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Pierre Akendengué pays tribute to Gorée
18th album by the Gabonese star
Paris
21/04/2006 -
1997 was a turning-point in Pierre Akendengué's songwriting, being the year he went to Gorée for the first (and only) time in his life. The emotion the Gabonese singer experienced visiting the historic site associated with the slave trade was stronger than he could ever have imagined possible. "When I was in Gorée," he recounts, visibly moved, "I heard the screams and the cries, I saw the tears – and I experienced a real sense of fear. I couldn't help but imagine all those poor souls who had left from there, sailing off into the unknown, sold like simple pieces of furniture. For me, Gorée's a poignant symbol, but we should never forget that there are dozens of Gorées all over Africa."
After his experiences on the island, Akendengué expressed his emotions in a song entitled La Chanson de Gorée. The lyrics told of the fate of the "under-race", the tens of thousands of souls trapped on "the fatal boats/ carrying/ their cargo in chains/ To unknown shores/ from Gorée…" The year after his visit to Gorée, he performed the song at a concert at the French Cultural Centre in Libreville. Michel Essonghe and Richard Onouviet, two of the singer's friends present that night, suggested he should devote an entire album to Gorée. A few years on, Pierre Akendengué has followed their advice, evoking the island's place in slave history on four songs on his new album. Meanwhile, on other tracks he tackles related themes, singing about other topical situations where basic human rights are being denied.The pain of exile
On the song De la forêt (From the Forest) Akendengué describes the fate of the Pygmies in Gabon, currently being forced from their natural home. Through his work with national parks, the singer gained first-hand experience of the situation, witnessing the tribal community being turned out of the rainforest and forced to live in unknown territory in the savannah or the plains. "The Pygmies know the forest by heart," he says, "It's their life, their soul, their conscience - all they know. Forcing them out of their home reminds me of the fate suffered by thousands of Africans shipped out of Gorée. Even though, obviously, it's not on the same scale!"
Akendengué claims his desire to raise awareness on these issues is motivated by his belief that artists are the voice of the "sans paroles" (literally "wordless ones.") He sees his role as being an instigator of dialogue and debate. "There are certain things we should never forget or attempt to deny," he says, "It's like psychoanalysis; it's absolutely vital to talk about a painful memory in order to evacuate the underlying cause and regain a sense of inner peace." The process of reliving painful memories may be arduous, he declares, but it is more than necessary given the current state of world affairs. "Africa's still suffering the consequences of this crime against humanity," he insists, "and yet the tragedy is rarely ever talked about. France, for instance, only recently chose May 10th as a day to commemorate slavery. The Jews have managed to organise their own ceremonies marking the atrocities of the Second World War and they invite the descendants of those responsible for the crimes. But in Africa, we're still waiting for anything like that." On a song on his new album entitled Yemba Gorée, Akendengué urges listeners to "Remember yesterday and sing, sing… Singing is the heart talking/ Singing is drawing breath."The fight for survival
For Pierre Akendengué, music is a vital means of consciousness-raising, but it is not the only one. Education also has a vital role to play. He believes that the history of those troubled times should be told in an explicit, unexpurgated way with all sides recognising past wrongs. Only that way can the current situation be understood and humanity work towards a better future of peace and fraternity. Akendengué's album is a double-edged sword, commemorating the fate of the men and women forced into exile and exploitation, but also insisting on the necessity of human struggle for survival. "Even in a situation of complete and utter servitude," he says, "you should never capitulate and give in. I'd like to encourage everyone, especially young people, to stand up and fight for what they believe in. The essence of Man lies in freedom and we should never forget that. I think the descendants of slaves in the United States and Haiti have proved that you can improve your situation if you're prepared to fight."
On Yemba Gorée, Akendengué signs off with a poignant battle cry: "Children of Africa across the seas and the oceans/ Fight like they have to fight /And that's why today, standing tall, standing proud, your name is a symbol." The twelve songs on this album, shot through in equal parts with bitterness and optimism, are also a symbol, a symbol of an artist committed to fighting for freedom whatever form that might take.
10/04/2009 -
19/11/2008 -
31/01/2006 -
25/03/2005 -
29/03/2002 -
