^B00:00:13 >> John Fenn: Hello, I'm John Fenn, a staff member here at the American Folklife Center at the Library of Congress, and today, I am joined by Yawuza Alhassan, representing the group Wuza Wuza, who you can see a concert video on LOC.gov, or on the library's YouTube channel as part of the Homegrown at Home Series for 2022. How are you doing today Yawuza? >> Yawuza Alhassan: I am wonderful. >> John Fenn: Well, thank you so much for joining us, and thank you for being part of the Homegrown at Home Series. I was wondering if you could talk a little bit about your path into the dance and music performance traditions that we're seeing in the video? How did you get into this? >> Yawuza Alhassan: Thank you very much, and I want to welcome your listeners and the viewers and also give a big thanks to the Congress of American, Congress of Library, Library of Congress, for this groundbreaking opportunity to talk about myself and the group Wuza Wuza African Music and Dance Ensemble in New York. It started when I didn't know about life, very young at the chief's palace. That was where I started, because my grandfather was one of the chiefs in the village. So, us that were performing at the Chief's Palace every month, especially when it's festivity season. I just observed. I learned just by observing, and at the age of 7, because I could not join the professional group, I organized my team, and I called my peers to, you know, transfer the rhythm I had into beats using the [inaudible]. So, as small as I was, I was able to organize my peers to form a little group. So, through that, the bigger group saw us, and they were able to, you know give us some little bit of experience, but along the line, they realized that my little group was taking the attention because whenever there is a wedding ceremony or honoring or naming ceremonies in the village or festival, with that invitation, I'll go with my group, and we seemed to get more attention. So, the bigger group, the adult group, they realized that, no. If they don't take care, we will end up dominating them, because one of the subchiefs saw us and said he's going to adopt us. So, he started to buy us the real instruments. >> John Fenn: Okay. >> Yawuza Alhassan: So, the adult group said no. They have to take me away as a leader from the group. So, they took me from the group, and my first performance, it was in one of the college called Tat School [assumed spelling], that is [inaudible] New College. On that night, when we are dancing, you will see everybody is allowed to come and show appreciation, and they show appreciations by putting money on your forehead. That's a form of appreciation and blessing and urging you to continue. So at TAT School, on this day, everybody was for me. So, I end up getting money that I didn't even have use for, you know? I didn't have use to, you know? Then because I was staying with my grandmother, after the show, they took me to my grandmother, and they said they are now going to keep me in the adult group. So that was how, you know, I got to join the adult group. As small as I was, the director of the Ghana National Dance Company saw me in a video, and also, in the national television performing, and he sent a letter for them to come and bringing me to come and join the national group, the National Ballet of Ghana, which is called the National Dance Company at the National Charter of Ghana. So, as they took me, I was too small that I could not join the -- the law wouldn't allow me to join the National Dance Company. So, they allow me to join them, practice with them, and when school reopened, and they take me back to school. Then when school is in vacation, then I will come back to the national troop, which is about 5,000 miles away from the village I was staying, which is about two days' drive. ^M00:05:47 So, I was going back and forth, back and forth, until I finished my high school, and the National Dance Company adopted me. >> John Fenn: Okay. >> Yawuza Alhassan: So, through this, I was in the National Dance Company too, and the director and the Danish development also decided to initiate a project called Contemporary Dance in Africa. So then, they used me and also do some audition around the nation for young people, young, determined, and talented men and women. So, they used me in the selected best musicians and dancers to initiate this company called Noyam, which contemporary African dance. So, the Danish Development Agency, they send students from USA, from Europe, and around the world to come and input on us. This was the first contemporary and second cycle school in Africa, that's Ghana, in Ghana. So, I am a Pania in contemporary dance