again! [quote author=kwametut post=28492139]THOSE WHO STUDY MUSIC ABROAD WILL TELL U GUYS NIGERIANS ARE "INFERIOR MUSICALLY" TO SOUTHERN AND CENTRAL AFRICA. ITS HISTORICAL BROER!!!!!!

AFRICAN CONTRIBUTIONS TO AMERICAN CULTURE

Joseph E. Holloway Ph.D

Scholars have long recognized African origins in the linguistic forms and the cultural traits of African Americans, and thus assumed that these Africanisms were derived principally from West Africa. There has been much debate over the origins of African culture in the U.S. The classic debate between Melville J. Herskovits and E. Franklin Frazier is still relevant. To revisit it briefly, Frazier believed that Black Americans lost their African heritage during slavery; thus, the African American culture evolved independently of any African influences. Herskovits argued the opposite that it was not possible to understand and appreciate African American culture without understanding its African linkages and carryover called Africanisms. Current scholars are more concerned with using a transnational framework to examine how African cultural survivals have changed over time and readapted to diasporic conditions while experiencing slavery, forced labor, and racial discrimination.

The new scholarship suggests that the West Africans contributed primarily to Euro-American culture whereas people who came from the vast Bantu speaking areas of Africa, to the east and south of West Africa, are those most likely to have left an African cultural heritage to African Americans. Plantation slavery tended to acculturate West Africans relatively quickly, yet unwittingly encouraged retention of African traditions among others.

Enslaved Africans, not free to openly transport kinship, courts, religion, and material cultures, were forced to disguise or abandon them during the Middle Passage. Instead, they dematerialized their cultural artifacts during the Middle Passage to rematerialize African culture on their arrival in the New World. Africans arrived in the New World capable of using Old World knowledge to create New World realities.

Africans, and their descendants, contributed to the richness and fullness of American culture from its beginnings. Their contributions in early America, for which they have received little or no credit, include the development of the American dairy industry, open grazing of cattle, artificial insemination of cows, the development of vaccines (including vaccination for smallpox), and cures for snake bites.

African stories and folklore, such as the Brer Rabbit, Brer Fox, and Chicken Little tales originated in Africa, and were absorbed into America’s culture of childhood and laid a foundation for American nursery culture. Despite the limitations imposed by slavery, Africans and their descendants made substantial contributions to American culture in aesthetics, animal husbandry, agriculture, cuisine, folklore, folk medicine and language. This chapter examines African contribution to American culture.

AFRICAN RICE CULTIVATION

The major contribution of enslaved Africans was in agriculture. In the 1740s, rice from Madagascar was introduced to South Carolina’s farming economy. Africans, experts in rice cultivation, were transported from the island of Goree, off the coast of what is now the Senegambia, to train Europeans to cultivate this new crop.

The first successful cultivation of rice in the New World was accomplished in the South Carolina Sea Islands by an African woman who later showed her owner how to cultivate rice. The first rice seeds were imported directly from the island of Madagascar in 1685; Africans supplied the labor and the technical expertise for this new crop industry. Africans off the coast of Senegal helped train Europeans in the methods of cultivation and those who specialized in rice cultivation were imported directly from the island of Goree. Africans were able to successfully transfer their rice culture to the New World. The method of rice cultivation used in West Africa and South Carolina was identical. Enslaved Africans used three basic systems: ground water, springs, and soil moisture retention, or high water table. These three systems are found on both sides of the Atlantic, and formed the basis for South Carolina’s antebellum economy.

Early Africans brought with them highly developed skills in metal working, leather work, pottery, and weaving. Senegambians were employed as medicine men (root doctors), Blacksmiths, harness

kwametut:
DON'T WORRY DAVIDO FELA KUTI LOST TO SOUTH AFRICA'S "BLACK MAMBAZO OF SA" IN THIS YEARS "GRAMMY AWARDS".

YORUBAS are only Nigerians that can try and put a challenge and come SECOND BEST on BANTUS of SA and central and east Africa.
The rest of Nigerians are BAD at MUSIC. FACT.

you clearly don't know shiit about the nigerian music industry bruhh. And there's absolutely nothing i can do about that. So sorry man [this is coming from a yoruba dud]e

Joe50:
I watched it..
Dey just packed award give south Africans. I wonder waitin dem dey sing self.

Na ojoro award

You should listen to South African music. Pure good music, even their hip hop artists are way more better than ours. Plus Nigerians don't vote, they just make noise. Imagine artists from Kenya representing Africa internationally " souti sol". Most Nigerian songs nowadays are pure crap.
Pls download any of AKA, K.O, Casper , and listen to real hip hop. Tho I am from Nigeria, but Nigeria artists should buckle up their shoes and stop making shit.

