GRUNGECAKE

Tag: Nino Augustine

  • Panamanian artist Nino Augustine talks to GRUNGECAKE AFRICA about his vision for the future

    From Panama to the World: An Afro-Latin artist’s journey, challenges, and vision for the future

    [media-credit name=”Courtesy” width=576 align=”center”][/media-credit]

    Music has a unique power to shape identities, especially in culturally rich and diverse environments. In Panama, the fusion of genres like salsa, Dancehall, Kompa, and Vallenato has created a vibrant sonic landscape that deeply influences its people. In this interview, Nino Augustine reflects on their early exposure to music and how it fueled their passion for songwriting. They share their journey from childhood memories of local stars like Kafu Banton to creating their first salsa song, ‘Hey Baby’, in elementary school. The conversation further delves into the challenges and opportunities within the Latin music industry, the significance of Afro-Latin representation, and the pivotal role of Tego Calderón in elevating Reggaeton. The artist also explores the evolving sound of Panamanian plena and its connection to Afrobeats, advocating for greater recognition of Afro-Caribbean artists globally. This narrative captures a profound desire to merge Latin and African music whilst paving the way for future Afro-Latin artists.

    ADVERTISEMENT


    (adsbygoogle = window.adsbygoogle || []).push({});

    Richardine: What is your earliest memory of music? At what age did you discover that you had a talent for songwriting?

    Nino Augustine: I grew up surrounded by music. Panama is incredibly diverse, and even though I was raised in a humble part of the city, the sounds that surrounded us were rich and varied. You could hear Salsa from one house, Kompa from Haiti next door, Dancehall from another neighbour, Vallenato from Colombia, and Reggae in Spanish. All of that diversity shaped me. I was about six years old when I saw a national star Kafu Banton performing at the finals of a local soccer tournament. Watching him up there, full of energy and life, I knew in that moment—I wanted to do that too.

    Richardine: Can you recall what the first song you made was about?

    Nino Augustine: Yes, I remember the very first song I wrote, word for word. My best friend and I wrote the song together. It was called ‘Hey Baby’ and it was about a girl I liked in elementary school. It was a Salsa song, which makes me smile to think about now.

    Richardine: Is it easier to make it as a Latin music artist in Panama? If not, in your opinion, where are the hot spots an individual would have to be to excel as a Latin performing artist? For American Hip-Hop artists, it used to be New York City or living nearby. Then, it became the City of Atlanta. Or is it none of that and it has to sdo with Latin music gatekeepers accepting you?

    Nino Augustine: I don’t think it’s necessarily about Panama being harder—it’s more that Panama is a small market compared to other places. There’s incredible talent here, and many artists become huge stars locally, but the resources to break through internationally can be limited. In the larger markets, there seems to be a certain look that’s preferred, even though the music they’re pushing comes from Black culture. It’s not a reflection of the talent but more about the gatekeepers who control the resources. Still, I’m hopeful that we’re on the verge of breaking that mould. It’s time to return to the origins and celebrate the full spectrum of Latin talent. We can’t keep having just one Black artist breakthrough every decade. We deserve more representation, and I believe change is coming.

    [youtube=https://www.youtube.com/watch?v=N5my3yZ9CpQ&h=315]

    Richardine: You and I connected during the early years of the pandemic, discussing how to merge Latin and African music. Would you say it’s harder to make that dream a reality now? What do you think needs to happen? Are you open to becoming a symbol for Afro-Latin communities globally?

    Nino Augustine: I actually think this is the perfect time. Music is more global than ever, and both Latin and African markets are gaining momentum. The key is making African artists aware of the incredible music happening on our side and building alliances. Some Latin artists are already fusing with African sounds, but often they don’t look like us, and those of us doing the work are still flying under the radar because we aren’t getting the same platforms. I’m all for being a voice for Afro-Latin communities. We just need the opportunity to show what we can do.

    Richardine: What does the name Tego Calderón mean to you? Have you been compared to him ever?

    Nino Augustine: Tego Calderón is a legend. He’s someone who wasn’t afraid to speak about the racial issues we still face and call out the racism we endure. He paved the way for so many, especially for artists like me. I’ve been compared to him, maybe it’s my blackness. Maybe you can tell his influence in my music, I take it as an honour, but he also stepped away from music out of frustration, which speaks to the challenges we still face.

    Richardine: According to Wikipedia, Calderón is the Reggaeton champion of an Afro-Caribbean working-class aesthetic. How do you feel about that declaration? Would you say the statement is accurate?

    Nino Augustine: That statement is accurate. Tego Calderón is the reason Reggaeton is where it is today. Hip-Hop has always dictated what’s cool, and Tego was the first Latin artist that Hip-Hop truly embraced. Without that co-sign from Hip-Hop culture, Reggaeton wouldn’t have made it to the global stage the way it has.

    ADVERTISEMENT


    (adsbygoogle = window.adsbygoogle || []).push({});

    Richardine: Where do you think you get your ability to blend sounds and create something fresh? Do you think it is innate?

    Nino Augustine: It’s a combination of both my upbringing and something natural within me. Growing up in Panama, I was exposed to so many different types of music at a young age. That exposure prepared me for the fusion I’m creating now. It’s a reflection of what was rooted in me combined with new sounds I’ve discovered on my musical journey.

    Richardine: When did you embrace your media darling reality (highlighted in Billboard, Rolling Stone, Remezcla, and more)? What do you think happened? What year was it, and what was the moment?

    Nino Augustine: Journalists have always understood my vision and what I’m trying to do. I think that’s been one of the biggest reasons I keep going. In 2018, I performed in New York at a show with artists who are now making major waves. I think that moment, and the connections made there, really opened doors for me. Despite the challenges I’ve faced, knowing that journalists continue to believe in me and say I deserve a seat at the table gives me immense gratitude.

    Richardine: Tell me more about the Panamanian Plena sound. Which characteristics make it different from other styles of music coming out of Panama? It is my first time seeing the name of the music style.

    Nino Augustine: Plena for us Panamanians is essentially Dancehall in Spanish, and over time, it has evolved into something unique. When the Panama Canal was built, many Jamaicans came to Panama, and over time, they learned Spanish and began blending their music with local sounds. That fusion became Plena. What’s exciting right now is that with the rise of Afrobeats and Afro-Fusion, we are connecting the two, Plena with Afro-Fusion, and there are so many new talents because we feel connected again. To see these African artists on a main platform and these artists look like us, it gives us hope that we’ll shine once more.

    [youtube=https://www.youtube.com/watch?v=EVi7C97r6Ng&h=315]

    ADVERTISEMENT


    (adsbygoogle = window.adsbygoogle || []).push({});

    Richardine: As it was written, you are tirelessly advocating for the representation of Afro-Caribbean artists. As an advocate for Afro-Caribbean artists, how can our readers help make your dream a reality? What would it take to fully break through and compete at the highest level?

    Nino Augustine: The first step is acknowledging that we exist, that we are creating, and that we are part of the global African diaspora. Include us in the conversation. We’re proud of who we are, and we celebrate that in our music, even if we sing in another language. Our roots are African, and we want the world to see that we’re here and ready to contribute.

    Richardine: Lastly, are there a bunch of Afro-Carribean artists that the world overlooks? If so, who are they and why are they artists we should support or look out for?

    Nino Augustine: Absolutely, there are so many incredible artists deserving of recognition. Some to watch are Goyo, Immasoul, Los Rakas, Barbel, Jossman, Akanni, Junior Zamora, Italian Somali, Akim, Dawer y Damper, and many more. These artists are making waves, and they represent the diversity and richness of our Afro-Caribbean culture.