in Ghana. So, this is how far I came. ^M00:07:21 [ Multiple Speakers ] ^M00:07:22 Yes. >> John Fenn: So, you were moving back and forth from school to the national company, and into this contemporary thing at a young age? >> Yawuza Alhassan: Exactly. Exactly. Yes. >> John Fenn: And then, in the National Dance Troupe, you're -presenting styles and traditions from all over Ghana. Is that correct? >> Yawuza Alhassan: Perfect. >> John Fenn: Yeah, and so, you are learning those but from your home area bringing that but learning styles and traditions representing ethnic groups and communities all over Ghana. >> Yawuza Alhassan: Exactly, and that's how, you know, as I grew up in it, it was like a pure, natural talent. So, I end up learning all the rhythms, the drumming, the beat, the music, the movement, the songs, of every area in Ghana, and through that, I was able to speak the language, through the music and songs. I was able to pick the languages very easily. That's how I ended up speaking about five different languages from Ghana, through the National Dance Troupe and performing all the music things, drum and then also live it, because I was living it. Yes, and also, many parts of African countries. I do all that because I learned it from the company. >> John Fenn: How many years were you with the National Dance Company of Ghana? >> Yawuza Alhassan: I think, as I was -- as I finally moved to the National Dance Troupe, even though I was still underage, but they needed me so bad. I think I would say I would have been around 16-17. >> John Fenn: Okay. >> Yawuza Alhassan: I would have been around 16-17, and then I spent like two, three years. No, I'm not sure. Like between two to three years, and then this initiative came. >> John Fenn: Okay. >> Yawuza Alhassan: From the Danish development, and because the director know my potential, and he know how interested and enthusiastic I was to learn. So, he put me into the academic to make sure I have both. Then I was the only one he allowed to his library and his house. ^M00:10:09 >> John Fenn: Okay. >> Yawuza Alhassan: He took me, the director took me as his son. I was eating the food he eats in his house. He gave me books to read, then he keep me in his study where no one enter, even not even his children. >> John Fenn: Oh, okay. >> Yawuza Alhassan: After that, because I realized that there are a lot of challenges that many people, many talented people, cannot go into the National Dance Troupe, I just realized it. So, after this school, the contemporary dance school, I give back for about three years, and I initially start my own company called Wuza Wuza. So, Wuza Wuza started back in Ghana. >> John Fenn: Okay. >> Yawuza Alhassan: So, I initiated to give an opportunity my colleagues and good artists who were not able to meet the challenges or qualified to join the National Dance Troupe. So that was how Wuza Wuza started to give opportunity to the people who were not able to get the opportunity to the National Dance Troupe. I had the opportunity. I was discovered, you know, I was discovered so early, but during the auditions, I realized that there are good dancers and musicians who were not able to qualify to get to the top. So, when I finished my studies, then I initiated Wuza Wuza to give this opportunity to them. By then, I had already started to tour Europe and America here. So I got some money, and then with the help of people who believe in me, they supported me to build a cultural center in [inaudible] just by the beach, 10 minutes from the beach, and I also built a place that interested people from elsewhere in the world can come and stay with, you know, and they have private rooms, you know, where students can come and study. I also initiated an event called [inaudible], where I organized [inaudible] to everyone in the world two times a year, so that students can come and learn, professors can come and do their research, and then, you know, pass it on to the next generation. So, because I have the experience, so it is easier to realize all these challenges that musicians and dancers need in the world, and people around the world who are interested to learn about African music and dance and research, I provide this accommodation for everyone. So, as I initiated that, I was able to pick a lot of potentials who were not able to qualify to be in the National Dance Troupe, and I accommodated them. They had a place to sleep. They have a place to rehearse, a space to rehearse, and then studio to learn. So, I end up recruiting about 50 young men and women where we all stay at one place, when people come, other students and professors come from abroad and the expatriate, they