Ella Andall

Artist Information

Biography

Ella Andall has worked consistently over the past four decades to establish herself as an artiste of international stature. Considered by many as a Caribbean Queen of Song – a chantuelle supreme, a high priestess of African-Caribbean music, Ella's journey is one of power and potency.

From the early 1970s, Ella Andall emerged as a dynamic force among a new breed of peoples' artistes in Trinidad and Tobago. With music as her main vehicle, she has dedicated her life to reach and teach the people, pushing a positive image reinforced with lyrical strength and fervour.

The development of SOCA as a radical sound of the Caribbean's youth, saw Ella as one of its main messengers during its formative years. Artistically defined as ‘the soul of Calypso', SOCA music brought a new approach and attitude to the Caribbean landscape. Ella Andall personified that new attitude – painting new pictures of empowerment for her people, cutting new paths forward, sending new signals with songs of love, lite and liberation. During this period, Ella toured extensively through the Caribbean region, United States and Canada with the band Vibrations International (led by the late Ras Shorty I). Her recordings topped the Caribbean music charts - Second Fiddle, We Are Different People - and her exciting cover of Eddie Grant's Hello Africa autographed Ella Andall's name into Caribbean music history.

Ella has moved with a renewed determination to express the rootical sound of the Caribbean, rejoicing with the African spirit while retracing ancient steps with new energy. She articulates the struggle of the women, she provides sustenance for the children. Hit songs like Black Woman, Bring Down The Power, Rhythm of a People and Missing Generation, brought Ella more awards in Caribbean music industry. In 1996 she was voted Best Female Artiste in Trinidad and Tobago, and in 1997 was the Caribbean Entertainer of the Year. Other awards include, NACC – Top 20 Stars of Gold – Calypso Award Ceremony – Say My Name (1997); Female Composer of the Year COTT (1998). She performed in the National Calypso Monarch show and the International Soca Monarch show (the two premiere music events in Trinidad Carnival).

The dramatic and dynamic presence on stage, the intense energy radiating, the majesty, the magic, have all contributed to the power that is Ella Andall. Her journey into the theatre has brought her acclaim in the musical “Carnival Messiah” (West Yorkshire Playhouse, UK) and the lead role in “Yaa Asantewa Warrior Queen “ Royal Festival Hall, London) which played in both England and Ghana. She was also the musical director and lead chantuelle in the production of “Sango de Imo” (The University of the West Indies, Centre for Creative and Festival Arts).

In 1999 Ella was invited to the World Beat concert held in Trinidad to perform alongside artistes such as Baaba Maal, Nitin Sawhney, Tito Puente, Hugh Masekela, Andre Tanker, Ravi Shankar and many more. She has also performed for noted persons such as the Dalai Lama, then President of Nigeria Olusegun Obasanjo, former President of South Africa Nelson Mandella, Winnie Mandela, Iyanla Vanzant and the Oni of Ife
Her musical journey continues as she graces the international stages representing Trinidad and Tobago across the world. In December 2005, she was the opening performer for the First World Music Festival held in St. Lucia, and in March 2006, she performed at Trinity College in Hartford Connecticut at a concert tribute to the memory of Andre Tanker. In June she performed at the Afro American Tradition Festival (FITA) in Venezuela and shared the stage with Miriam Makeba in the 2006 Emancipation Celebrations in Trinidad. In March 2007, she appeared at the Blues and Rhythms Festival in St. Vincent to loud acclaim and admiration.

She continues to sing out her sounds of freedom, joy, love and rejuvenation.

Ella Andall's website: www.ellaandall.com

Ella's Fan Page: www.facebook.com/pages/Ella-Andall/71390759716

Instrumentation

Ella Andall - Lead Vocalist
Julie - Backing Vocalist
Lauren - Backing Vocalist
Sheldeane - Backing Vocalist
Kurtis - Drummer/Backing Vocalist
Everald - Drummer
Jegbe - Drummner/Backing Vocalist
Anthony - Guitar
Russell - Bass Guitar
Winston - Drum Kit
Michael - Key boards
Christella - Keyboards/Backing Vocalist

Given the nature of the performance, members of the performing act may vary.

