Women and their rightful place: “Women have a vital role to play in conserving the good values of classical music in Africa" (By Igiri Innocent)

Women and their rightful place in Classical music in African continent

Since the beginning of 20^th century, the drive to bring/include women into their rightful place at the heart of every human affair has grown so powerful ever since then.

“Women have a vital role to play in conserving the good values of classical music in Africa, preventing decay of the art and building/maintaining the reverend culture. But although this is now widely recognized, far too often, women are prevented from full participation in some classical music fares”.

The observation – which was addressed by the Executive Director of Empowerment of Women (UN Women), Phumzile Mlambo-Ngcuka – was on ‘women and peace and security’ on 31 October 2000.

Rita Lopidia, Executive Director of EVE Organization for Women Development, South Sudan, also addressed the point on behalf of the Non-Governmental Organizations (NGO) Working Group on Women.

Far too often, women are prevented by some believe or by their parents from full participation in some classical music fares in Africa. The observations reaffirms the important role of women in the preservation and promotion of classical music culture in Africa and stress the importance of their equal participation and full involvement in all aspect of it.

The truth is that some progresses already made on this area of art are under threat of being destroyed if serious action is not been taken to amplify women’s actives participation and engagement in classical music in Africa.

Furthermore, I have observed that women’s presence and/or participation in classical music performances/fares are highly welcomed as a promising factor for music architectural development in African society.

When I organized a concert at the University of Lagos Nigeria in 2014, there were 40 women between ages 8-30 from 27 states in performance at that event for the purpose of promoting African women classical music skills. Today, various music centres have embraced the idea of always including women in performance at all classical music concerts.

Hundreds of thousands of women and girls are being helped and supported by UN, AU, and other NGOs programs in different training in Africa. Such training includes musical instrument skills and other musical training. Despite all these trainings, African women remain underutilized in that area.

In every classical music concerts in Africa, there may be one woman in performance and ten in audience. And all this is not a good record judging from all other records across Europe.

By failing to constantly include enough women in the activities of classical music or by failing to allow them to actively participate in classical music events in Africa ‘we are failing the World in general”. 

To carry this campaign forward, I would like to advocate few steps

First, all reports and briefings on classical music activities in African continent should seek information on women and girls participation. “Without relevant information, growth in that sector as it relate to Africa will never meet the expected target. Too often, what is not counted, does not count.

Second, all African classical music professionals should be held accountable for putting women and girls at the centre of their work.

Third, the members of African musicologist association must listen to women’s groups, in all deliberations on classical music issues.

We must never stop campaigning for women to take up their rightful place at the heart of classical music activities in Africa. Our commitments must not be simply plans on paper but actions.

Africa is Music!

Music is Africa!

By IGIRI INNOCENT

Changing the perception of Classical music in African Society (By Igiri Innocent)

Changing the perception of Classical music as music for only the elite in African Society (By Igiri Innocent)

For a long time, foreign music in Africa has been widely celebrated beyond any other music in African continent mostly amongst Churches and elite of the African society; and the perception has been that that type of music is meant for only elites. The reason is not far from the explanation that foreign classical music by the virtue of its solemn and touch is highly valued and possibly reserved for learned persons and scholars amongst others, and therefore making the ordinary mind to chase other forms of music as their only choice or least level. From East to West, or from North to South, classical music is often a one-sided affair which is a proxy for African progress.

Little exceptions have been from South Africa, Kenya, Nigeria, Ethiopia, and Cape Verde and some other neo-German African countries that have recognized the depth of classical music tradition and the opportunity and the need for earnest implementation of certain regulations in schools to encourage local community participation and growth in classical music knowledge. To that effect, more attention has been drawn to the recent rise of African classical music composers and high level of ambition for proper participation amongst every 7 in 10 African children with the capacity to even expand more and more. As I have illustrated, the real value of classical music is yet to be fully understood by various economies in African continent.

Harnessing this value requires a new approach to classical music practicing; it requires a shift from a narrow focus on a complicated interpretation to broader elements of classical music system that includes African understanding of the logic and style; a new approach which will present classical music as a veritable support tool in achieving the “African developmental dreams” holistically. And quite frankly, a lot of African children from different regions are at risk of being left behind in this area as others expand and deepen their knowledge, love and acceptability of classical music throughout some other Africa regions.

This year alone, Universities across 7 African countries celebrated the graduation of about 1,377 classical music students in a great feast, and presented them to the general society positively with their classical music skills.