also come in join us. So, for example, you would have, if you are going to research, you will have lived with the indigenous people. You will have lived with the musicians and dancers in the same place. So, you will end up eating the dance and the music in your research. Then you have true information that a researcher would have struggled to have, because you would have had people from diverse, from different different, different, different, different parts of Ghana. >> John Fenn: Okay. >> Yawuza Alhassan: Living together, eating together, dancing together, playing music and then, you know, socializing together. >> John Fenn: So, it sounds like Wuza Wuza is more than a performance group. It's an experience. >> Yawuza Alhassan: Exactly. So, this is what I was doing, and then, every year, I have to, you know, cycle of, you know study tour, for the expatriate, and then, the researchers, and students, as well, around the world. Yeah, so, this center back in Ghana is called Wuzaland, which is a [inaudible] art and cultural center. >> John Fenn: Okay. ^M00:15:08 >> Yawuza Alhassan: Where you can, you know, come for your research, for study tour, and you know, also transit artists can just pass through for a night or two, and then proceed. >> John Fenn: Okay. >> Yawuza Alhassan: So, this is some of the, you know, the track records you can see from me, from how I begin to where I've gotten to, and then, finally, to the United States of America. >> John Fenn: So now, you and Wuza Wuza are based in New York City. Is that correct? >> Yawuza Alhassan: Yes, please. >> John Fenn: Yeah, what brought you to New York City? >> Yawuza Alhassan: We are just by the Yankee Stadium. >> John Fenn: Okay. ^M00:15:51 [ Laughing ] ^M00:15:55 [ Multiple Speakers ] ^M00:15:59 Okay. So, who is a member of Wuza Wuza currently? Who do we see in the video? >> Yawuza Alhassan: We have Maria [inaudible]. She was also part of the National Dance Troupe. >> John Fenn: Oh, okay. >> Yawuza Alhassan: Yeah, in Ghana. When I started Wuza Wuza, I started it with them back in Ghana. Then Esther [inaudible]. She's also of the Ghana Dance Ensemble, and then, also, we have Kubit [assumed spelling]. Kubit was also, when I started, he was just -- he was small, very small, but he was far away from the center, and then he was dancing with a group called one of my senior brother group called Saakumu. Then we also have Baba [assumed spelling]. Baba was also part of Saakumu, and then, Hola Kute [assumed spelling]. Hola was also won a lunch with Wuza Wuza at the British Council. I remember the British Council supported the lunch in Ghana. So, Hola Kute, Hola, too, was part of it. Then we have a Nuboi [assumed spelling]. Nuboi is also from another part of Ghana, and all these people are mentioned they are all from different parts of Ghana. >> John Fenn: Okay. >> Yawuza Alhassan: So, you see, so Wuza Wuza is like Ghana, on a National Dance Troupe, but even beyond that, because we have the experience in Wuza Wuza is beyond the national dance level, because this was something that -- an idea that the former president, Dr. Kwame Nkrumahah, the man who lead Ghana to independence, I don't know if you've heard of him. >> John Fenn: Oh, yes. >> Yawuza Alhassan: Yes, a great legend, yes, with Marcus Garvey, and all that. >> John Fenn: He's very well known. >> Yawuza Alhassan: [inaudible]. I remember our independence day, I saw them to the Black Star Square. So, Kwame Nkrumahah idea was to unite the country through our traditional music and dance. So, he called, one month, called Professor [inaudible] who was a dance director and then Professor Emeritus Kwabena Nketia and this Professor Kwabena Nketia, when he saw the launch of Wuza Wuza and my presentation at the British Council, he said he was not expecting such a perfection. He volunteered. He said I will be your life patron. >> John Fenn: Oh? >> Yawuza Alhassan: Yes, and Professor Emeritus Kwabena Nketia, he told me about the intention of Dr. Kwame Nkrumahah for initiating the National Dance Ensemble at the University of Ghana. He put it in such a way that if you are a student of law, a doctor, medicine or whatever, you should be able to pass the dance at your first year in the University of Ghana. You should be able to pass your traditional music and dance. Otherwise, you will not proceed to the next level. He did this for people to recognize how important traditional music and dance and culture is. So, I was blessed to have it adopted by this great man in [inaudible] Kejetia who was also a student of my former boss from the National Dance Company, the one who discovered me. >> John Fenn: Okay. >> Yawuza Alhassan: So, I don't