GEOFF BOTTOMS appreciates the local touch brought to a production of Dickens’s perennial classic
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Ernesto Djedje was one of the most innovative and successful artists Cote d‘Ivoire has ever produced
(L to R) Ernesto Djedje in 1977; Statue of Djedje at the entrance of Insaac (school of Arts) Cocody, Abidjan
[(L to R) Analog Africa; Ariel Palmon/CC]
MARY CONWAY is disappointed by a production whose design and cartoonish acting overwhelms the close scrutiny of characters
SUSAN DARLINGTON enjoys the raucous familiarity of a traditional topsy-turvy pantomime
RON JACOBS introduces the latest novel by the best writer of US working-class fiction writing today
HENRY BELL is fascinated by the underlying curiosities and contradictions of one of the great poets of the Mediterranean
DAVID RENTON recommends a books that explores the ways in which disabled people are made to feel both of and not part of this world
A RISING star in the 1960s, when he became the guitar player and leader of the group Ivoiro Star, Ernesto Djedje set out to modernise Ivorian music and popularised the ziglibithy style of music, a pulsating hot mix of makossa and funk.
In 1968 he headed for Paris to record his first singles, arranged and produced by Manu Dibango and influenced by US soul, the music of Cameroon and Zaire as well as traditional Ivorian music.
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