The term "Mama Africa" resonates deeply in music, representing a profound connection to the African continent, its culture, and its people. This article delves into the significance of "Mama Africa" through the lens of iconic musicians like Miriam Makeba and Akon, exploring the themes of identity, struggle, and celebration.
Miriam Makeba: The Original Mama Africa
Zensi Miriam Makeba, known as Mama Africa, was born in 1932 in Johannesburg, where today there is a street named after her. She was jailed with her mother, a Swazi, when she was an infant and her father, a Xhosa, died when Makeba was just six years old.
It was in 1956 that Makeba produced perhaps her most well-known hit, “Pata Pata.” This song was covered by Millicent Todd, better known as Patsy, who recorded it for Sonia Pottinger in 1967 as “Pata Pata Rocksteady.” Patsy also recorded “The Retreat Song,” or Jikele Maweni, another Miriam Makeba song that is sung in the Xhosa language. Like Jikele Maweni, Makeba’s lyrics were typical love songs crooned by women during the 50s and 60s. Instead, Makeba’s songs were political and social commentaries on the Apartheid government in her homeland.
They also celebrated Africa with content on culture and folklore, sung in the Xhosa language instead of Afrikaans or English which was a bold move during these years since the government forced the Afrikaans language on its citizens to the point of death (the Hector Pieterson massacre of over 600 school children in 1976) as a way of exerting power over and oppressing the black Africans. As a result, Makeba was banned from her country, forced to live in exile for years.
From 1960 until 1990, Makeba lived in exile. When Makeba traveled to the United States to further her career, her mother died and so Makeba returned home for her funeral. She was denied entry.
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In an interview with Roger Steffens in 1988, Makeba said, “I’ve always been branded as a political singer. I never set out to sing politics; I just happen to come from a country that is oppressing my people. And I grew up under that oppression. And so I sing about my own life and the lives of my people. . . . So, the strength I get is from my people. And I get if from my mother and my father and my grandmother . . .”
Makeba was married five times to such men as fellow South African legendary musician Hugh Masekela and Black Panther Stokley Carmichael. She has won a Grammy Award in 1966 for her work with Harry Belafonte, and she has worked with such artists as Paul Simon, Nina Simone, and Dizzy Gillespie. She has appeared on the Cosby Show, and she has performed for John F. Kennedy’s birthday, as well as Nelson Mandela’s 70th birthday tribute at Wembley Stadium.
Another Jamaican connection to Miriam Makeba is that Makeba actually came to Kingston to perform for adoring fans in 1965 and again in 1967 and 1973 during her exile. In 1967 she performed with The Paragons, The Jamaicans, and Byron Lee & the Dragonaires. She also performed at a charity ball at the Myrtle Bank Hotel, invited by Edward and Mitzy Seaga and Byron Lee. She returned in 1973 to perform and met with P.J. Patterson who was the Minister of Industry and Tourism (prior to this he was the attorney who defended Don Drummond in his murder case, and after this he became prime minister). Patterson paid tribute to Makeba for her struggle for the recognition and dignity of her South African people and the excellence of her art.
Why was Makeba so popular in Jamaica? Perhaps because she sang of common themes-themes of Africa, oppression, struggle, and survival during a time when the message needed to be heard the most. She celebrated her people, and as a result, her people celebrated her back. We all still celebrate her legend today, every time we put on one of her tunes.
Her repertoire, ranging from African songs in Zulu, Swazi, Xosa, Sothor and Shangaan languages and dialects to melodies sung in Spanish, Hebrew, Portuguese, Yiddish, Indonesian, and English, often features one of the most spectacular vocal effects in contemporary music, her famous Xosa click songs.
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Last time Miriam Makeba came to Jamaica she gave a concert; this time her ”Show” was closer to cabaret….very much more polished, with a greater emphasis on presentation and considerably shorter. Happily, this time, she was not suffering from the appalling microphone system that marred her last appearance, and her voice came through, using her own “mike” as clear as a bell and as soft as velvet.
As before, her programme was sufficiently varied, though this time there was a little more emphasis on songs of protest, such as the lovely “The Answer is Love” and Jeremy Taylor’s exciting song from the South African revue, “Wait a Minute, A Piece of Ground,” (which is a sort of potted history of her country ) and “When I Pass On”; but still her most exciting music remains the Xosa and Transkei wedding and tribal songs that she has made so indisputably her own. She included also her amusing “Poor Old Man” and also a fine Brazilian work.