As I have buttressed; with all the efforts by professionals in the field, to change the perception of classical music in Africa and indeed into the future, and further to all generations of Africa, we should consider two goals for promotion and sustainability of the overall endowment of it to humans.

First, we need to identify those areas where classical music can help Africans capitalize on opportunities to rise and develop in global businesses rather than indoor possibilities. Second, create a competitive platform for African musicologists or classical music performers to build strategic, long-term performance engagement in other to ensure continuous vigorous participation and thereby generate more acceptability of the tradition amongst Africans.

As a musicologist, recitalist and a passionate classical music lover, the question I am most often asked by my peers abroad is not whether I should organize classical music festivals or concerts in Africa, but how to do it to ensure active public participation. To achieve maximum audience in any classical music gathering in Africa one needs to work extensively across value chains -- and create new focus towards that particular gathering. For example, instead of directing the public focus to lives of G.F. Handel, Mozart, or any other European composer simply because you are going to perform their works on a planned concert, you should instead direct their focus on the result you intend to achieve through the concert, and other things respectively. Like focusing on the goals and targets of the SDGs, commercial interests of persons, and values attached to it.

Investing in classical music shows in Africa is not a business wise decision at this point however it is best done under some kind of insurance policy to back up the overall return on investment.

I will agree that value-added classical music show investment is necessary due to several trends shaping Africa today: the growing population of working-age adults, rapid urbanization, a growing consumer class, smarter age, stronger technology and increasing agreement that the private sector should lead Africa's economic growth. These trends combine to increase taste for leisure and entertainment can generate high growth for classical music sector.

The good news is that diversification is well under way as policymakers across the continent strive to build the capacity for strategic sectors to move up the value chain.

The Church and private institutions in Africa have an important role to play in this transformation by rethinking their own approach to classical music practice and development as it will surely have a place in the future of Africa. This sector needs their assistance to focus more on nurturing African youths to play a more productive role and change their ill-perception of classical music for good.

I would plead with every well-meaning African to support classical music fares anytime any day by helping to turn these write up into concrete action. This will lead to a meaningful and lasting change that benefits Africans.

Africa is Music!

Music is Africa!

By IGIRI INNOCENT

Changing the perception of Classical music in African Society (By Igiri Innocent)

Changing the perception of Classical music as music for only the elite in African Society (By Igiri Innocent)

For a long time, foreign music in Africa has been widely celebrated beyond any other music in African continent mostly amongst Churches and elite of the African society; and the perception has been that that type of music is meant for only elites. The reason is not far from the explanation that foreign classical music by the virtue of its solemn and touch is highly valued and possibly reserved for learned persons and scholars amongst others, and therefore making the ordinary mind to chase other forms of music as their only choice or least level. From East to West, or from North to South, classical music is often a one-sided affair which is a proxy for African progress.

Little exceptions have been from South Africa, Kenya, Nigeria, Ethiopia, and Cape Verde and some other neo-German African countries that have recognized the depth of classical music tradition and the opportunity and the need for earnest implementation of certain regulations in schools to encourage local community participation and growth in classical music knowledge. To that effect, more attention has been drawn to the recent rise of African classical music composers and high level of ambition for proper participation amongst every 7 in 10 African children with the capacity to even expand more and more. As I have illustrated, the real value of classical music is yet to be fully understood by various economies in African continent.

Harnessing this value requires a new approach to classical music practicing; it requires a shift from a narrow focus on a complicated interpretation to broader elements of classical music system that includes African understanding of the logic and style; a new approach which will present classical music as a veritable support tool in achieving the “African developmental dreams” holistically. And quite frankly, a lot of African children from different regions are at risk of being left behind in this area as others expand and deepen their knowledge, love and acceptability of classical music throughout some other Africa regions.

This year alone, Universities across 7 African countries celebrated the graduation of about 1,377 classical music students in a great feast, and presented them to the general society positively with their classical music skills.

As I have buttressed; with all the efforts by professionals in the field, to change the perception of classical music in Africa and indeed into the future, and further to all generations of Africa, we should consider two goals for promotion and sustainability of the overall endowment of it to humans.

First, we need to identify those areas where classical music can help Africans capitalize on opportunities to rise and develop in global businesses rather than indoor possibilities. Second, create a competitive platform for African musicologists or classical music performers to build strategic, long-term performance engagement in other to ensure continuous vigorous participation and thereby generate more acceptability of the tradition amongst Africans.