[quote author=iterator24 post=28474560]'noise music' making hit internationally since time immemorial .. we dont copy US rappers here..ode [/]quote
Lwkmd, stop deceiving yourself. Internationally where?. South Arica and Kenya are more international than us..
Tired of Nigerian songs, recycled beats with the same story line. nothing diffrent
Brymo, Asa, tu face are those dat deserves to be nominated internationally . Not the crappy ones.

The truth is u guys can only come second if theres a SOUTHY.FACT.
You dont have a RYTHM thats a FACT DETECTED LONG AGO. even Yorubas come last.

OAAC:
you clearly don't know shiit about the nigerian music industry bruhh. And there's absolutely nothing i can do about that. So sorry man [this is coming from a yoruba dud]e

Emotional post, TRUTH HURTS.
ITS WRITEN DOWN THAT NIGERIAN MUSIC IS INFERIOR TO S.A. MUSIC.FACT. WE HAVE MORE GRAMMIES AND OTHERS THAN U.FACT.

OAAC:
you made no sense sir!! I really don't know where to start from, well i remember you, the desperate, and dogmatic safrican that'd even lie to make a point!!! Tell me the sane nigerian artiste that'd go to sa and get all famzing with y'all, like tf does that even sound right to you! Weight it up in your minute brain [NIGERIA sa]!!! Don't y'all just get it! How small you guys are.....well we got love for all our african brothers, that respect us in all.....breakforth the southern region though. Bc recently, songs frm tanzania, kenya, are competing with y'all in getting airplays on radio stations in NIGERIA, so y'all cockksuckers still have a lot to do, other that coming here spilling crappp! Broke artistes, smh. Flee!

@Owhatever
TRUTH HURTS!!!!!!!!!As Tayo said Nigeria is smaller in LAND AREA THAN S.A. AND UNDERDEVELOPED hence ya'll can't host sh8t. jus imagine awards in the DARK IN LAGOS the former Portugese SLAVE PORT.

THE GAP IS HUGE BETWEEN NIGERIA AND SA MUSICALLY.

GRAMMY AWARDS SOUTH AFRICA VS naaigeria
SOUTH AFRICAN GRAMMY AWARDS WINNERS
1. Mirriam Makeba
2. Black Mambazo won it 4 times. Left Femi Kuti crying this year.
3. Soweto Gospel choir won it 2 times
4. Lebo M with LION KING. HE RUNS WALT DISNEY IN USA MUSICALLY.
5. Ray Phiri with Paul Simon
6. Hugh Masekela
7. Vusi Mahlasela won as composer.


As I said only YORUBAS try shame
Nigerian grammy award winners all Yorubas
Sade-UK based
Seal-UK
Other old man I cant remember his name.

OAAC:
you made no sense sir!! I really don't know where to start from, well i remember you, the desperate, and dogmatic safrican that'd even lie to make a point!!! Tell me the sane nigerian artiste that'd go to sa and get all famzing with y'all, like tf does that even sound right to you! Weight it up in your minute brain [NIGERIA sa]!!! Don't y'all just get it! How small you guys are.....well we got love for all our african brothers, that respect us in all.....breakforth the southern region though. Bc recently, songs frm tanzania, kenya, are competing with y'all in getting airplays on radio stations in NIGERIA, so y'all cockksuckers still have a lot to do, other that coming here spilling crappp! Broke artistes, smh. Flee!

talk to me when a Nigerian wins an Oscar or Grammy..as things stand I don't take you serious

LOOL. . .okBye

kwametut:
The truth is u guys can only come second if theres a SOUTHY.FACT.
You dont have a RYTHM thats a FACT DETECTED LONG AGO. even Yorubas come last.

@owhatever
No Nigerian artist have received PHD'S for music abroad. HUGH MASEKELA is a living LEGEND and has travelled the GLOBE and fills stadiums in US,UK,OZ,NZ,INDIA,CHINA,JAPAN etc...note his songs are in SA LANGUAGES. HE IS FATHER OF JAZZ. Your ogas know him.


University of York honours Bra Hugh Masekela

The University of York awarded 16 honorary degrees to Nobel Laureates, authors, scientists, humanitarians, musicians and activist Hugh Masekela.


He is among 16 people to receive honorary doctorates at the University’s graduation ceremonies over the past three days.