Discography

1973 - Waiting for You
1975 - Love in The Caribbean
1982 - Black Woman
1998 - Oriki Ogun
1999 - Bring Down The Power
2001 - Awake
2003 - Spirit Dancer
2003 - Sango Ba Ba Wa
2007 - Moforibale Esu
2008 - Osun Bamise
2009 - Osain Ade
2010 - Iba Yemoja

Links

• Facebook

Audio

• Different People
  Listen  
• Dance (Niti Wa)
  Listen  
• Women of the Sun
  Listen  
• Iba sojo, iba laroye
  Listen  
• Dada, ma sunkun mo
  Listen  

Lyrics

• Different People
• Dance (Niti Wa)
• Women of the Sun

Video

Ella Andall Awake

Photo Gallery

Press

• Liner Notes, Miss Ella [+ Show ]
  

  Andall has a sound which reminds us powerfully of yesterday's Miriam Makeba or of the group, "Sweet ...Andall has a sound which reminds us powerfully of yesterday's Miriam Makeba or of the group, "Sweet Honey in the Rock". It is a voice which is undoubtedly African, but it is the Africa of the diaspora, honed and tempered in the bitter fires of history and experience. And yet, when Miss Ella sings, the power of love, of rhythm and the dance is the power which prevails. There is no recrimination. There is absolutely no self indulgence. So that her spirit is music and the message is always hopeful.

• The Soul of Trinidad: Ella Andall's Sango Baba Wa [+ Show ]
  

  Ella is a Goddess. A real Goddess. When you are in her presence, the thing that strikes you most is...Ella is a Goddess. A real Goddess. When you are in her presence, the thing that strikes you most is one, how her beauty transcends conventional thoughts on what it is, and two, how POWERFUL a woman she is.
  
  Ella is the voice of Trinidad Orisa. The power, strength and sheer awesome talent of her voice is overwhelming, and many people will tell you her ability to raise the gooseflesh on your skin is legendary.
  
  .... Ella's voice floats, sweet grinds, belts, shouts and croons over some tight, tight drumming of Sango rhythms. 24 tracks deep, .... this is soul stirring singing in Yoruba for the King of Oyo, Sango, the Thunder in the Sky, Owner of the Double Headed Axe.
  
  

• Earth Music [+ Show ]
  

  EARTH MUSIC by Caroline Neisha Taylor Caroline Neisha Taylor gets close to Ella Andall, a sing...
  EARTH MUSIC
  by Caroline Neisha Taylor
  
  Caroline Neisha Taylor gets close to Ella Andall, a singer with a distinct voice and the power to make the spirits sit up and listen
  
  
  
  Ella Andall
  Photography by Mark Lyndersay
  
  It’s Spiritual Baptist Liberation Day in Trinidad, but instead of taking a day off, Ella Andall is doing what she always does—singing. It’s a 90-minute drive from her home in Arima to the southern town of Rio Claro, where Andall is slated to sing. She’s not sure what the set-up will be, whether there will even be a microphone. So this time, she is keeping it simple—a couple of back-ups, some of her longtime drummers, herself, and her music.
  
  
  It’s not always like that. Over the more than 35 years she has been in the music business, she has sung in Europe, Africa, and throughout the Americas—in intimate spiritual ceremonies, theatres, concert halls, sports stadiums and everything in between. She’s performed for the Dalai Lama, Winnie Mandela, inspirational writer Iyanla Vanzant, spiritual leader the Ooni of Ife, Nelson Mandela, and Nigerian President Olusegun Obasanjo, and shared the stage with Miriam Makeba.
  
  
  But her music has always been for and about families, community and identity, and today the music takes her to Rio Claro. When she arrives, her manager, Erica Ashton, calls the organisers from her cell phone. As the musicians and singers get out of the bus to stretch for a moment and use the restroom, there is an announcement and a long, glowing introduction from the community centre across the road: Ella is here!
  
  
  Andall hasn’t even had a chance to wipe the perspiration from the bridge of her nose before she’s ushered across the street to shrieks of elation from the crowd. People are clapping and waving at Andall, who smiles and laughs as she greets them and heads for the stage.
  
  
  She has come prepared to sing a fairly standard set of crowd favourites and some chants to the Orisha deities. But Andall is not a mere performer. Each time she sings, and particularly at community events like this, she takes the pulse of the place, and listens to what she is called to sing. Today she begins with chants to Ogun, the Orisha of iron, war and industry. Within minutes, Andall has discarded her shoes—however carefully chosen beforehand—so that she can dance and move freely. The audience are on their feet, clapping, dancing, and singing. The rhythm of the drums pounds in your chest, the clarity and purity of Andall’s voice resonate beneath your skin, and the energy of the moment is irresistible and overpowering. It is as if the entire universe vibrates with her.
  