see myself as a -- I don't see that as my talent that brought me, but otherwise it would have looked like I am bragging, and yes, but I will say it's a blessing to have met my boss-boss, who saw my presentation and adopted me and my group. >> John Fenn: That's quite a lineage. >> Yawuza Alhassan:. So, and that is the spirit of culture, traditional music, and dance. It is to unite us and let us recognize each other. Our differences should not separate us. It should, rather, unite us. So, I was blessed to have met these great men who took me, you know, and that embraced me with their all hearts, minds, and souls. The same Professor in Kejetia also, he told me that I'm the one only one he took to his study room in his house. He also opened his house for me. >> John Fenn: Wow. >> Yawuza Alhassan: He also started giving me books to read, and he said, "You are going to go around the world," and then I did. >> John Fenn: Many, many years ago I had the honor of meeting Professor Nketia. >> Yawuza Alhassan: That was 2005, 2005 at the lunch. Then I remember at the completion of the Contemporary Dance School, his signature was on the certificate. I never knew I would get the opportunity to meet him. >> John Fenn: Wow. >> Yawuza Alhassan: So, you see how the connection is? So, when you are in the art, truly, you know, it will connect you with the right people and you'll get the right support. For example, today, I never knew I would get this groundbreaking opportunity to be interviewed by you. You see? So, Professor Nketia briefed me about the intention of Kwame Nkrumah. So, I pick it up. >> John Fenn: Yep. >> Yawuza Alhassan: I pick it up and I try to go beyond it, because we are living in a global village now in this world. So, after I had the opportunity to be meeting Professor Nketia. He keep on briefing me, and giving me the tricks, how to make the music better, because he told me, and I asked questions. I asked him about Highlife. He told me Highlife is not a traditional music, and he is the father of Highlife. He told me that Highlife is a modern style, which what the British adopt for their ballroom music and dance during the colonial period. So, he told me, so, you have to make it better and even move on, so that you continue the tradition, you know, in your contemporary context. So, and then I said, okay, thank you, Professor. So, what I did is at the end of the routine, I also invented something we call Afrikiki. >> John Fenn: Okay. >> Yawuza Alhassan: Which is also a form of music and dance, and it is a development of our traditional dance element. >> John Fenn: Okay. >> Yawuza Alhassan: And the music element. So, and I call it Afrikiki. Then the whole Ghana started to adopt it. I did it because the professor told me even -- I asked him a question: Professor, how do you see the music today? People are singing "Hiplife," you know like the Hip-Hop version of America. How do you see it? And he told me that if he was young like me, he would have also done it. >> John Fenn: Yeah, so, are there examples of that Afrikiki in the performance video that you submitted? >> Yawuza Alhassan: No. I did not do it. >> John Fenn: I want to learn about some of the pieces in that video. Is there a favorite piece because you have like five or six pieces in the video. >> Yawuza Alhassan: Yes. >> John Fenn: Is there one you want to talk about? >> Yawuza Alhassan: The one I want to talk about, I think, you choose one, and then I'll talk about it. >> John Fenn: I choose one, okay. What about Bewaa, the second one? ^M00:25:04 >> Yawuza Alhassan: Yeah, the Bewaa is very interesting, because Bewaa it also has a connection to what is happening today. >> John Fenn: Okay. >> Yawuza Alhassan: In our African music, we have the history. Inside there is a benefit. ^M00:25:26 ^M00:25:29 What happened, and then how it is today, like the connection of it with today's world situation. So, Bewaa is a resort of bounty harvest. >> John Fenn: Okay. >> Yawuza Alhassan: So, in the part of the Ghana and that we call Upper West, the people living there, they are called Dagaati, and Dagaati, they him from a clan or a lineage called Bewaa. Bewaa is from one of the -- Noah, the Noah in the bible, one of the children of Noah. >> John Fenn: Okay. >> Yawuza Alhassan: The great-grandchildren of Noah, and this one called Bewaa was a warrior. The warrior -- and very tall. He has powers [inaudible] like when a bed is flying, whenever he is hungry, he doesn't have to climb a tree and go and pluck a mango to eat. He would just stand -- he was so tall that he could just stand and grab it. Grab the mango from the tree and start eating, and when he want to eat meat, he just