Her performance would have been a complete triumph had there had not been a slight misunderstanding just before the break in her show. Miss Makeba was apparently unaware of the terrible acoustics of the Regal, and she pitched her voice too low when introducing her songs for those in the far stalls or the balcony to hear. A few of the audience called on her to speak up and this she looked upon as a breach of courtesy. It was all very unfortunate as the crowd really loved her, and I think that they were quite as hurt as her by this unfortunate and jarring incident.
Harmony was restored, while the two artistes brought a real party spirit to the Johannesburg “Patta Patta” urban song and dance . . . The first half of the show in which Jamaican artistes and Adam Wade performed was spoilt by bad “miking,” which was particularly hard on Archie Lewis with his “Old Man River” and “Edelweiss.” Archie somehow got hold of the worst one of the two microphones. Adam Wade was luckier, and his three numbers, including “Julie on My Mind” and fast soul offering went over well.
Of the local trios The Paragons were much more successful than The Jamaicans, who in one of their numbers sounded abysmally Alabaman. Byron Lee accompanied this half of the show well, but musically Miss Makeba’s threesome was a great deal more pleasant with a very sensitive Brazilian doubling up on guitar and accordion.
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Angelique Kidjo: Carrying the Torch
Angelique Kidjo has won four Grammy awards for "World Music" and has had nine Grammy nominations. In 2010, the BBC's Focus On Africa Magazine included Kidjo in its list of the African continent's 50 most iconic figures, based on reader votes. The Daily Telegraph in London described her as "The undisputed queen of African music" during the 2012 Olympic Games River of Music Festival. In March 2013, National Public Radio (NPR) in America, called her "Africa's greatest living diva".
Kidjo's song "Afirika" ("Mama Africa") celebrates the beauty and resilience of the continent. The lyrics, sung in Fongbe (Fon) & Yoruba, convey a powerful message of unity and pride.
Here are some key phrases and their meanings:
- "Eshe Mama Africa": Blessings to Mother Africa (Yoruba).
- "Ese Mama Africa": Thanks Mother Africa (Yoruba).
The Yoruba word "ase" (also given as "ashe" and "eshe") is the life-force that runs through all things, living and inanimate. It is described as the power to make things happen. It is an affirmation that is used in greetings and prayers, as well as a concept of spiritual growth.
Kidjo's music and message continue to inspire and resonate with audiences worldwide, carrying on the legacy of "Mama Africa."
Angelique Kidjo, Santa Cruz Solfest, Afrika
Akon: A Modern Homage to Mama Africa
"Mama Africa" is a song by Akon, released in 2007 as the fourth single from his second studio album, Konvicted (2006). The lyrics are written as a homage to Akon's ancestral homeland, Africa.
Akon's "Mama Africa" is a heartfelt declaration of love for the African continent, portraying it as a source of profound spiritual and ancestral connection. The song intertwines a lament for the historical injustices of slavery with a vibrant celebration of the land's beauty and the strength of its people, urging listeners to acknowledge the richness that is often overlooked.
Akon extends an invitation to a life-altering experience, underscoring Africa's healing power and the love it offers, urging a return not just physically but also spiritually. immediately establishing a tone of abundance and intensity.
Here are some key themes and messages conveyed in the lyrics:
- Celebrates the beauty of black identity.
- Highlights the importance of actively showing affection and compassion.
- Indicates that those who haven’t experienced Africa are losing out on something profound.
- Reveals a personal act of nurturing and growth.
The chorus repeats, underscoring the central themes of the song and reinforcing Akon’s message of shared love, the beauty of blackness, and the importance of caring for others.
The final chorus reinforces the central message of the song, serving as a final affirmation of Akon's love for Africa, highlighting the beauty of blackness, and the importance of sharing this love with the world.
The song peaked at No. 47 on the UK Singles Chart, and No. 5 on the UK R&B Singles Chart.
Comparative Table: Miriam Makeba vs. Akon
Here's a table comparing the approaches of Miriam Makeba and Akon in their tributes to "Mama Africa":
| Feature | Miriam Makeba | Akon |
|---|---|---|
| Style | Political and social commentaries, traditional African sounds | Contemporary R&B, homage to ancestral homeland |
| Themes | Apartheid, cultural celebration, struggle for recognition | Love for Africa, beauty of blackness, healing power of the continent |
| Language | Xhosa, Zulu, Swazi, English, and others | English |
| Impact | Banned from her country, became a symbol of resistance | Commercial success, raised awareness of African identity |
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