Afrosoca, the rhythm of Ola

They teach you there’s a boundary line to music. But, man, there’s no boundary line to art.” --- Charlie Parker, legendary American jazz saxophonist For any artist, who you are translates itself in some form, in some indistinct way, to your art.

For Olatunji Yearwood, the 2015 Groovy Soca Monarch, his move to what he terms “Afrosoca” is a sound born of the influence of his late parents, Mairoon Ali and Eddie Yearwood, and also by time spent in the United Kingdom where African rhythms was “very big.” Afrosoca, the mix of African and soca music which gained him the crown last year with the self-titled, “Ola”, is well on its way to becoming a trademark sound for the artiste.

It was evident as he walked along Chacon Street onto to Brian Lara Promenade in Portof- Spain, last Wednesday after his Sunday Newsday interview that, Yearwood, has gained the admiration of the public.

People casually greeted him, some hugging him, urging him to participate in this year’s International Soca Monarch competition, which no longer has groovy and power categories, and all soca songs, regardless of style, can be sung for the $1 million prize.

For Olatunji this year’s participation, or not, is dependent upon the voice of the people.

An on-the-spot poll on the promenade yielded an unanimous call for him to compete.

He is still thinking about it.

His focus is on perfecting Afrosoca. His connection to African rhythms was shaped by his mother, a celebrated actress and teacher who loved history, and his father, a calypso/steelpan enthusiast, who loved culture.

“It was very strong (influence of his mother on his move toward Afrosoca). A lot. Mostly because she was a history teacher.

History was something she was very passionate about,” he says of his mother.

His father is the one who gave him the name Olatunji, which is of Yoruba origin (predominant in Nigeria) meaning, “Wealth awakes again”.

“My father was an early influence (for me) in calypso,” he recalls.

Olatunji’s biography as an artiste reflects his roots in the culture of TT . He began his early singing career at his alma mater Trinity College, as member of the school’s parang group, also entering its annual calypso competition.

“In 2002 at the age of 16, he entered the Junior Calypso competition arena where he place second in the NYAC Emancipation Competition and second in the Sunshine Snacks Junior Calypso Competition,” his biography reads.

He honed his calypso skills in competitions such as in the 2003 editions of Scouting for Talent and Sunshine Snacks Junior Calypso Monarch, receiving special awards for the Most Outstanding Calypsonian and Most Promising Act.

But it was in 2006, while completing his degree in Performing Arts at the West Thames College of Performing Arts in London that he heard the Afrobeat, the fusion of African rhythms with contemporary music, and fell in love with it.

While, he is infusing this sound in his songs, Olatunji, who is set to release his first album, defines all of his music as rooted in calypso. “I believe all of the music that we have started from calypso,” he declares.

He also questions those who criticise the use of the term, Afrosoca.

“People say why call it Afrosoca? Then why call it chutney soca or ragga soca? It is a type of soca. I believe in mixing the genres.” Soca’s evolution and growth, Olatunji believes, lies in integrating different sounds, and this is his formula for Afrosoca.

He has a desire to develop a cultural exchange between TT and the African continent and has plans in train to work with Nigerian singer/songwriter, Timaya, among others. He also wishes to incorporate South African dances into his performances.

The African theme is one Olatunji hopes to translate into other business ventures, including his dress style, working with fashion designers, such as William McIntosh, to stores like Bang Bang. He even has plans to release his own clothing line, “Ta Dow”.

But at the core of all things, music remains his passion.

While many have called power soca’s death knell, Olatunji said this frenetic style of soca has not died but has merely, “taken a dip.” This “dip”, Olatunji believes, is because some power songs no longer told a story. The art of storytelling is essential to soca and he hopes to revive and re-build that art through his music.

While the recession has affected his bookings, although not significantly, what matters most for Olatunji is making music that reaches out to people.

The song that most represents Olatunji, he says, when asked, is “Ola”. While he has written a song in tribute to his mother, “Tell me why”, it is one that he will, “never release (as a single).” “Every time I sing it I reflect on my lost loved ones...even the people who are living,” he muses.

Even as Carnival 2016 comes and goes, it is certain that the voice and sound of Olatunji will be heard as he spreads Afrosoca across TT and beyond.