Blackstar Rising - Kae Sun

What a sight to behold a black star shining
Against all odds it's a black star rising
I say yeah o, I say yeah o

This is where I heard the future call
From shore to shore to shore
One voice after all, can say so much more and more

What a sight to behold a black star shining
Against all odds it's a black star rising
I say yeah o, I say yeah o

This is where I spend all my time
knowing you'll remember me
We one blood after all and here we are

And on my mind faces keep on shifting
They keep on, keep on.
Go 'head and show me that mystery of living
keep on, keep on
yeah

What a sight to behold a black star shining
Against all odds it's a black star rising
I say yeah o, I say yeah o
I say yeah o. I say yeah o
I say yeah o...

Author Profile - Kae Sun

Biography:

Photo by Yaa Annobil

Kae Sun, born Kwaku Darko-Mensah Jr., is a Ghanaian-Canadian singer-songwriter. He immigrated from Ghana to Canada in his teens after graduating from Achimota School in Accra where he first started performing and writing music. He then studied Multimedia and Philosophy at McMaster University in Hamilton, Ontario.

Kae Sun's albums and EPS include Outside the Barcode, Lion on a Leash and Ghost Town Prophecy. His new album is Afriyie.

SEVEN Questions with Kae Sun:

1. As a Canadian with strong connections to Ghana, I feel particularly compelled by this song, as it seems to have a foot in both countries (the "shore to shore to shore" line in particular, as we are all taught in grade school that Canada borders three great oceans). Pushing further, lines like "We one blood after all and here we are" [emphasis mine] seem to move the song's focus wider, to a global, borderless society. In many ways this song seems like your ode to Ghana and to Canada all at once, and through that an ode to much larger, and more universal themes. Does any of this resonate with you? Did you write this as a Ghana-Canada hybrid, or did you aim to write for one or the other "home" and the other one just slipped in?


I find my songs are more from the gut and heart than intellectual and perhaps because I myself live between these two, in some ways distant and in some ways similar cultures, it just comes out in the songs and poems I write.


2. "Blackstar Rising" opens with what sounds like the ocean lapping against the shore. What role does the Atlantic, and the shoreline of Accra specifically, play in your vision of the city and the country? When you hear that ocean rolling at the beginning of the track, does it bring up memories in you? If so, what?

One of the things I wish I had done as a boy in Accra was take long walks on the beach at night. I didn't hear it as ocean lapping against a shore but I like that imagery a lot. I like water and I like night, I think Accra is at it's best at night. So now that you say it I have memories of the city but more than that a yearning to take a long stroll on a beach at night. I know that doesn't answer your question at all, ha-ha.


3. You open your new album, Afriyie, with "Blackstar Rising". What message do you hope this sends to your listener about the album?

Again, at the risk of sounding very pretentious, I like to think of my music more as a mosaic, more like emotional snapshots and not as holding any rigid message or interpretation. So I think just like you heard the Ocean in the song, some other listener will hear something else and I get a big kick out of that so I wouldn't wanna ruin it with my own ideas. In the end it's really to get a response, hopefully it's a creative, inspiring one.


4. Acoustic versions of many of the songs on Afriyie, though not "Blackstar Rising", were previously released on your 2011 EP Outside the Barcode. Those songs were written after your most recent return to Ghana and recorded in one day upon your arrival back in Ontario. The Afriyie versions are quite different. Can you talk about the journey those songs took from Outside the Barcode to Afriyie, and why you made the choices you made to transform the songs as you did?

Sure. Well it started with playing them live with a band on tour. The song Firefly Dance [from Outside the Barcode didn't make it 'cause the band version didn't bring any depth to the acoustic version. It sounded like I was doing a bad cover of my own tune. The ones that have that got re-worked for Afriyie are the songs that felt like they could grow and become bigger in sound. Also I worked with two amazing producer/engineers who knew how to make all this, technical and also objective musical advice.