As a musicologist, recitalist and a passionate classical music lover, the question I am most often asked by my peers abroad is not whether I should organize classical music festivals or concerts in Africa, but how to do it to ensure active public participation. To achieve maximum audience in any classical music gathering in Africa one needs to work extensively across value chains -- and create new focus towards that particular gathering. For example, instead of directing the public focus to lives of G.F. Handel, Mozart, or any other European composer simply because you are going to perform their works on a planned concert, you should instead direct their focus on the result you intend to achieve through the concert, and other things respectively. Like focusing on the goals and targets of the SDGs, commercial interests of persons, and values attached to it.

Investing in classical music shows in Africa is not a business wise decision at this point however it is best done under some kind of insurance policy to back up the overall return on investment.

I will agree that value-added classical music show investment is necessary due to several trends shaping Africa today: the growing population of working-age adults, rapid urbanization, a growing consumer class, smarter age, stronger technology and increasing agreement that the private sector should lead Africa's economic growth. These trends combine to increase taste for leisure and entertainment can generate high growth for classical music sector.

The good news is that diversification is well under way as policymakers across the continent strive to build the capacity for strategic sectors to move up the value chain.

The Church and private institutions in Africa have an important role to play in this transformation by rethinking their own approach to classical music practice and development as it will surely have a place in the future of Africa. This sector needs their assistance to focus more on nurturing African youths to play a more productive role and change their ill-perception of classical music for good.

I would plead with every well-meaning African to support classical music fares anytime any day by helping to turn these write up into concrete action. This will lead to a meaningful and lasting change that benefits Africans.

Africa is Music!

Music is Africa!

By IGIRI INNOCENT

Innocent Igiri World: African visitors and their love for mid-30s prose;...

Innocent Igiri World: African visitors and their love for mid-30s prose;...: African visitors and their love for mid-30s proses (By Igiri Innocent) I will love thee, O Africa, my motherland. Your soil is my ...

Judging the cultures of School Music in Africa: Urgent solutions are needed in the areas of providing a competitive platform: ( By Igiri Innocent)

Judging the cultures of School Music in Africa

Palm House of Opera & Creativity study report of 2014 indicates that school music tradition in Africa can be linked to every genre of music; of both local and foreign interpretation. Some number of African schools adhering to just one particular type of music can be difficult to find.

The curriculum method have always been to teach the pupils all types of music and allow them develop interest in a particular type of their choice along the line.

Students from Orthodox Church background had always preferred classical form, while those from Pentecostal church or from secular/traditional background would always go for jazz/hip-pop/ethno-musical forms.

Generally, Africans enjoy songs with drum beats that is danceable with laud sounds of local instruments. English/classical methods are perceived to be for the elites or learned.

However, that perception is seriously changing and Africans are beginning to understand the real benefit of classical music and the ways of enjoying it. They have grown to know that it is the type of music needed for healthy brainy activities and sound mind boggling. They have embraced the study findings about classical music impart in human life.

Today, schools in Africa are changing their curricular in respect to music in other to ensure that pupils are taught pure classical music form at all levels. They have shown more focus in topics like:

1.     Rudiments of music

2.     Musical notation

3.     Staff

4.     Sight reading

5.     Musical composition

6.     Etc

A lot of colleges have learned to engage musicologists instead of secular musicians for the position of music teacher in their various schools. And these have helped to breed sound performers of classical music in the African society today. The old trend is fast given way for the new trend.

Today in the African society one can easily see and feel the benefit of that single move in our young people.  You can easily find:

1.     Violinist (young and old)

2.     Pianist (young and old)

3.     Flutist (young and old)

4.     Organist (young and old)

5.     Composer (young and old)

6.     Cellist  (young and old)

7.     Trumpeter (young and old)

8.     Saxophonist (young and old)

9.     Trombonist (young and old)

10.  Etc   

My Judgment

Here is important note:  What is lacking now is a veritable platform to showcase these enormous talents of African musicologists and performers. A unique means of keeping artistes up to date in that line of classical music and make most use of them where it matters.

For instance; after acquiring the tedious classical music trainings, one either plays for church which happens to the highest employer of classical musicians or choral groups which are rear to find, or may be teach same from home to home, and vise vasa. There are no mapped channels for proper engagement or attachment for continuous advancement for the young talent.

One needs to always practice, perform, get challenged and work in line with rules of the profession. By so doing the performer will grow in wisdom and experience and the society will benefit in that regard.