wait, and the bed is flying. He could just guide the bed and start eating. You know, prepare to slaughter it, and then go ahead and, you know, prepare his meal, barbecue, and eat. So, there was this -- so, Bewaa was traveling, and then he go to somewhere around the Mali. He love America -- no, he love Africa. So, he love Africa. Mali is a big place, and the head of Bewaa, how tough he was. There was -- and they had a problem at one of their dam. This dam where they fetch their water, where their animal eats. You know, drink water. There was this buffalo who came to took over the dam, and no one could go there and go and fetch water. So, the Bewaa, when they hear about Bewaa, they went and consulted him to come and save them. So, he came there at night and camped there. When this animal came, he was able to conquer the animal, and that give a way for the people of Mali to come and start fetching their water for cooking, washing, and drinking, and they give him a wife in order to keep him there, but he stayed there for some time, and he proceeded. >> John Fenn: Okay. >> Yawuza Alhassan: So, when he proceeded, he got to a point that he stopped, and then, his great grandchildren to proceed, to [inaudible], and in the [inaudible] you hear a track called "The Mooshi" [assumed spelling]. So, it's, you know, they also proceed to Ghana, and when went to Ghana, they continued to the most fertile land and the most level land called northern region, which is Tamale. So, at this place, the Bewaa has three children, and from these children, in our setup, the woman don't have to inherit the king's position. >> John Fenn: Okay. >> Yawuza Alhassan: They will give them another chief title which is equivalent to the paramount. Because they are women, they will end up married and go to someone's house but they will still maintain the same title, you know, equivalent to the paramount king's, you know, title. ^M00:30:09 So, these people who do the Bewaa, the Bewaa dance, they are one of the Bewaa aunties. >> John Fenn: Okay. >> Yawuza Alhassan: So, every offspring of Bewaa is a playmate. You know, if your wife give birth to a baby girl, your younger brother or your senior brother will be a playmate to this girl. So, it means that your children and your younger brother or senior brother's children, they will become playmates, according to the tradition of Bewaa. >> John Fenn: Okay. >> Yawuza Alhassan: So, this was how the Dagaati people moved to the upper part of the region, because our auntie's children began to develop and become big. So, they moved towards to another settlement. So, where they went, there was no rainforest, but they liked the environment because they are the woman's children, they move away from the paramount king, so that they can also have a village by themselves with the same title equivalent to the paramount, but not live in the same space. As they say, to captains cannot be in one ship. Then there'll be conflict. So, that was why the people doing the Bewaa move a little bit further. >> John Fenn: Okay. >> Yawuza Alhassan: So, as they were there, there were no much room. So, the brother have to always send them food, in order to support them. So, but they continued to struggle and get used to their environment. So, as a result, any time they have abundant harvest or bounty harvest, then they will come out, especially during the moonlight. >> John Fenn: Okay. >> Yawuza Alhassan: They will dance the whole night in order to celebrate their blessings and send glory to the Almighty. >> John Fenn: Okay. >> Yawuza Alhassan: The creator of everything who will give them bounty harvest. So, during the celebration, you will see them merrying around, you know, singing and dancing and doing movement. That depict happiness and firmness on the ground, and their connection to the mother of and then singing praises to the Almighty, who have given them bounty harvest. >> John Fenn: And is that's what's happening in that piece in the video? >> Yawuza Alhassan: Yes, in the Bewaa instead of -- we didn't do the dance, but we do the music. >> John Fenn: Okay, yeah. >> Yawuza Alhassan: So, I play the xylophone. I play the xylophone expressing this joy of bounty harvest. So, this was how the Bewaa dance and music came about. If you look at the connection with it today, it's like the COVID-19. Almost it affected everyone in this world while we [inaudible]. What did it teach us? What Bewaa teach us, the Bewaa lineage taught us? It taught us that we have to come together whenever there is an issue or phenomena. So, that's why when the sister moved to the other part of the region, there was drought, and there was no abundant food. He was able