Thanks for reminding us of Mama Africa. Here is an obit that appeared in NYT, which I am cross posting http://www.nytimes.com/2008/11/11/world/africa/11makeba.html?hp
November 11, 2008 Miriam Makeba, 76, Singer and Activist, Dies By ALAN COWELL<http://topics.nytimes.com/top/reference/timestopics/people/c/alan_cowell/index.html?inline=nyt-per> Miriam Makeba<http://topics.nytimes.com/top/reference/timestopics/people/m/miriam_makeba/index.html?inline=nyt-per>, the South African singer whose voice stirred hopes of freedom among millions in her country with music that was banned by the apartheid authorities she struggled against, died overnight after performing at a concert in Italy on Sunday. She was 76. The cause was cardiac arrest, according to Vincenza Di Saia, a doctor at the private Pineta Grande clinic in Castel Volturno, near Naples, where Ms. Makeba was taken by ambulance. The time of death was listed in hospital records as midnight, the doctor said. Ms. Makeba collapsed as she was leaving the stage, the South African authorities said. She had been singing at a concert in support of Roberto Saviano, an author who has received death threats after writing about organized crime. Widely known as "Mama Africa," Ms. Makeba was a prominent exiled opponent of apartheid since the South African authorities revoked her passport in 1960 and refused to allow her to return after she traveled abroad. She was prevented from attending her mother's funeral after touring in the United States. Although Ms. Makeba had been weakened by osteoarthritis, her death stunned many in South Africa<http://topics.nytimes.com/top/news/international/countriesandterritories/southafrica/index.html?inline=nyt-geo>, where she was an enduring emblem of the travails of black people under the apartheid system of racial segregation. It ended with the release of Nelson Mandela<http://topics.nytimes.com/top/reference/timestopics/people/m/nelson_mandela/index.html?inline=nyt-per>from prison in 1990 and the country's first fully democratic elections in 1994. In a statement on Monday, Mr. Mandela said the death "of our beloved Miriam has saddened us and our nation." "Her haunting melodies gave voice to the pain of exile and dislocation which she felt for 31 long years," he said. "At the same time, her music inspired a powerful sense of hope in all of us. "She was South Africa's first lady of song and so richly deserved the title of Mama Afrika. She was a mother to our struggle and to the young nation of ours." Mr. Mandela's was one of many tributes from South African leaders. As a singer, Ms. Makeba merged the ancient and the modern, tradition and individualism. Her 1960s hits "Qongqothwane," known in English as "The Click Song," and the dance song "Pata Pata," which would be remade by many other performers in the next decades, used the tongue-clicking sound that is part of the Xhosa language her family spoke. Traditional African ululation was also one of her many vocal techniques. But Ms. Makeba was also familiar with jazz and international pop and folk songs, and while South African songs would always be the core of her repertory, she built an ever-expanding repertory in many languages. Her voice was supremely flexible, and she could sound like a young girl or a craggy grandmother within the same song. Ms. Makeba's musical career spanned five decades, from 1950s recordings with South African vocal groups — the Manhattan Brothers and then her own female group, the Skylarks — through her last studio recording, "Reflections" (2004), and her continuing concert performances. With tenderness, righteousness and playfulness, Ms. Makeba sang love songs, advice songs, spiritual songs, anti-apartheid songs and calls for unity. In bringing African music to other continents, she was a pioneer of what would be called world music, reworking her own heritage for listeners who might never hear it otherwise while creating fusions of her own. Yet for all her internationalist hybrids, and through three decades as an exile, her music always made it clear that South Africa was her home. As an exile Ms. Makeba lived variously in the United States, France, Guinea and Belgium. South Africa's state broadcasters banned her music after she spoke out against apartheid at the United Nations<http://topics.nytimes.com/top/reference/timestopics/organizations/u/united_nations/index.html?inline=nyt-org> . "I never understood why I couldn't come home," Ms. Makeba said, as quoted by The Associated Press, during an emotional homecoming in Johannesburg in 1990 as the apartheid system began to crumble. "I never committed any crime." Music was a central part of the struggle against apartheid. The South African government censored many forms of expression, while many foreign entertainers refused to perform in South Africa and discouraged others from doing so in an attempt to isolate the white authorities and show their opposition to the regime. >From abroad, Ms. Makeba acted as a constant reminder of the events in her homeland as the white power structure struggled to contain or pre-empt unrest among the black majority. Ms. Makeba wrote in 1987: "I kept my culture. I kept the music of my roots. Through my music I became this voice and image of Africa, and the people, without even realizing." She was married several times. Her husbands included the American black power activist Stokely Carmichael, with whom she lived in Guinea, and the South African-born jazz