The demerit; due to none availability of such programs, good hands of classical music has in some cases abandoned the profession for the type that keeps them on the spotlight or that challenge them and gives them money and firm. So, we see a situation where schools labor to train students in a healthy and proper formation in music and in no time see that person going back to the other system which schools seems to amend.

My plea:

Urgent solutions are needed in the areas of providing a competitive platform for the purpose of keeping African classical musicians active and sounds in other not to continue to lose them to the other system as the case is right now.

This should not be left for the government to do rather African orthodox Churches should come to the rescue of this “classical music tradition in African Society” for the benefit of their liturgy and entire African faithful.

Catholic, Anglican, Methodist, First Baptist, Presbyterian, and CAC Church heads should as a matter of urgency devise a plan to rescue this great endowment in Africa. Let’s continue to encourage more participation and ensure its sustainability.

Africa is Music

Music is Africa

By: IGIRI INNOCENT

Innocent Igiri World: African visitors and their love for mid-30s prose;...

Innocent Igiri World: African visitors and their love for mid-30s prose;...: African visitors and their love for mid-30s proses (By Igiri Innocent) I will love thee, O Africa, my motherland. Your soil is my ...

African visitors and their love for mid-30s prose; in her is the pure expression of an African girl who knows good times and bad times,. (By Igiri Innocent)

African visitors and their love for mid-30s proses (By Igiri Innocent)

I will love thee, O Africa, my motherland.
Your soil is my rock

Thousand years ago,

In their distant journey they came,
and carried  your beloved children,

In your fervent war and with great prudence
Your restored your kings and people

Yet, you honored the offenders and you let them go unpunished for in their hearts you have engraved the testimonies of Africa!

“Sound of the ancient in my mind”

This is an expression of the caravans; each time they remember “our songs” it gives them strength to never relent in their sojourn in Africa. Words are limited in attempt to describe the powerful attributes of “Songs of Africa”. In those days, traditional African songs are viewed as sacred and special gifts from gods; it has an honorable place in the eventful lives of Africa. The music of the ancient was never perceived as mere entertainment but a deep purpose has always been attached to it in a way to sift its’ powerful attributes in full.

Here is OBIOMA.. A singer, song-writer, and violinist

At age 11, Obioma was given a nick name “Onu Okwa” (Cockerel Voice).

At all times, she sings

Her songs were of the gods and nature; she sings in thanksgiving to the gods for life, for her two breasts, for her virginity, for her unknown suitor, for her mother and father, for her bans of various foods.

In her is the pure expression of a village girl who knows good times and bad times, and yet choses to be very happy always with songs of the ancient. Some days she wishes to fly and celebrate with the birds in their glorious songs in other to be eternally fulfilled.

One thing that keeps her going is Africa, her internal feelings are true and the traditions are pure.

Remembering those days in my mind now I know for certain that songs in Africa are Africa in songs; no separation and no division. Great writer Professor Chinue Achebe once wrote:

Do not say I love Africa, learn to make Africa know you love her each and every passing day; let the tenderness of your heart sing her precious songs and do not let it go away.

Each time I hear melodies of African origin, I feel uplifted in my spirit and my hope grows even stronger; it make me feel blissful carves and I celebrate the gift which I also have.

Today, Obioma has grown to be a great writer of songs, a renowned composer, and a celebrated violinist in Africa. Noted for her passion in folk songs, traditional lyrical genre, and cultic operas; gifted in putting life to musical arts of the Africans. In the media she is jokingly described as daughter of maimed (mama-iwota), but African people have no doubt she is a goddess of the musical art.

Today, her children believe that she possessed a magical power that always assisted her to do wonders whenever she performs.

Her voice, her body movement, her total expression, her cries of smiles, her acrobatic gestures, her loving hairs……

Indeed, Visitors in Africa will not stop talking about people like Obioma; their sincerity in African art is rear and their performance last longer in the memories of every gifted listener.

Let me include; that if you are a visitor in Africa, do not wait longer to look around you and you will find even babies singing lullaby, and aged singing panda vida

The African Lands and places are filled with songs;

Africa is music!

Music is Africa!

Africans are the notes!

IGIRI INNOCENT 

RECESSION: OFFICIAL GROWTH PERFORMANCE REPORT OF AFRICAN CLASSICAL MUSIC ART (2015/2016 PHOC) It shows a vibrant sector that is yet to be harnessed, full of opportunities and vibrancy.