  
  She winds down her set amid rapturous applause, descends the stairs and gets a drink of water. But the applause does not stop, and they will not let her leave. They call for Shango. She laughs, knowing that she is seldom allowed to leave a performance without singing her chants to Shango—Orisha of thunder, lighting and fire, the sky father. And as she begins to sing, the manifestations—where an Orisha manifests through, or briefly possesses, or “mounts”, a person’s body—begin. Eyes are closed, or remain open but glazed over. Members of the audience hold fast to those who are manifesting, making sure they do not injure themselves. Some begin to speak in Yoruba. Others begin to move and dance, manifesting the physical characteristics associated with a particular Orisha. Andall herself sits down, cross-legged on the stage, grounding herself by touching the ground and then her forehead with her hands. She smiles.
  
  
  
  
  
  Ella Andall
  Photography by Mark Lyndersay
  
  Ella Andall never intended to be a professional singer or songwriter. She had every intention of pursuing a career in medicine. But she grew up in a family of artists—poets, singers, and musicians. She was raised on the sound of her mother’s and grandmother’s voices, the strums of her father’s cuatro, the Yoruba of Orisha prayers. And she always sang. “I have always listened to my own voice,” she says. “Because there is something that I wanted to feel, that I wanted to hear, I wanted to give…and I like the sound of my own voice!”
  
  
  So do many others. Andall’s voice is among the most distinctive and arresting in Caribbean music, with a tremendous range of pitch, colour, and tone. It is at times the mournful wail of a grieving mother, as in “Missing Generation”, “People of Conscience” or “Shame”. At others, it has the piercing and blood-pounding immediacy, authority and ferocity of a warrior cry, as in “Woza (Rise Up)” and “Say My Name”. But always there is an infectious spirit of optimism, resilience, and sheer love of life.
  
  
  Andall was born in Grenada—one dare not ask the date—and moved to Trinidad when she was eight or nine. She found Trinidad extremely different from Grenada. For the first time, she encountered a discomfort with “blackness”, and distrust of anything “too African”. But she had been raised in a home and a family that had inherited the West African traditions of her ancestors, and she studiously resisted any attempts to remove her from those traditions, even refusing to sing in school choirs where she would be made to sing differently.
  
  
  Andall is an olorisha, or Orisha devotee. It is a way of life that celebrates the ancestors and the divine in nature, with various aspects and forces of the natural world represented in the Orisha, who are each a manifestation of God, or Olodumare. Two of Andall’s CDs—Oriki Ogun and Sango Baba Wa—comprise oriki, or praise songs, sung in Yoruba, to specific Orishas. Two more collections of oriki, in honour of Oshun and Eshu, are due out later this year. Many of the oriki have been passed down through the generations, while some are original compositions. When the Orisha are invoked through chanting and prayer, you can witness—or experience—the kind of manifestations which Andall’s performances are known to produce. You don’t even need to be an olorisha to experience a manifestation—the Orisha do not discriminate by creed, colour, or any other classification.
  
  Neither does Andall, who has always functioned in an extended musical family. Her earliest recordings, including classics like “Different People”, were written by Garfield Blackman (Lord Shorty and then Ras Shorty I), the progenitor of soca music. She toured extensively with Shorty and his Vibrations International band throughout the Caribbean and North America. In the 1980s and 1990s, she worked closely with two other leading Trinidadian musicians, David Rudder and Andre Tanker. Her vocals can be heard in the background of some of their tracks, as well as those of Black Stalin, Maestro, Lancelot Layne, Merchant, Shadow, Arrow, and Brother Resistance. Tanker wrote “Wishing on a Grace Note”, and Rudder composed two of her classic pieces, “Woman of the Sun” and “My Spirit is Music”.
  
  “That’s how I see her,” he says. “A woman of the sun. A rousing, regal piece of the African energy.”
  
  All this time, Andall had been gaining international success while defying any kind of musical definition. Despite the popularity of her singles, she faced a great deal of resistance within the Trinidad music industry and calypso fraternity. Some refused to book her because of how she dressed or tied her head, or were wary of the Yoruba chanting in her music. People would say to her that as she had such a nice voice, she should sing “nicer” songs.
  