trumpeter Hugh Masekela, who also spent many years in exile. In the United States she became a star, touring with Harry Belafonte<http://topics.nytimes.com/top/reference/timestopics/people/b/harry_belafonte/index.html?inline=nyt-per>in the 1960s and winning a Grammy award with him in 1965 for "An Evening With Belafonte/Makeba." Such was her following and fame that she sang in 1962 at the birthday party of President John F. Kennedy<http://topics.nytimes.com/top/reference/timestopics/people/k/john_fitzgerald_kennedy/index.html?inline=nyt-per>. She also performed with Paul Simon<http://topics.nytimes.com/top/reference/timestopics/people/s/paul_simon/index.html?inline=nyt-per>in his "Graceland" concert in Zimbabwe in 1987. But she fell afoul of the music industry in the United States because of her marriage to Mr. Carmichael. Scheduled concerts were suddenly being canceled, she said. "It was not a ban from the government; it was a cancellation by people who felt I should not be with Stokely because he was a rebel to them," Ms. Makeba said in May in an interview with the British music critic Robin Denselow in The Guardian of London. "I didn't care about that. He was somebody I loved, who loved me, and it was my life." Miriam Zenzi Makeba was born in Johannesburg on March 4, 1932, the daughter of a Swazi mother and a father from the Xhosa people, who live mainly in the eastern Cape region of South Africa. She became known to South Africans in the Sophiatown district of Johannesburg in the 1950s before singing professionally with the Manhattan Brothers and then the Skylarks. Even after becoming a star, Ms. Makeba was often short of money and could not afford to buy a coffin when her only child, her daughter, Bongi, died at 36 in 1985, Agence France-Presse reported. Bongi Makeba was a singer and songwriter who had released an album and had performed with her mother. Ms. Makeba buried her daughter alone, barring a handful of journalists from covering the funeral. No other information on survivors was available. In 1992, Ms. Makeba starred in "Sarafina!," a film with Whoopi Goldberg<http://topics.nytimes.com/top/reference/timestopics/people/g/whoopi_goldberg/index.html?inline=nyt-per>about the 1976 Soweto youth uprisings; Ms. Makeba played the title character's mother. She also took part in the acclaimed 2002 documentary "Amandla! A Revolution in Four-Part Harmony," in which she and others recalled apartheid. Yet to Ms. Makeba, her music was never intended to further a political agenda; it was far more personal than that. "I am not a political singer," she told The Guardian. "I don't know what the word means. People think I consciously decided to tell the world what was happening in South Africa. No! I was singing about my life, and in South Africa we always sang about what was happening to us — especially the things that hurt us." Celia W. Dugger contributed reporting from Johannesburg, Rachel Donadio from Rome and Jon Pareles from New York. 2008/11/13 GOPALAKRISHNAN S <[EMAIL PROTECTED]> > Miriam Makabe and Ustad Abdul Karim Sahib > > It was indeed a matter of great pleasure to know that Pt.Bhimsen Joshi was > awarded with the Bharat Ratna, the biggest award of recognition in India. > Being a great admirer of the maestro, the moment I heard about the > announcement I switched on some of my Panditji collections. > > > > But I write this small piece to not to write on Pt. Bhimsen Joshi, but to > express my surprise of listening to a small piece of music of another great > master of the yesteryears that too of Kirana Gharana, the Gharana in which > Pt.Bhimsen Joshi belongs to. A friend introduced me to a Saveri Rag > rendering by Ustad Abdul Karim Khan Sahib. I remember reading sometimes in > the past that once Ustad recorded a Carnatic composition by Thyagaraja. I am > not very sure whether the one which I listen is of Thyagaraja. The wordings > of Khan Sahib are not that audible to identify. It starts with 'Ente > Nerchina…' and my friend Sajith opined that it might be a Patanam Subramania > Iyer composition. > > > > Many Karim Sahib' renderings are available online and I request all readers > to the celestial music of the great master. > > > While noting down these lines the news about the demise of the great > African singer Miram Makeba came in. As Nelson Mandela mentioned in his > obituary message, Makeba was really the mother of Africa. She sang for the > freedom of a continent and certainly for the peace loving people of all the > worlds. Her music stood against apartheid and she suffered all kind of > humiliation from the 'White' arrogance. While noting down these lines, I > listen to the famous 1960s composition of Makabe, 'Pata Pata' to which tune > the entire Africa danced with. > > It was just a matter of coincidence that I wrote about Abdul Karim Sahib's > and Makeba's music in one go. But at the same time there is onething which > binds both of the legacies, Music. > > > Best Wishes > > Gopalakrishnan > > > > -- Bobby Kunhu http://community.eldis.org/myshkin/Blog/ --~--~---------~--~----~------------~-------~--~----~ You received this message because you are subscribed to the Google Groups "Green Youth Movement" group. To post to this group, send email to [email protected] To unsubscribe from this group, send email to [EMAIL PROTECTED] For more options, visit this group at http://groups.google.com/group/greenyouth?hl=en-GB -~----------~----~----~----~------~----~------~--~---