5. More generally, I was wondering if you could speak to how those Outside the Barcode songs inform or shape the Afriyie album as a whole? Are they simply one of the composite parts, or are they the centre? Is Afriyie, in its totality, as much a love song to Ghana as Outside the Barcode was?

Yes, very much. Mind you it's Ghana filtered heavily through my imagination and emotions. I'm not a nationalist so it's not about patriotism at all i think it's more direct; This is where I grew up Accra, this is where I'm living Toronto, and these are the experiences I'm having and the people I'm having them with.


6. It's been four years (!) since we last profiled you here on OGOV. Over that period, how many times have you returned to Ghana? How has your sense of the country changed with each visit?

Three times I think. The first visit was the best by far. You can't beat the novelty of a home-coming and being a community of artists - big shout-out to Panji Anoff. Other times were amazing as well but I had to interact with Government institutions so I got that foul taste in my mouth again, ha-ha.


7. In those four years you've also spent a good deal more time writing about Ghana for a North American audience. Over that time how, if at all, has your sense of how to write for a global audience about your homeland, changed? Have you found that certain things work and others don't? Is there a particular approach that you find resonates best?

The biggest change in approach for me came when I realized that it's important to tell these stories to an audience of friends. The audience, however you imagine them, should be the company you want to keep. The North American audience is no different from any audience and they are not so different from myself in so far as we're all trying to live and make meaning out of existence. That realization freed me up a lot. Now I just aim to embrace vulnerability and write courageously for faceless humans, past, present and future.

Contact Kae Sun:

Email: kaesun(at)gmail(dot)com
Website: www.kaesunmusic.com

Lion on a leash - Kae Sun

They wait till we dead before they honor us
Guess they tried to put some fear in us
You can't keep a king inside a cell,
Can't hold a lion on a leash.

Brave, brave hearted people
Speak on all you see thats evil
Speak when some not treated equal.
Wise grow wiser, Strong grow stronger
Declaring righteousness over yonder,
Don't let them mould your mind,
They can't hold a lion on a leash.

Sleep walkers walk on, Day dreamers they dream on
They put the fuel to the fire, know that these times they require
Those who seek to serve mankind in everyway, loving everyday
Hear what our Fathers say, don't take the mark of the beast, no.
Don't take the mark of the beast, don't.

Some will knock you down and try to trample you
Others try hard just to conquer you
They'll try to take a sage for fool
They'll try to steal the dreams of our youth.
But even when we fall we rise and carry on.
Through the highs and the lows wherever the wind may blow, wherever the wind may blow.

Author Profile - Kae Sun

Biography:

Kwaku Darko-Mensah Jr. (aka. Kae Sun) is a Ghanaian born singer, songwriter and poet. He is currently based in Hamilton, Ontario, Canada. He has recieved a B.A. from McMaster University in Multimedia and Philosophy.

His single "Lion on a leash" will be released in may.

Five Questions with Kae Sun:

1. "Lion on a Leash" is the first song to have its lyrics highlighted on OGOV. How central is lyricism to the writing of your songs? Which came first in the song, the lyrics or the music?

I decided to keep this song acoustic because I find the lyrics pretty central to theme of the song and my record as whole, I didn't feel it needed much more. For this song, the lyrics and the melody came to me together in bits and pieces, it amazes me when that happens.


2. Do you write differently when you are writing lyrics and poems? If so, how?

Yeah I try to approach them differently, not always successfully. Song lyrics sometimes demand a certain flow and simplicity. I've been writing music longer than I've been writing poems so that tends to influence my approach to poetry.


3. When we spoke in the past about the impact of your two worlds, Ghana and Canada, on your poetry, you noted: "I think the Ghanaian influence is stronger in my work since it is the foundation of my personality and the values I hold dearly." Does this hold just as true for your music? If so, what elements of Ghanaian music do you think most strongly resonate in your work?