  
  And while the calypso tent was the testing ground and launchpad for many a career, she found both the tents and calypso promoters shunning her: “because I’m bringing something that people want to forget,” she says. “People in Trinidad still have not accepted and cherished their blackness and their colour—they still get upset if people call them black.”
  
  
  She didn’t need to prove anything to anyone, but in the mid-90s, Andall decided to enter the calypso and soca competition arena. She was a finalist at the Soca Monarch competition in 1994, and in 1996 she entered the calypso tents and the Calypso Monarch competition. In addition to irrepressibly invoking manifestations during her nightly performances in the Kaiso House tent, she advanced straight through to what is, for calypsonians, the Holy Grail: the Dimanche Gras stage where the monarchy is contested. Unsurprisingly, there was nothing else like her in the competition, and perhaps never had been. With dignity and power, in flowing African dress and long dreadlocks wrapped above her head, reaching for the heavens, she seemed to conjure a different world.
  
  
  With two contrasting compositions, both of which have become signature pieces for her—“Missing Generation” and “Rhythm of a People”—she showed the versatility of her voice, and the lyricism of both her words and melody:
  
  
  
  
  
  Ella Andall
  Photography by Mark Lyndersay
  
  People gather round, I want you listen well
  To set your spirits free, I have this tale to tell
  Hear the rumbling of the drums, feel its mystic sound
  As it elevates you now to a higher ground
  Are you ready? Are you ready for this?
  Rhythm to shake the living
  Rhythm to raise the dead
  Rhythm to purge the pain from your heart
  Rhythm to make you laugh
  Rhythm to make the soul of a people dance
  (“Rhythm of a People”)
  
  
  Amid debate about whether what she was singing could even be considered calypso, she placed ninth. “There was a whole lot of to-do about that,” she recalls. “I can’t say I started singing calypso, because I’m still singing what I used to sing, and entered the tent many years after I started to sing…with this kind of earth music, as I like to call it. Organic music. Natural music.” She made one more seamless trip to the finals the following year, 1997, before once again withdrawing from the tents and the competition environment. It was necessary for her, she says, to ensure that she never tried to change herself, her style or her music to try and win over judges.
  
  
  Even after all of that, she still finds people who think that her music and chanting have some sort of sinister dimension, or who are distinctly uncomfortable with her. Some of this has to do with Andall’s presence, which can be intimidating. Her eyes are as intense and penetrating as her voice, and there is a sense that she can size you up in an instant. It is as if she is always connected to some sort of force that many of us only hope to encounter, and knows exactly how to wield that incredible power.
  
  
  “I think the force I bring is really truth,” Andall says, “and I don’t have any corner in which I wish to hide. If you come to my house, I have every corner empty and it’s filled with love. In our tradition, you keep the corners [empty] because we deal with six directions: the east, the west, the north and the south, the heavens above and the earth below. So I live that kind of life. I think what I do is I mirror people. I show you your faults—and I also show you what you can be.”
  
  
  That is something she has always done with the music, and the late 1990s saw her bringing it to an ever broader audience through recordings and performances. In 1999, she performed in the World Beat concert in Trinidad, alongside international stars like Baaba Maal, Tito Puente, Ravi Shankar and her old friend and colleague Andre Tanker. The same year, she performed in the premiere of Trinidadian Geraldine Connor’s epic musical, Carnival Messiah, at the West Yorkshire Playhouse. She has performed in subsequent restagings both in the UK and in Trinidad, as well as in Connor’s production of Yaa Asantewaa: Warrior Queen, which toured the UK and Ghana in 2001.
  
  
  In 2000, she released her first CD, Miss Ella: Bring Down the Power, a collection of some of her best recordings. She followed it up in 2004 with a second collection called Healing Fire. Both are capsules of everything that Andall is. Invariably, there is also a call for self-awareness, respect, “bread, peace and justice” for all, and each song is an eloquent reaffirmation of her purpose and mission in life.
  
  
  With her suites of oriki to Ogun and Shango, her recordings have filled a void. Oriki Ogun has become the soundtrack for every context calling for an authentic African vibration. Trinidadian filmmaker Yao Ramesar used her music in his film Sista God, which premiered at the Toronto International Film Festival in 2006. “I have always loved her music,” he says. “For me she ranks right up there with Billie Holiday, Bessie Smith, Mahalia Jackson, Miriam Makeba, Ella Fitzgerald.”
  
