These stories hovered in the shadows, even as Ouidah became a pilgrimage destination for people drawn to its history as a conduit for hundreds of thousands of Africans on their way to bondage in the Americas.<\/p>\n
\u201cI come from that village, and even now the topic is impossible to talk about,\u201d Kidjo told The Chronicle. \u201cIt\u2019s not taught in school.\u201d<\/p>\n
But now Kidjo is putting the spotlight on the legacy of this world-shaping trauma from a mythic West African perspective in her ambitious new musical production \u201cYemandja,\u201d which makes its Bay Area premiere Saturday, April 23, at UC Berkeley\u2019s Zellerbach Hall. Starring the five-time Grammy Award-winning vocalist, songwriter and human rights activist backed by her band, it\u2019s a fully staged work that recasts the slave trade as a parable about gods and humans and the generation-rippling costs when people are cleaved from their culture.<\/p>\n
\u201cAt the core of this is that I come from a country where the slave trade started,\u201d said Kidjo, speaking from Tempe, Ariz., on a video call with her Los Angeles-based daughter Na\u00efma Hebrail Kidjo, who wrote the \u201cYemandja\u201d book and lyrics. \u201cIn the 21st century the wound is still there. Slavery caused all this collateral damage, and no one is immune. You cannot move forward with that kind of weight on your shoulders, but how do we talk about it without being confrontational? We all have to own it.\u201d<\/p>\n
Co-commissioned by Cal Performances and presented as part of this season\u2019s Illuminations: \u201cPlace and Displacement\u201d series, \u201cYemandja\u201d takes its name from the Yoruban goddess, or orisha, of water and healing. One of the most celebrated and charismatic performers on the world stage, Kidjo makes her theatrical debut in the titular role (\u201cOf course my mom had to be a deity,\u201d quipped Hebrail Kidjo), and like Kidjo\u2019s relationship to the trans-Atlantic slave trade, \u201cYemandja\u201d is very much a family affair.<\/p>\n
Kidjo worked closely with her husband, French musician and producer Jean Hebrail, in setting their daughter\u2019s lyrics to music. They developed the production with director Cheryl Lynn Bruce, an actor, playwright and longtime force at Chicago\u2019s Steppenwolf Theatre. The renowned Los Angeles-reared visual artist Kerry James Marshall created the fantastical stage design, and Cuban American choreographer Beatrice Capote, now based in New Jersey, brought a wide-angle diasporic perspective to the moves she set on the chorus of dancer-singers.<\/p>\n
\u201cYemandja\u201d premiered last month at the Massachusetts Museum of Contemporary Art, one of half a dozen co-commissioning organizations, and while it is often described as a musical, Hebrail Kidjo sees the work as flowing from the way that \u201cmusic is enmeshed in African life.\u201d<\/p>\n
\u201cWe\u2019re leaning into some tropes from musical theater and fighting against them,\u201d she explained. \u201cWe\u2019re breaking into song because singing is part of the culture, not because it\u2019s a musical.\u201d<\/p>\n
While the story is supernatural, Hebrail Kidjo drew elements directly from her mother\u2019s life, like an opening baptismal scene. The drama between gods and humans, the sense of ancestral presence, is an aspect of Beninese culture that Hebrail Kidjo remembers experiencing as a child when she knocked over a bottle of Champagne at a family gathering shortly after her grandfather died.<\/p>\n
\u201cI thought, \u2018Oh, no! They\u2019re going to yell at me,\u2019 \u201d recalled Hebrail Kidjo, who grew up tri-cultural in Benin, Paris and Brooklyn, where Kidjo has lived since 1997. \u201cBut instead the reaction was, \u2018Ah, your grandfather is here.\u2019 That veil between the living and the departed is very porous in Benin, which is so beautiful and comforting.\u201d<\/p>\n
Hebrail Kidjo notes that the interplay of gods and people in West African mythology is sometimes uncannily similar to that of the Greeks, though with gods who are still very much present in the culture. In many ways, \u201cYemandja\u2019s\u201d tale of betrayal, honor and revenge set amid the Yoruba pantheon is the latest Kidjo creation that seeks to repair a broken world.<\/p>\n
Most conspicuously, starting with 1998\u2019s \u201cOremi,\u201d she recorded a trilogy of albums that put a West African stamp on African diaspora songs and idioms. The first project brought African American music back to the motherland, and she followed with 2002\u2019s Afro-Brazilian-steeped \u201cBlack Ivory Soul\u201d and 2004\u2019s \u201cOyaya!,\u201d an album exploring Caribbean influences.<\/p>\n
\u201cFor me, \u2018Yemandja\u2019 is what you\u2019ve been doing all along,\u201d Hebrail Kidjo said while addressing her mother. \u201cIt\u2019s what you started in your \u2018Black Ivory Soul\u2019 trilogy, exploring that bridge, being that bridge between Benin and the West. It felt like this is a natural continuation of the way you\u2019ve shown that songs have this incredible power to bypass words, but what is it like if we put bodies onstage \u2014 literally a flesh dimension to this thing that\u2019s quintessentially you.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"
Growing up in Ouidah, a coastal city in Benin that was once part of the West African kingdom of Dahomey, Ang\u00e9lique Kidjo was haunted by the specter of slavery. Her family passed on narratives about ancestors who resisted the trans-Atlantic trade that enriched the monarchy while preying upon neighboring peoples.<\/p>\n","protected":false},"author":12963,"featured_media":6288,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28,31],"tags":[7,30,32],"class_list":{"0":"post-6291","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture","8":"category-music","9":"tag-apie-project","10":"tag-culture","11":"tag-music"},"yoast_head":"\n