Absolutely, as I mentioned before I think the influence of my upbringing and my heritage on my art is less stylistic and more in the core of what I'm doing. I tend to gravitate toward substance, community, folksiness. Serenity and faith as well, those are very traditional Ghanaian values and I definitely credit my culture and the environment I grew up in for that. Ghanaians tend to appear very cool and peace loving but there's an intensity underneath all that and in a sense we tend to be afraid of our own intensity. I find that very fascinating.... it's in highlife, its in our symbolism, our folk stories, our politics. That's what I'm trying to capture with "Lion on a leash."


4. You have a new album coming out soon. How does this album compare to your last EP, "Ghost Town Prophecy"? In what ways have you changed or grown as a writer in the interval between the two releases?

On Ghost Town we were looking for a direction, I think since then I've grown as a singer and as a songwriter, I'm becoming more set in my ways, they say that happens as you grow older, so I think people will find this record more mature, more focused, more melodic.


5. When is the new album coming out, and where can interested readers go to get more info and purchase a copy?

The album is coming out on August 25th, 2009. You can get it on i-tunes and in stores here in Canada. In the meantime readers can check out www.myspace.com/kaesun or www.kaesunmusic.com to stay up on what I'm doing. I appreciate the support, truly.

Contact Kae Sun:

Email: kaydimes(at)hotmail.com
Websites: www.kaesunmusic.com, www.myspace.com/kaesun

Favourite Poems of 2008

Readers' Picks:

Dry Season in Eremon by Edith Faalong (Issue 2.39, September 27th - October 3rd, 2008)

Comments on Dry Season in Eremon:

"First it makes me miss Ghana. It also brings to mind a poem by Kwesi Brew titled The Dry Season. Most important, it evokes the Harmattan, my favourite season. Despite the hardships, dry seasons evoke cycles and returns, and everyone is assured that something better is on the way." - L.S. Mensah

"It brings back fond memories of my visit to extended family members at James Town." - Giles Kangberee

"Beautiful and touching." - Reggie Kyere

A Flake of Rain by L.S. Mensah (Issue 2.46, November 15th - 21st, 2008)

Comments on A Flake of Rain:

"I love the poem. The use of repetitive words is very effective. It has a sacred mood that immediately demands contemplation of who and where we are as Africans. I must add, however, that it contains a universality that is emphereal. Congrats, L.S Mensah." - Prince Mensah

"The use of metaphor and imagery is well done. It produces a direct and intended affect. It is as crafted as the wooden masks the poet speaks of." - Benjamin Nardolilli

Anansesem by Emma Akuffo (Issue 2.42, October 18th - 24th, 2008)

Comment on Anansesem:

"There are so many wonderful poems that have been published this year on One Ghana, One Voice. But since I have to choose one, it has to be Emma Akuffo's "Anansesem." Her first two lines are some of the best I've ever read. I so want to have lived in this time when a spider ruled the world." - Laban Hill

Staff Picks:

Without Roots by Edith Faalong (Issue 2.1, January 5th - 11th, 2008)

Comment on Without Roots:

"My favourite poem for 2008 is Without Roots by Edith Faalong. My goodness, what a splendid way to have begun the year. Edith is so original that I can only ask why she is waiting on her writing career. The tone and themes of this poem captivated me from the first line: 'through the journey i rode behind the jolting bus and reminisced.' The nostalgic essence of Edith's poem is applicable to everyone who misses the land of their birth. I miss Ghana very much and Edith's poem is a time machine for my imagination. Her concluding line:'where does a girl without roots go?' summarizes the sense of loss when you try to reconnect to memories of people and places that no longer exist." - Prince Mensah

Ananse's Grave by Kae Sun (Issue 2.41, October 11th - 17th, 2008)

Comment on Ananse's Grave:

"Kae Sun is an incredibly talented writer and performer, and this is the finest of his poems that I have encountered to date. His efficiency with words and his effective use of rhyme, especially slant rhyme, are truly admirable. The poem rises off the page like a song, but a more adult and sophisticated song than the songs of youth. Add on top of that a powerful message, emphasised so strongly in the closing line, and you have one of the most compelling poems we've published to date." - Rob Taylor

