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In Photos: This Is What OkayAfrica 100 Women's First Event of the Month Looked Like

OkayAfrica 100 Women 2019 honorees Clemantine Wamariya and Soull and Dynasty Ogun, along with curator Neema Githere, imparted fulfilling words on personal storytelling in a panel discussion at Okay Space.

We've hit the ground running to celebrate our third iteration of this year's fabulous OkayAfrica 100 Women honorees and Sunday marked our first auxiliary event of the month, bringing the sentiments and purpose of the list to life.

Peeling Back: The Art and Origin of Personal Storytelling was a panel discussion moderated by 2019 honoree and author Clemantine Wamariya. In conversation with curator Neema Githere and fellow honorees Soull and Dynasty Ogun of L'Enchanteur, the women shared with an intimate gathering of supporters in Okay Space their own origin stories, how their narratives are ever-evolving, and how they anchor and surround themselves with the people—past and present—who are interwoven with their journeys.

Throughout the month of March there will be more opportunities to gather in community to amplify and uplift the 2019 honorees (and each other). Keep tabs on the events page via the OkayAfrica 100 Women website—and don't forget to RSVP for updates.

Take a look at images from the gathering, provided by Nerdscarf Photography, below:


Music
Photo by Don Paulsen/Michael Ochs Archives/Getty Images

Hugh Masekela's New York City Legacy

A look back at the South African legend's time in New York City and his enduring presence in the Big Apple.

In Questlove's magnificent documentary, Summer of Soul, he captures a forgotten part of Black American music history. But in telling the tale of the 1969 Harlem Cultural Festival, the longtime musician and first-time filmmaker also captures a part of lost South African music history too.

Among the line-up of blossoming all-stars who played the Harlem festival, from a 19-year-old Stevie Wonder to a transcendent Mavis Staples, was a young Hugh Masekela. 30 years old at the time, he was riding the wave of success that came from releasing Grazing in the Grass the year before. To watch Masekela in that moment on that stage is to see him at the height of his time in New York City — a firecracker musician who entertained his audiences as much as he educated them about the political situation in his home country of South Africa.

The legacy Masekela sowed in New York City during the 1960s remains in the walls of the venues where he played, and in the dust of those that are no longer standing. It's in the records he made in studios and jazz clubs, and on the Manhattan streets where he once posed with a giant stuffed zebra for an album cover. It's a legacy that still lives on in tangible form, too, in the Hugh Masekela Heritage Scholarship at the Manhattan School of Music.

The school is the place where Masekela received his education and met some of the people that would go on to be life-long bandmates and friends, from Larry Willis (who, as the story goes, Masekela convinced to give up opera for piano) to Morris Goldberg, Herbie Hancock and Stewart Levine, "his brother and musical compadre," as Mabusha Masekela, Bra Hugh's nephew says.

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