Edited by Azizi Powell
This pancocojams post presents an excerpt of the Wikipedia page on griots as well as information about the Senegalese griot song "Sira".
In addition, two YouTube examples of "Sira" are showcased in this post along with some selected comments from those videos' discussion threads.
The content of this post is presented for historical, cultural, educational, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to Ablaye and Volker Goetze and others who were affiliated with this film. Thanks also to all those who are quoted in this post.
****
INFORMATION ABOUT GRIOTS
From https://en.wikipedia.org/wiki/Griot
"A griot ... jali or jeli (djeli or djéli in French spelling) is a West African historian, storyteller, praise singer, poet and/or musician. The griot is a repository of oral tradition and is often seen as a societal leader due to his or her traditional position as an advisor to royal personages. As a result of the former of these two functions, he or she is sometimes also called a bard. According to Paul Oliver in his book Savannah Syncopators, "Though [the griot] has to know many traditional songs without error, he must also have the ability to extemporize on current events, chance incidents and the passing scene. His wit can be devastating and his knowledge of local history formidable". Although they are popularly known as "praise singers", griots may use their vocal expertise for gossip, satire, or political comment.
Griots today live in many parts of West Africa and are present among the Mande peoples (Mandinka, Malinké, Bambara, etc.), Fulɓe (Fula), Hausa, Songhai, Tukulóor, Wolof, Serer, Mossi, Dagomba, Mauritanian Arabs and many other smaller groups. The word may derive from the French transliteration "guiriot" of the Portuguese word "criado", or masculine singular term for "servant". These story-tellers are more predominant in the northern portions of West Africa.
In African languages, griots are referred to by a number of names: jeli in northern Mande areas, jali in southern Mande areas, guewel in Wolof, gawlo in Pulaar (Fula), and iggawen in Hassaniyan."...
****
INFORMATION ABOUT THE SONG "SIRA"
From https://www.allaboutjazz.com/sira-ablaye-cissoko-obliqsound-review-by-jerry-dsouza.php by Jerry D'Souza, November 30, 2008
"Ablaye Cissoko + Volker Goetze: Sira
Music has long transcended geographical and cultural barriers to forge new sounds. That bond is manifested once more in the collaboration between vocalist and kora player Ablaye Cissoko and trumpeter Volker Goetze.
Cissoko and Goetze met in 2001 at the African-European Jazz Orchestra rehearsals in Senegal, where they were to open for Youssou N'Dour. Out of that meeting came the decision to record together. It was a judicious one.
Cissoko plays the kora, a 21-string instrument. His mastery of the instrument is startlingly evident in the delicacy and musicality he draws from it. He makes it another voice, to accompany and embellish not only his singing but the trumpet of Goetze as well. Goetze's lyrical approach to the trumpet is in keeping with the mood of the songs, and his deliberation soothes and brings in a balmy air. The pairing of the two is spellbinding.
Cissoko is a griot: a storyteller and a bard. His words may not be understood, but their emotional impact is undeniable. His sense of phrasing and enunciation lend themselves to his art.
The music comprises traditional tunes which a griot can shape to circumstance, and compositions from both players. The first story that the two tell is of "Sira." It means "mermaid," and is also the name of Cissoko's daughter. The mood is established right off with the notes from the kora rising in crystal purity. Cissoko sings with tenderness and warmth, drawing the listener into the experience. With Goetze clasping the mood with his shimmering lines, the impression is unforgettable.
Goetze has made the music part of his vocabulary. He finds a rich lore on the Ghanian [sic] rhythm of "Bamaya." While Cissoko lets the kora dance on the melody, Goetze smears the lines with his trumpet before he expands the dynamics through jazz harmony.
Each song tells its story with grace and an earnest zeal. Through it all Goetze and Cissoko captivate and never let go.
Track Listing: Sira; Domain Domain; Lountang; Gorgorlou; Faro; Badingwoo; Bouba; Bamaya; Sakhadougou; Mansanni Cisse.
Personnel: Ablaya Cissoko: vocals, kora; Volker Goetze: trumpet.
Title: Sira | Year Released: 2008 | Record Label: ObliqSound"
-snip-
I added italics to highlight this sentence which provides information about the personal name "Sira".
Note that in YouTube video discussion threads for Ablaye Cissoko's videos, commenters wrote that he sings in the Mandinka language.