  
  But what drives Andall is not fame, or financial reward. “I am driven by people,” she says. “People make me happy! I do the music so that I can create a change. I understood from quite young how powerful the music is.”
  
  
  
  
  
  Ella Andall
  Photography by Mark Lyndersay
  
  In the home that she and her husband share in Arima, there is a constant turnover of people and the phone is almost always ringing. “My home is like an open house for children of all ages. My oldest one, as she calls herself, is 64, but she comes and we exchange ideas and help one another.”
  
  
  Does she have down time, private Ella time? “I am working all the time—but I do sleep! I find time to teach children, because my thanksgiving is giving back to the younger ones. I find time to counsel husbands and wives, young and old. I find time to pray, and to teach prayers. I find time to cook!” she adds, with a knowing smile. Anyone who has visited her—and has not been allowed to leave without eating something, if only a banana—knows her culinary skills are unmatched.
  
  
  The many people who come to Andall run the gamut of age, ethnicity, gender, class, and creed. To all of them she is “Mama Ella”, or just “Ma”. And while her own moorings are in African and Orisha traditions, her humanity has never discriminated. Her first husband, and father of her only son, Jegbe, was of East Indian ancestry. “I don’t think that God in his or her wisdom doesn’t know why he—or she—created the rose or the buttercup and all the different flowers. I am who I am, and if I am a yam and you are a dasheen, we are still coming from the ground!” she says with a playful laugh.
  
  
  “There’s a phrase we speak in Yoruba: iwapele—divine, noble and upright character. I want to be as great as I can be, the example, so people can follow, so children can follow, and so the world can be a nicer place—or the spot of the world in which I live.”
  
  
  
  Discography
  
  1973
  Waiting for You (7")
  
  Waiting for You (comp. Shorty)
  Please Don't Leave Me (comp. Shorty)
  1974
  This Girl is a Good Girl (LP)
  
  Touch Me In The Morning
  Same Time, Same Place (Duet With Johnny Braff).
  Bim Film Soundtrack (LP)
  
  Background vocals (comp. Andre Tanker)
  1975
  Different People (7")
  
  Second Fiddle (comp. Shorty)
  Different People (comp. Shorty, arr. Shorty & Leston Paul)
  Love in the Caribbean (LP)
  
  Love in the Caribbean (comp. Shorty, arr. Shorty, Lancelot Layne, Junior Brown, Nearlin Taitt)
  Different People (comp. Shorty, arr. Shorty & Leston Paul)
  1976
  Hello Africa (7")
  
  Hello Africa (comp. Eddie Grant)
  1981
  Soca (LP)
  
  Africa (Hello Africa) (B-3)
  
  Stay Giving Praises (LP)
  Stay Giving Praises (duet with Black Stalin) (comp. Black Stalin)
  1982
  Black Woman (EP)
  
  Black Woman (comp. Ella Andall and Fortunia Ruiz)
  Love Yuh Own (comp. Ella Andall and Fortunia Ruiz)
  1988
  New Day Dawning (CD)
  
  Backup vocalist for David Rudder
  1990
  
  Bring Down The Power (comp. Ella Andall and Brother Resistance)
  Come Play We Music (comp. Ella Andall)
  Pan Warning (comp. Irving Peters and Ella Andall)
  1991
  My Spirit is Music (LP)
  
  My Spirit is Music (comp. David Rudder, arr. Pelham Goddard)
  Wishing On a Grace Note (comp. Andre Tanker, arr. Pelham Goddard)
  Song For The People (comp. Ella Andall, arr. Pelham Goddard)
  Women of the Sun (comp. David Rudder, arr. Pelham Goddard)
  1992
  Pan is Meh Jumbie (LP)
  
  Pan is Meh Jumbie (comp. Robert Greenidge, GB and Joe Brown)
  Lavue Lavue (comp. Robert Greenidge and GB)
  Soca In De Maxi (comp. Robert Greenidge and GB)
  Man Konk Out (comp. Robert Greenidge and GB)
  Zombie Soca (CD)
  
  Backup vocalist for Arrow
  1994
  Put Me In the Mix/Today (12")
  
  Put Me in the Mix (comp. Ella Andall and Preacher, arr. Leston Paul)
  Today (comp. Ella Andall and Allan ‘Blackstone' Thomas)
  1996
  The Gilded Collection (CD)
  
