I like wearing clothes which fuse elements of different cultures. I'm not just "Africa" today, you see, I'm a world melting-pot! It takes me an hour … - Sally Nyolo

Unfortunately, it's not an African scene... The most important scene for me was the scene where I played with Maceo Parker , James Brown and there were more than 70,000 people in front of us. They bought all my CDs and at the end of the concert, they took off their t-shirts and asked me to sign on their bodies with permanent markers. The scene happened in Denmark. Another unforgettable memory was in Belgium when I saw children paint their hands blue and they made a line from the stage to the dressing room to wait for me. While I sang in Eton, in Fang, in our languages, these children shook their hands to tell me that I had given them the opportunity to think that there are no colors among humans. Culture has no color, it's the vibration that we give to the other that counts.

The thing is I'd always felt very drawn to my roots. In fact, I've always felt this real homesickness for my country and my native language, Eton. When I was growing up I made my mother speak to me in Eton all the time - that way, over the years, I haven't lost touch with the music of my mother tongue. All the time I was singing backing vocals for other artists, I'd be singing and writing material for myself too. I'd write my songs in French, English and Eton. Then one day I was going through my material and I realised that most of the stuff I'd written was in Eton. This material formed the basis for my first demo tapes which later got worked into my debut album "Tribu". Around the same period I was already getting interested in bikutsi - that's a type of music from central and southern Cameroon which nobody was playing in Paris back in those days.

I don't know how to answer because I don't know the artists who are being boycotted, because we don't operate in the same environment. I don't know those who are boycotting them either. I've never been boycotted, anyway .