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The singer has already released at least 3 other projects, yet this one feels like a debut. Under the banner of afro-dancehall, Yung L sends newly mastered vibrations, from Lagos to Kingston to London.
“A yaadman is a confident man. A man that knows himself, a man that has no limit, no fears in his mind. Ready to embrace his true nature”. And the nature has indeed been embraced on Yung L’s new project. On tracks like “Yaadman”, “Operator”, “Womanizer”, “Rasta” you can feel the swagger and the confidence of an accomplished man, who has finally found himself. In 2017, Yung L had released “Better Late Than Never” (BLTN), a debut album in which the Nigerian singer switched from afropop to dancehall to azonto between every track. Three years later, the energy has changed: this time, the project is compact and unapologetic. Rather than exploiting a large range of genres, Yung L has successfully blended his different influences on every track, and has succeeded in finding an identifiable sonic signature. “BLTN was my first album so I was very much excited to just put out the first body of work,” he tells PAM over the phone. “But now that I have grown and had true experiences, listening to more precise and intentional music. I have nothing to prove, really. I’m having the best time of my life making music. I finally just found myself 100%, I make one with the music. This is why I always say “Yaadman is half man”: half man half spirit”.
This Utrecht festival of international music and culture is presenting a series of video reports on their online TV channel as part of the “Reports from Other Continents” project. The series will travel to the DRC to the town of Sake, where the inhabitants heal their trauma through traditional folk dance.
In the Democratic Republic of Congo, the director, producer and human rights champion Horeb Bulambo Shindano went to meet the musician Baeni Mukuba who had the brilliant idea of organising a weekly folklore show to free the inhabitants of Sake from their trauma. The featured video is about a young group from two families from Sake, a town located 30 km west of Goma in the eastern part of the Democratic Republic of Congo. Over the past 20 years, the people of Sake have been forced to leave their town for fear of conflict. As with other parts of eastern Congo, many Sake women have been raped, and many children have been abducted to join armed groups. These atrocities meant that the population of Sake were living in a state of psychosis and permanent trauma. To remedy this, Baeni Mukuba launched his own remedy: a weekly public traditional folklore show to heal the wounds of the town in his own way.
Although this ritual is not explicitly mentioned, we can imagine that the Ekongo dance, a parade of war, plays a part through its expression of bravery and the supple yet frantic rhythm of its jumps and movements. The instruments also play a very important role: four djembes, two of which play sono and two others that play accompaniment, with the musicians clad in outfits made partly of animal skin. By embodying courage, this liberating dance tells the story of a people who are victims of conflict and whose only way to survive is through dance and music.