A portion of the song "Sira" is given at .03-.019 of the first trailer of the 2011 documentary Griot which is showcased on this pancocojams post http://pancocojams.blogspot.com/2018/05/griot-trailer-long-version-and-griot.html
Here are the subtitles for that brief clip:
“Sira, Sira, Sira, Sira....
“The day Sira was born”
“The ocean was vibrant”
****
SHOWCASE VIDEOS
Example #1: Sira- Ablaye Cissoko & Volker Goetze
Yohanan Assefa, Published on Jul 15, 2010
-snip-
Here are three comments from this video's discussion thread about where Ablaye Cissoko is from (Note that one of those comments is from Ablaye Cissoko himself) (numbers are assigned for referencing purposes only)
1, Alex Rivera Dominguez, 2013
"Absolutamente hermoso, música de gran peso y calidad. Desde México un saludo. Where is from Mr Ablaye?"
**
REPLY
BREHIMA SEGA DIALLO, 2014
"ablaye is from republica in mali africa"
**
3. Ablaye Cissoko
"No Ablaye is coming from SENEGAL . living in St Louis."
-snip-
Here's some information about St Louis, Senegal from https://en.wikipedia.org/wiki/Saint-Louis,_Senegal:
"Saint-Louis, or Ndar as it is called in Wolof, is the capital of Senegal's Saint-Louis Region. Located in the northwest of Senegal, near the mouth of the Senegal River, and 320 km north of Senegal's capital city Dakar"...
****
Example #2: Ablaye Cissoko & Volker Goetze Live at the Jazz Gallery 2010
Volker Goetze, Published on Aug 29, 2010
-snip-
Here are some comments from this video's discussion thread (numbers are assigned for referencing purposes only)
1. Ndiagna Sene, 2011
"This song is amazing. I can't describe the comfort and pleasure it gives me."
**
2. Erdenelfe, 2011
"It´s great, beautiful ♡♥♡
Thanks!"
**
REPLY
3. Volker Goetze, 2011
"Thank you for your nice words. We have to thank all of our audiences. Your energy and presence at concert enable us to do what we do. Merci."
**
4. chino717171, 2013
"Does this track have a name? or is it a nameless live jam?"
**
REPLY
5. Orchydee64, 2013
"the song is called SIRA"
**
6. Hamed Triqui. 2015
"I'll never have enough listening to Sira....all versions. Thanks and thanks again."
**
REPLY
7. Volker Goetze, 2015
"Thank you very much! It is one of our stronger work.. There is something very special about Ablaye's song "Sira"..."
**
REPLY
8. Hamed Triqui, 2015
"+Volker Goetze Thanks so much for answering Mr Goetze. I'm a Kora ( and Griots' storytelling) absolute fan since I was a kid and even for me Sira is very very special, I can tell you. The muted trump made a wonderful equilibrium/link between Ablaye's border and Satchmo's one, from roots to blossoming..."
**
REPLY
9. Volker Goetze, 2015
"+Hamed Triqui For us too!!! Merci Beaucoup! When did you discover the kora and how?"
**
REPLY
10. Hamed Triqui, 2015
"+Volker Goetze Je vous en prie, c'est du fond du coeur. My father used to have a Gambian "Djeli" friend. They were often talking about African traditional music ( I'm Algerian). As I was a kid, uncle Abdoulie brang a recording from one of the greatests korafolas, Nago Guèye. Things started like this, I was something like 10 yo and I can still remember every single note "exploding" from the old fashioned tape recorder."
**
REPLY
11. Volker Goetze, 2015
"+Hamed Triqui Thank you so much for sharing this! Do you play an instrument?"
**
REPLY
12. Hamed Triqui, 2015
"+Volker Goetze You're very welcome. One is also sharing with his own self you know, called nostalgia. you're the one everybody has to thank for sharing!
Amateurish guitar and Oud player. I've to say I'm much better when using my ears listening to real musicians. Even a single unit harmon mute is much better than I can ever be ^^"
**
13. Ancientafrica, 2015
"Why is trumpet included?"
**
REPLY
14. Volker Goetze, 2015
"Dear Ancient Africa:
Our music is much stronger together. Peace!
Volker"
**
REPLY
15. Ancientafrica, 2015
"how? Not sure??"
**
REPLY
16. Volker Goetze, 2015
"Listen... Music is truth... Can't hide..."