OFFICIAL GROWTH PERFORMANCE REPORT OF AFRICAN CLASSICAL MUSIC ART (2015/2016 PHOC)

NIGERIA, GUINEA, SOUTH AFRICA, KENYA, GAMBIA, CAMEROON, IVORY COST, GABON, UGANDA, SENEGAL, CAPE VERDE, GUINEA BISSAU, CONGO DR, MALI, BENIN, BURKINA FASO, EGYPT, MAURITIUS, ZAMBIA, LIBYA, ERITREA, LIBERIA, SIERRA LEON, SUDAN, ZIMBABWE, TANZANIA, ALGERIA, TUNISIA, MOROCCO, NAMIBIA, HAITI, MADAGASCAR, RWANDA, ETHIOPIA, 

Education                                           4.0

Employment                                       2.46

Financial balance                               3.33

Assets                                                 3.39

Corruption                                          5.7

Basic services                                      6.2

Sickness                                              2.7

Health                                                 3.99

Travel                                                 1.98

Compositions                                     3.33

Liquors consumption                        7.00

Concerts                                             6.2

Inventions                                          0.2

Male practitioners                             5.9

Female practitioners                         4.1

Children performers                         2.9

Aged pioneers                                    3.2

New acquired instruments               5.1

Death record                                      0.002

Local works performed                    3.2

English works performed                 6.0

Combined works performed            0.8

Marriages                                          2.2

Divorce                                               0.001

Crimes                                                0.001

Concert net worth                             $15.m

Audience record                                3.39

This is an official record of Palm House of Opera & Creativity Limited, Lagos Nigeria, West Africa

It shows a vibrant sector that is yet to be harnessed, full of opportunities and vibrancy. Only if Africans businessmen will grab the opportunity before some foreign opportunist does it for them.

Most African Countries are already on recession, and those yet to arrive there are trying their very best not to go there. But one thing needs to be done, and that thing is for them to search for a vibrant sector and invest in it immediately. 

Igiri Innocent

Open letter to all Church CATs on excesses of Church RATs inside choir shelves in African Churches (by Igiri Innocent) Just for Laughs……

Open letter to all Church CATs on excesses of Church RATs inside choir shelves in African Churches (by Igiri Innocent)

Just for Laughs……

My apologies for making this direct communication and for making it open as well, for in the past communications were done via private boxes, and through but I chose to come direct this time because of the urgency of the matter at hand.

It is my wish that every protocol be observed.

When last did you hear these songs being performed by choirs in African Churches where you reside? Songs like: LUX ERIGO, CUM JUBILO, ORBIS FACTOR, FONS BONITATIS, DUMONT ROYAL, MASS OF SAINT JOHN, TWELVETH MASS, DUMONT VI, MASS OF SAINT CECILIA, MASS IN C MAJOR & MINOR BY MOZART, & DUTCH MASS?

I have been observing every activities of your surveillance especially on RATs parading around church stalls, instruments, and boards. Let me state here that you and only you are to be blamed and held responsible for every lost item in music book shelves, other equipment and/or material of the choir.

Africans do know that you have nothing to do with materials in Churches; but you are aware that majority knows that you have a hiding place inside churches in Africa continent for a peculiar purpose of keeping RATs away.

Since the millennium year 2000 till now, RATs have done devastating damage to choir materials and you have done nothing about it. (I invite readers to add their voice; name songs which are missing in your churches)

Dearest CATs, please go after them (RATs) now and keep them far from choir materials. The annoying thing is that they no longer tore the books or wet them, but they have grown to carrying them away from the shelves into unknown corners of the church. These materials are very expensive and rare to find.

It is my yet believe that a lot of songs are not being sung today in churches not because the choirs do not want to sing them, but because the scores have gone totally missing. This is a matter of first charge; and I believe it until proven otherwise.

No material should ever, ever miss in choir shelves!

Please no fighting, no use of ota piaa piaa, no use of indocide, no use of any other substance. We do not want RATs dead, but…..laughssss

IGIR INNOCENT

3 most cherished pieces in Africa. AVE MARIA. (Igiri Innocent) It also reminds me of all other great women who served peculiar purposes throughout the history.

The 3^rd is         AVE MARIA                by Franz Schubert

This piece whenever played always reminds me of powerful rules that accompany great women in history, and most importantly of womanhood and motherhood. It gives me an uncontrollable insight into deep thought on “why the Maker made them male and female in the beginning”.