to support the sister and the family there until the foods -- they started having, you know, a good year, and they started to celebrate through dancing -- music and dance, which now becomes a tradition. >> John Fenn: Okay. >> Yawuza Alhassan: Because they continue to do it every year till today. It is still done. So, the connection offered with today's world is when the COVID-19 came, countries were also sharing their, you know, vaccine around the world. So, all our traditional music and dance, it taught us this already from the past, how to support others, how to come together to build a community. How to fill each of their springs. Like COVID-19, everybody wanted to see his brother still living. ^M00:35:36 ^M00:35:38 Friends still living, because [inaudible] everyone one way or the other. So that our traditional music and dance has already expressed that hundreds of years ago. >> John Fenn: And it remains relevant today, right? >> Yawuza Alhassan: Exactly. >> John Fenn: Well, I very much enjoyed the xylophone playing in that piece, that Bewaa piece. So, I think the viewers will, as well. When coming up with the music or the choreography for Wuza Wuza are you doing it on your own or are you working with the other members of the group to do a kind of collaborative development of the pieces? >> Yawuza Alhassan: Yes. I always say that our music and dance, it teaches us how to be humble. That is the one thing I learned growing up. That is one thing I observed. Even people [inaudible] almost going astray, whenever they join the group, the group maintained them and groomed them and oriented them. You see? So, it is so important. That is why when I got here, I tried to maintain it, because I see some people almost lost it due to stress here. So, I keep on bringing them together and bringing that in us, and now, almost more than 30 people are on standby. They want to come on board. So, when I have a performance, I take some people. It depends on how much we are getting, and then, also, the transportation to get there. It's a challenge. So, because of this, I try to keep us together. Do you understand? It is because of the question you have asked. It teaches us how to be humble. So, whenever this opportunity come, I do this because I want us when we stay together, it keeps you so that people wouldn't have gone astray or get influenced by negative, you know, aspects of the world. I call it negative incentives of the world. >> John Fenn: Well, I think you've done a great job of helping us understand the meaning of Wuza Wuza, you and us together as one, [multiple speakers] peace, love, and joy in spreading that through -- >> Yawuza Alhassan: Yes, and so, it's a combination of, you know, it's a combination of our Akan language from the south and the Bewaa language from the north. >> John Fenn: Yeah. So, you're combining all those parts, yeah. >> Yawuza Alhassan: Exactly, and that leads to the question that you also asked, because we, you know, we must stick together, in order to save each other's life, in order to maintain the spirit of sharing. Many people, some people, think the United States is dangerous or has some negative influence, and I said no. It's the best place for, because it saves a lot of lives, and it's also even give people the route to heaven, because there are Muslims here. There are Christians here, and the best, most Islamic scholars are here. The best Christian scholars are here, and when you are here, the best, is -- are here. The best education is here. So, if it is easy for you, for United States, to makes you better then easily to get astray. So, once we are together, I make sure that I remind them about this. What's reminding them, to your question, you asked if I do the choreography alone or compose the music alone? ^M00:40:18 No. In order to make everyone comfortable, I tell them that I am not directing you. We are working together. I am only speaking at a time, or I am only doing it at a time. Another time it will be your time. Another time it will be your turn, because I don't want to the way that if I am not there, they will not proceed. ^M00:40:49 That is not my dream. That's not my vision, and I remember when I was going for the visit to get here, the consulate asked me, "You have been traveling a lot. What happened when you traveled, and they have a performance. What will they do? Because I see your pictures. I see how the group is doing great with you." And then I told her, do you want them to come and perform, and that I will sit by you to watch? She was laughing. I said, yes. Important everyone to be even better than me, so that if I'm not there, it will continue. So, if no one is not there, it