  Backup vocalist for David Rudder
  Missing Generation/Rhythm of a People
  
  Missing Generation (comp. Ella Andall, arr. Leston Paul)
  Rhythm of a People (comp. Ella Andall, arr. E. Hector)
  
  1997
  Say My Name/Soca Yard
  
  Soca Yard (comp. Ella Andall, arr. Leston Paul)
  Say My Name (comp. Ella Andall, arr. Leston Paul)
  1998
  The Soca Switch 3:
  
  (5) Festival Song (comp. Ella Andall, arr. Wayne Bruno)
  Rituals of Trinidad Carnival:
  
  (3) Woman Of The Sun (comp. David Rudder, arr. Pelham Goddard)
  Song of Hope/Festival Song
  
  Festival Song (comp. Ella Andall, arr. Wayne Bruno)
  Song of Hope (comp. Ella Andall)
  1999
  Oriki Ogun: a Suite of Chants to Ogun (CD)
  
  Children of the Big Bang (CD)
  
  Backup Vocalist for Andre Tanker
  Where Are the People/Move the Barriers
  
  Move the Barriers (comp. Ella Andall, arr. George & Friends)
  Where are the People (comp. Ella Andall)
  2000
  Bring Down the Power (CD)
  
  Bring Down the Power (comp. Ella Andall and Brother Resistance, arr. E. Hector)
  My Spirit is Music (comp. David Rudder, arr. Pelham Goddard)
  Different People (comp. Shorty, arr. Shorty & Leston Paul)
  Missing Generation (comp. Ella Andall, arr. Leston Paul)
  Black Woman (comp. Ella Andall and Fortunia Ruiz)
  Song for the People (comp. Ella Andall, arr. Pelham Goddard)
  Rhythm of a People (comp. Ella Andall, arr. E. Hector)
  Festival Song (comp. Ella Andall, arr. Wayne Bruno)
  Dance Ni ti wa (comp. Ella Andall, arr. Kenny Phillip)
  Shame (comp. Ella Andall, arr. Martin ‘Mice' Raymond)
  Trinidad Hot Times
  
  (7) Woman Of The Sun (comp. David Rudder, arr. Pelham Goddard)
  Everything is Everything (CD)
  
  Backup Vocalist for Kindred
  2003
  Spirit Dancer (CD)
  
  Spirit Dancer
  Dance Ni ti wa (comp. Ella Andall, arr. Kenny Phillip)
  Awake (comp. Ella Andall, arr. Graham Wilson)
  2004
  Sango Baba Wa: a Suite of Chants to Sango (CD)
  
  Healing Fire (CD)
  
  Awake (comp. Ella Andall, arr. Graham Wilson)
  Woza (Rise Up) (comp. Ella Andall, arr. Kenny Phillips)
  Soca Yard (comp. Ella Andall, arr. Leston Paul)
  Say My Name (comp. Ella Andall, arr. Leston Paul)
  Missing Generation (comp. Ella Andall, arr. Leston Paul)
  People Of Conscience (comp. Ella Andall, arr. George & Friends)
  Woman Of The Sun (comp. David Rudder, arr. Pelham Goddard)
  Move the Barriers (comp. Ella Andall, arr. George & Friends)
  Spirit Dancer (comp. Ella Andall, arr. Kenny Phillips)
  In The Mix (comp. Ella Andall and Preacher, arr. Leston Paul)
  Come Play We Music (comp. Ella Andall, arr. Eman Hector)
  Ajulaye (comp. Ella Andall, arr. Wayne Bruno)
  Wishing On A Grace Note (comp. Andre Tanker, arr. Pelham Goddard)
  Love Yuh Own (comp. Fortunia Ruiz and Ella Andall)
  Awards
  
  1996
  Trinidad and Tobago's Best Female Artist
  
  1997
  Caribbean Entertainer of the Year
  NACC (National Action Cultural Committee) Top 20 Stars of Gold Award for "Say My Name"
  
  1998
  COTT (Copyright Organisation of Trinidad & Tobago) Female Composer of the Year Award
  
  
  
  

Setlist

A set list will include Yoruba chants to Ogun, Esu, Osun, Sango, with other, mainly original songs:
Black Woman
Missing Generation
Different People
Bring Down The Power of Love
Rhythm of a People
Hello Africa
Women of the Sun
My Spirit is Music
Bread, Peace and Justice
Dance (Ni ti wa)
People of Conscience
Awake

Basic Requirements

Calendar