Franz Schubert was a master of music art, and being a doctor of music knows how to unite sounds with words-picture in a seamless marriage just like a SFUMATO STYLE OF PAINTING.

In some parts of Africa, this great piece (AVE MARIA by Franz Schubert) although has liturgical literature is dedicated to motherhood, feminism, and the loving heart of a mother.  This has nothing to do with idol worship or pagan interpretations of the former, but because of the tonal origin, quotients, and products.  The work has a unique natural progression which science and music numeracy attributes to life sequence. In fact some say that it represent “MONA LISA” in song.

The truth is that “Sounds” as some readers might know belongs to nature; and great classical music patriarchs have so far exhibited their right as the sole custodian of its mixtures to implore/explore its message for better appreciation of the source; (although unknown to some of them) “the first course” (i.e God in Nature). The results so far have been evidence even now in this piece.

Sounds are indestructive as they belong to the nature (air), but may disappear if abandoned for long. For example, the Israelite in the ancient times had so many beautiful airs which are unknown to us today, mostly recorded under classical music Patriarch David, used for various celebrations as recorded in so many manuscripts, but while in exile they lost most of the air and the literature. Though some of the literatures were retained as in Psalms, but the airs are gone. The original air to their prayers and praises was lost but not destroyed. It returned to its original source to be transformed into another form through gifted music patriarchs in time to come.  

In that same manner, all the cherished air we know today will be forgotten one day and they would no longer be remembered by anyone under the sun, though the accompanying literature may endure.

Airs/sounds as given to Franz Schubert who in his lifetime was a notable classified composer by nature are meant for a purpose not just for a song or rich literature of it, but for a greater purpose.

And after due studies and meditations, I personally connoted invisible messages to this piece for better assimilation of the nature movement imbedded in it in conjunction with the accompanying literature.

Firstly, I acknowledge the exceptional compositional set of the piece which has greatly helped un-classical Africans to cherish the piece which is regarded in the Continent as one of the 3 most cherished pieces in Africa.

Each time I play this piece I always noticed a growing within to a deep thought of the three most powerful women in my life.

1. MARIA the mother of Christ.

2. MARIA my biological mother.

3. MARIA my loving wife.

 It also reminds me of all other great women who served peculiar purposes throughout the history.

Through the beautiful opening of the piece to the last note:  I try to display the symbolical unity of notes in motion heading for a treasure hunt of nature colors.

A story of a young widow who was mercilessly dealt with by men of unscrupulous being, and later was punished again by her people for what she did not do. She was a mother of 8 girls, while some people see no reason for to be treated in that manner, others wished her more pain. So, she was dejected, suffered and dishonored. Her sorrows were so great that she made a serious vow of perpetual agony in letting man suffer a hundred fold of her torment. In her sorrow, she wished not to see her children take a man as husband in life or give birth to any, but to live with the pain forever. Not earlier, she was consoled by nature in blisses of adieu, and her children mourned eternally for her soul.

I thought of nature which may in time fight to keep order and enforce principles but seems to forget to act faster as expected in justice.

I also thought of graces (gratias plena) from above which could abound in times of injustice but seems only for those pre-chosen.

Yet I see no justification or excuses for man; only then did I remember the lines of a famous play that says: supernatural strength fights no war; makes no defend, and seeks no repay!

I quickly moved on…….

In the second version, another story was told of a young happy woman, who chooses to endure. Her pains were far greater than the first woman, but she seems to know something which no man understands. She conceals every pain in her hidden strength which spurns beyond men; trusting in the graces made available to her from on high. In all her many sorrows, in all her many pains, and in all her humiliations, she was ever happy in hope and grace. “Marias”  

And truly, this lady won at last. She was crowned the QUEEN OF HEAVEN & EARTH.

She is the image of the Queen

Who reigns in bliss above;

Of her is the hope of men,

Men and Angels love her.

Sweet are the flow ‘rets men have culled

To adorn images;

But sweeter far is She,

A rose without a thorn.

(My suppliant plea)

“O Lady, by the stars that make

A glory round thy head;

And by the pure uplifted hands

Pray for thy children.”

AVE  MARIA  GRATIA  PLENA!   

By IGIRI INNOCENT

A writer, thinker, organist, musicologist, promoter, convener, innovator, inventor, lover of God in Man, & in Nature

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..This is the most pervading of all the arts, the muses, the gods to which this art owes its names and manifestations were the brains behind every human intellectual endeavor. (Igiri Innocent)

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