Every year, the University confers honorary degrees on people who have made a significant contribution to society. Honorary graduates are selected from nominations by members of the University and often have existing links with academic departments or are York alumni.


A trumpeter, flugelhornist, singer and defiant political voice of international repute who remains deeply connected to his home country.


His eclectic musical style is pervaded by jazz and mbaqanga combined with a gravelly voice, stirringly smooth horn sound and an ever-present concern for his home country and continent. He recently founded his own music label, House of Masekela, under which he released his latest album ‘Playing @ Work’.


Born in Witbank, South Africa in 1939, he was given a trumpet at age 14 by Louis Armstrong and is still blowing strong at 75. He spent much of his life in exile during which time he released over 40 albums and was featured on countless more. He has been honoured in numerous ways such as receiving a Lifetime Achievement Award at WOMEX, being granted a Gold Medal of the Order of Ikhamanga in 2010 by the South African government and having 18 March proclaimed ‘Hugh Masekela Day’ in the US Virgin Islands. York University honors Bra Hugh with his second honorary doctorate, the first coming from the Vaal University of Technology in 2011.


Dr Hugh Masekela received the award this morning during a graduation ceremony in University hall where he electrified students and academics with his words and music.

MduZA
Davido got a BET at back stage,US blacks were ashamed of giving him infront of everyone.

MduZA:


talk to me when a Nigerian wins an Oscar or Grammy..as things stand I don't take you serious

lmaoo so a grammy award or an oscar implies some aged lady sings better, lmaoo dude you beginning to sound soo ridiculous! You clearly hating, and it so not good bro.... Of which i'm derailing my country's rep, reply a s.african, like geeez!! Let's just end it here, when you hear a nigerian songs in sa, dive into the atlantic, okay! I hope you choke on your man's diick.....#peace

Bra Hugh One of Jazz KINGS. Collab with all Grammy winners...

Ur clearly a VILLAGER. Bieber and other young grammy winners are old VILLAGER LOSER!!!!!LOSER!!!!INFERIOR BEING.
GRAMMIES are like the WORLD CUP OF MUSIC.FACT.

OAAC:
lmaoo so a grammy award or an oscar implies some aged lady sings better, lmaoo dude you beginning to sound soo ridiculous! You clearly hating, and it so not good bro.... Of which i'm derailing my country's rep, reply a s.african, like geeez!! Let's just end it here, when you hear a nigerian songs in sa, dive into the atlantic, okay! I hope you choke on your man's diick.....#peace

OAAC:
lmaoo so a grammy award or an oscar implies some aged lady sings better, lmaoo dude you beginning to sound soo ridiculous! You clearly hating, and it so not good bro.... Of which i'm derailing my country's rep, reply a s.african, like geeez!! Let's just end it here, when you hear a nigerian songs in sa, dive into the atlantic, okay! I hope you choke on your man's diick.....#peace

if you knew what an Oscar or Grammy is you would be ashamed to make that comment...anyway I do understand your situation,you and I are from different spheres,I only hear Nigerian music on the streets played for Nigerians by Nigeria hawkers...no offence take it easy

kwametut:
MduZA
Davido got a BET at back stage,US blacks were ashamed of giving him infront of everyone.

lol

kwametut:
@MduZA
THE GAP IS HUGE BETWEEN NIGERIA AND SA MUSICALLY.

GRAMMY AWARDS SOUTH AFRICA VS naaigeria
SOUTH AFRICAN GRAMMY AWARDS WINNERS
1. Mirriam Makeba
2. Black Mambazo won it 4 times. Left Femi Kuti crying this year.
3. Soweto Gospel choir won it 2 times
4. Lebo M with LION KING. HE RUNS WALT DISNEY IN USA MUSICALLY.
5. Ray Phiri with Paul Simon
6. Hugh Masekela
7. Vusi Mahlasela won as composer.


As I said only YORUBAS try shame
Nigerian grammy award winners all Yorubas
Sade-UK based
Seal-UK
Other old man I cant remember his name.

food for thoughts for these poor Nigerians

if u were to bring YOUSSOU NDOUR and Davido and ask them to perform in different stadiums.
Davido would LOSE and peform on EMPTY STADIUM , Youssou would fill the stadium with Southies of different races.

MUSIC IS AN ART FORM, AND SOUTHY AND AMERICANS TAKE IT DEEP. Hence we do it at VARSITY LEVEL.

MduZA:


if you knew what an Oscar or Grammy is you would be ashamed to make that comment...anyway I do understand your situation,you and I are from different spheres,I only hear Nigerian music on the streets played for the Nigerians by Nigeria hawkers...no offence take it easy