Mother's Touch by Mariska Taylor-Darko (Issue 2.31, August 2nd - 8th, 2008)

Comment on Mother's Touch:

"Mother's Touch deals with a very "touchy" Ghanaian issue: witchcraft and women. It goes to the root cause of our society's readiness to blame whatever is wrong with us upon those who care the most about us. Our lack of commitment to our own goals, together with our willingness to give up, cannot be foisted on our mothers in the name of witchcraft. Mariska's ultimate challenge is for people to own up to their own mistakes. A splendid use of prose poetry!" - Prince Mensah

My Mother's Heart by Reggie Kyere (Issue 2.19, May 10th - 16th, 2008)

Comment on My Mother's Heart:

"A 21 year old writer with little training, Reggie's work shows a formidable amount of intelligence and skill. Reggie knows how to make a poem - how to build his readers up and then send them to the floor, astonished. "Some women love once," he says, then leaves us hanging at the enjambment before landing the closing line "they confess." Wow. Everyone at OGOV is excited to see what will come from him in the future." - Rob Taylor

Ananse's Grave - Kae Sun

We hated here and now,
we wasted space for some gold rush.
If told to trade we would for the emptiness
that was born of the earth's touch.

We created here and now
and never was a sound so loosely sung,
heard across the latitudes of whatever laid in our way.

Meanwhile beneath those bridges, through rustling leaves,
the spider and his stories weave.
Tales grow as tall as a warrior's bloodline,
as tight knit as the women's patterns.
Our children have been to Ananse's grave
surprised to find the prince of cunning so depraved.
"Take the words off our hearts," they said.
Well today even those words are dead.


"Ananse's Grave" is part two of our four-part series of poems on Ananse stories. Previous installments can be found in our archives. Check back next week for the next installment.

Author Profile - Kae Sun

Biography:

Kwaku Darko-Mensah Jr. (aka. Kae Sun) is a Ghanaian born singer, songwriter and poet. He is currently based in Hamilton, Ontario, Canada. He has recieved a B.A. from McMaster University in Multimedia and Philosophy.

Five Questions with Kae Sun:

1. What role have Ananse stories played in your life?

I heard a fair bit of Ananse tales growing up; they definitely triggered my imagination. What makes them special is that each story has a strong moral lesson. This poem is inspired by the fact that I can't for the life of me remember any of the stories and the sad fact that those morals and stories can so easily slip away.


2. What has using the trope of Ananse stories allowed you to explore in your writing that you otherwise could not?

They haven’t influenced my writing yet. I’m on a journey of rediscovery. For me, the stories are most potent when narrated in Twi. That’s the way I first heard them so I’m yearning for that experience. Maybe that’s the point, you hear them as a child and if you don’t memorize and re-tell them they slip away.


3. There are so many potent lines in this poem, it's hard to pick just one to explore. Still, the one that stands out the most for me is 'If told to trade we would for the emptiness / that was born of the earth's touch'. Could you discuss this line a bit more? What inspired you to write it, what you hope for readers to take away from it?

The earth’s touch is comforting and restorative. The irony here is that when we trade all that’s given to us naturally then the earth itself cannot console us. That’s my interpretation of it off course; I encourage readers to find their own meaning in that line. It definitely addresses the consequences of giving up ones right, whether it's land or tradition.


4. In your last profile, you mentioned the role the Wole Soyinka edited Poems of Black Africa collection has on your development as a writer. Do you think that the creation of such a seminal book for the new generation of African writers is possible? Do you think it could find an audience?

I think it’s not only possible, but long overdue. I’ve come across folks, some university professors, who can’t name a single African poet. That’s sad given the richness and diversity of African poetry.


5. Here on OGOV, readers have gotten to know your poetry, but not your musical pursuits - would you like to take a moment to tell readers about this part of your life, and perhaps discuss the connection between your poetry and song?

