Every pretension to Africa for Africa Day

Africa Day in Manchester

I had planned nothing for the past Bank Holiday weekend except to catch up on some much-needed rest and sleep when I was offered a ticket to attend the Echoes of Africa event at Aviva Studios/Factory International on Saturday the 24^th.

This was in commemoration of Africa Day, previously known as African Freedom Day or African Liberation Day, initiated by the Organisation of African Unity on the 25^th of May 1963.

Looking at the agenda of events running from 11:00 AM to 6:00 PM, I was unsure if I had the stamina for 7 hours of potential revelry and entertainment, but I was determined to show up, if only out of gratitude for the invitation.

Please, I’m not fooled.

The Live Painting Workshop, which had begun in the early afternoon, was already underway when I arrived. I took a seat on one of the long sofas at the back, and I tempered my cynicism regarding the artistry of the participants, who were pretending to represent some essence of Africa. It easily resembled a messy children’s paint class, yet people of all generations were engaged in it.

We have been led to believe that a certain combination of vibrant colours and abstract shapes is representative of Africa in context or origin; it reflected everything Toto’s Africa was, but not the reality of what Africa is. The inspiration for the song originated from a late-night documentary about Africa and likely the recollections of missionaries to Africa who became teachers for American schoolchildren.

An unrelatable discussion

The next item on the agenda, beyond the over-representation of Nigerians on the discussion panel, focused on a topic likely more suited for those seeking a career in Afrobeats or some contemporary genre of African music. Having first met a lady of Portuguese and Guinea-Bissau descent who knew the lyrics to everything the female disc jockey played; I spent more time with a grandmother of Caribbean heritage tending to her noticeably Caucasian grandson.

Indeed, what is now deemed the music of Africa is quite pervasive; it has a global audience, and collaborations are extending its reach into places one would never have expected such music to resonate.

Yet, in my conversation with the grandmother, I thought a more relevant topic would be how we preserve the significance of our African heritage in the diaspora and provide younger generations a sense of belonging in the various spheres that influence education, experience, and identity.

Music and fashion to the world

Perhaps this was not the forum for such a cerebral debate, and thus far, it had only intensified my scepticism regarding the purpose of this gathering. Each time we were urged to make more noise like Africans, there was a feeling that English reserve had crept upon us unawares.

The live music performances were interesting, but I knew none of the artists or their music, and I was barely connecting until one performer took the stage like the Bobby Caldwell of Afrobeats.

If there were no visuals, one would imagine the performer hailed from a large city in Africa; he had mastered everything and could pass for being as good as the popular Afrobeats artists.

Then came the fashion show; the mispronounced words by the compere regarding atelier to Aso oke were quickly forgiven when it became clear that the distinction between African designer and African fashion meant the latter garnered less attention compared to the former. Some of the items showcased on the catwalk were comical at best, but I am not the target audience for this kind of attire.

Before I knew it, it was almost 6:00 PM—a delightful day out and a reminder that the Echoes of Africa were just that; an echo is a reflection of the original sound and should not be mistaken for the real thing.