should continue, but with all humility, I always tell them, I am not directing you. I always tell them we are all equal. Even three days ago, we were rehearsing for go and perform at Mount Vernier City Hall. During the rehearsal, we were playing the Afro beat, and I told them, listen, everybody should feel comfortable, because I have these new people that I'm now teaching. So, and I told them, feel comfortable. Tell me. Don't be scared to make a mistake. Let's go and make the mistake. No problem. We are all equal. They were mad at me that why do I always say we are equal? They know I am the director and working, and I say no. That's not the meaning of what we are doing. The meaning of what we are doing our cultural music, traditional music and dance teaches us that is the major thing. Teaches us to be humble and recognize each other as brothers and sisters, no matter your color, no matter your race or whatever or tribe. We ware all equal. See me like that and that's it. I am only may be leading for now. So, when I'm doing the composition or the choreography, I ask them, one person, to go and stand and see if the meaning is making sense. The person will say yes. Yes, it makes sense. When we are doing the composition of the music, I ask one person go and stand for a way and listen. I told them listen as an audience. Don't listen as an artist. One person walks away and go and stand and listen, and I told them, okay -- and I always tell them, tell -- just be sincere. Tell me how you feel. We are all equal, and no policeman will arrest you for telling the truth. So, we always do this, and I always submit myself to them, and I know that I am, as a leader, I am to save them. So sometimes, when we even go to performance, when the money is not enough, I shared to them. Then they say, "No-no-no, why do you do that? Why do that?" And I say no, you have to. So, because I'm setting an example, then they will know that no, leadership is not to get -- take everything and put it in your pocket. I told them, no. We are saving. Tomorrow it could be you. I always remind them for, tomorrow it could be you, and we should always remember there is tomorrow, because the table can turn at any time. So, the little money that I also get, I buy the costumes and the drums. >> John Fenn: Okay. >> Yawuza Alhassan: So, I'm doing this to make them see that if one day any of them also get into this place, they should remember the matter of humility. And where you are leading at the time, you must lead by example. Even though we have challenges, you know, but I don't look at it because we have so much talent and we have so much to give. Four days ago, we performed at Yonkers. ^M00:45:04 People were crying, just because of the presentation they saw. So, people need to be healed through our music and dance, the story, and the history, because some of the things are happening today have happened already. With hearing this, it gives hope. It brings hope for us to live. So, I always tell them, this is how it is. So, anybody who also have contribution, they bring it, and I look at it with experience. If it's okay, then if I have to refuse it in a nice way, and then I say, okay, keep it. Don't forget it. We might need it another time [inaudible] sometime we need it. >> John Fenn: So, you'll bring it back in. >> Yawuza Alhassan: And I'll bring it back. >> John Fenn: Well, I think the message is you're sending for your performance in your work as a leader, but as a member of the community are so important, and I hope to the viewers of the video will get that joy and that sense of belonging by watching the performance. So, I want to thank you for being part of our Homegrown at Home Series of concert videos. I want to thank you, Yawuza, for your time today in the interview, and I just want to thank you for doing what you do. [laughing] >> Yawuza Alhassan: Thank you very much for having me, and then I'm so -- I feel blessed to be part of this, and on behalf of my colleagues, too, when I told them that this is what's going to happen, there was -- you could see the joy in their faces. >> John Fenn: Well, that's good. Tell them we say hello. >> Yawuza Alhassan: Yes, I will do that. >> John Fenn: All right, well, thank you for your time, and viewers, please be sure to watch the concert video by Wuza Wuza, so you can see Yawuza and his colleagues dancing and singing and bringing peace, love, and joy to everyone. So, thank you so much. >> Yawuza Alhassan: Yeah, and I would like to give them some spiritual hope through my flute. >> John Fenn: Okay. ^M00:47:16 [ Flute Playing ] ^M00:47:44 >> Yawuza Alhassan: Thank you. >> John Fenn: Ah, thank you so much. ^E00:47:47