I have an EP out currently and I play regularly in Canada. The music itself draws from a vast array of influences from folk music to hip-hop. My song writing and poetry go hand in hand, they compliment each other and address the same themes. I’m working on a full length album now which is definitely more rootsy and stripped down.

Contact Kae Sun:

Email: kaydimes(at)hotmail.com
Websites: www.kaesunmusic.com, www.myspace.com/kaesun

Under African Skies - Kae Sun

As a boy I was told, "Never count the stars, you'll surely die in your sleep"
I would rise, dust my clothes off and skip through the streets.
On a foray to find the only lad within miles who had actually seen America,
where the girls reeked of garlic and the boys played games with their spit.

On nameless streets the fellows and I would soak the aroma of beef on the grill.
Peeking through lamp lit homes in search of a thrill . Nothing particularly
villainous about these actions just mere curiosity and years to kill.
In this locale life is slow like the stringent nod of a monitor lizard or the
steady grind of a saw mill, while free-range livestock converge on the stoop
for a peaceful meal.

"What is this war they speak of?", I would often query, history book open.
Even then it was obvious, glances from the old and wise, they spell the
unspoken. What good is a lesson that leaves the fragile broken? So they
would carry on, like little infants wrapped on their Mothers' backs,
such a marvelous token.

Author Profile - Kae Sun

Biography:

Kwaku Darko-Mensah Jr. (aka. Kae Sun) is a Ghanaian born singer, songwriter and poet. He is currently based in Hamilton, Ontario, Canada. He has recieved a B.A. from McMaster University in Multimedia and Philosophy.

Five Questions with Kae Sun:

1. How long have you been writing poetry?

I started writing poems when I was about 16 years old. I wrote songs and random thoughts initially and then gradually drifted toward poetry.


2. Who are your favorite poets? Which poets have most inspired and informed your work?

The first poet that had a real strong impact on me was Nas, a rapper from New York. The imagery in his lyrics got me really interested in using words to create worlds. Then as I got into university I got exposed to some of the greats: Wordsworth, William Blake and also the beat poets Ginsberg, Jack Kerouac. Then a few years ago I got hold of the book, "Poems of Black Africa," a collection of African poetry with poems by Kofi Awoonor, Lenrie Peters, Kwesi Brew and so on. So I would say my influences have been diverse and I find them all equally enjoyable.

3. It seems that your poetry has been influenced both by Ghanaian and Canadian sources. Would you agree with this? If so, to what degree do you feel each source has influenced you?

My poetry has definitely been influenced by both my Ghanaian upbringing and my living in Canada. As human beings in general, and artists specifically, I think we're influenced to a degree by our environment and it naturally seeps through into the creative work we do. I think my Ghanaian influence is stronger in my work since it is the foundation of my personality and the values I hold dearly. My living in Canada has further enhanced my views by exposing me to certain elements of Canadian culture and further expanding my world view.


4. How has your time studying and living abroad changed your perception of your homeland?

My perception of my homeland has shifted a great deal. Being absent from Ghana for quite a bit of time has given me a real appreciation for the culture, the people, the land. I think sometimes when you are immersed in something it is more difficult to appreciate it. Being away has done a lot for me in that sense. Now instead of just complaining about the ills of our society, I tend to want to find ways to help Ghana as much as I can.


5. What do you think can be done to promote Ghanaian literature, and African literature in general, in Canada?

Great question. I think you guys are doing exactly that. I was ecstatic when I found out about the existence of this magazine and the website. I think showcasing quality work with a uniquely Ghanaian perspective and also profiling up and coming poets will show some level of seriousness and dedication, and will go a long way. Keeping the writers inspired and building a self-sustaining literary and artistic community. I think building a similar community in Canada for African writers will be a great start. There is a yearning for the African perspective on things and poetry and the arts is the best way to communicate this perspective.

Contact Kae Sun:

Email: kaydimes(at)hotmail.com
Websites: www.kaesunmusic.com, www.myspace.com/kaesun