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Showing posts with label Griots. Show all posts
Showing posts with label Griots. Show all posts
Saturday, May 5, 2018
Friday, July 18, 2014
Two Excerpts Of The "Kaidara", A Fulani Epic Poem (with English translations)
Edited by Azizi Powell
This post features two excerpts of the "Kaidara", a traditional African epic poem. The "Kaidara" originally was prose recitations which formed part of traditional Fulani religious education.
These excerpts demonstrate that people speaking traditional African languages created compositions that are the complete opposite of the meaningless "ooga booga" utterances that Hollywood and other elements of Western societies characterized those languages as being.
The content of this post is presented for folkloric, cultural, and aesthetic purposes.
All copyrights remain with their owners.
Thank to those who composed this traditional narrative. Thanks also to Amadou-Hampaté Ba for putting this narrative in versified form. And thanks to D. W. Arnott and others for providing excerpts of and information about "Kaidara" and other examples of Fulani narrative compositions.
****
DEFINITION OF "EPIC POEM"
From http://education-portal.com/academy/lesson/epic-poetry-definition-heroes-stories.html#lesson
"An epic poem is a long, narrative poem that is usually about heroic deeds and events that are significant to the culture of the poet. Many ancient writers used epic poetry to tell tales of intense adventures and heroic feats. Some of the most famous literary masterpieces in the world were written in the form of epic poetry."
-snip-
The two examples of epic poems that the article cited focus on are "Gilgamesh" and "The Iliad". The Fulani narrative "Kaidara" fits that definition of an epic poem.
****
FEATURED EXCERPTS
From http://www.webpulaaku.net/defte/dwarnott/fula_literature.html#n12 D. W. Arnott. "Literature in Fula" in in Literatures in African Languages: theoretical issues and sample surveys B.W. Andrzejewski, S. Pilaszewicz, W. Tyloch (eds.)Cambridge University Press. 1985. p. 72-97
The Fulani, Fula, or Fulɓe are the traditionally nomadic cattle owners of West Africa, whose ultimate origins have been the subject of much speculation. While their early habitat in West Africa was apparently in an area in the vicinity of the borders of present-day Mali, Senegal and Mauritania, they are now, after centuries of gradual migrations and conquests, spread throughout a wide band of West Africa...
The Fulani preoccupation with cattle is also reflected in their many spells and incantations, while traces of their pre Islamic religion survive in initiatory recitations and the like.
An outstanding example of such a survival is Kaidara, with its sequel Laaytere koodal (The brightness of the great star), and Lootori (Ritual bathing). Originally prose recitations which formed part of traditional Fulani religious education, they have been published in a versified form which owes much to the poetic genius of Amadou-Hampaté Ba.
Kaidara, a poem of 2,452 lines, is an allegorical representation of the process of initiation with its 12 stages. It tells of the descent into a magic underworld of three men —a freeman and two serfs— and the adventures and vicissitudes they encounter on their journey to “the country of dwarf spirits, the mystic land of Kaidara”, the supreme spirit. They encounter successively a dozen creatures or natural phenomena which are symbols with mystical significance : a chameleon, a bat, a scorpion, a pool guarded by twin serpents, two fountains, and so forth.
The whole tale is presented dramatically and with imaginative and highly developed descriptions which from the literary point of view are the highlights of the poem-poetic descriptions of the dawn, and vivid and artistic accounts of a forest fire, a tornado and a tropical storm, of which the following verses are typical
[Citation] 12 & 13: Ba, Amadou-Hampaté and Lilyan Kesteloot (ed.), Kaidara, lines 1246-1271.
13. Ibid., lines 1544-1547
IV
Nde Baylal-kammu kem-noo Doo, e mbayla,
yani ana wifa bifirDi fa mbayla jaaBa.
Nde ka hoondoy wulaare wadoy e leydi
teddi e mayri faa kala waryhi, hayyhi.
YimBe e daabe nguli mum annii yaara
Keddii duule kaadime njaa na ngarta
ana tayha mbeeyu ana njaha weendu kammu
de yhoogoya Doon ndiyam njara faa De mbiya pett!
Yo Dee maa duule cinyruDe yarde diyyhe
ngoni a bawloyde, tuutude jukka leydi
hono faa enta kala kala boofi suuDii.
Baylal-kammu annii golle hiinnii
mo tappan Boolde dow taaneere nyaara
pette na njalta, ngona maje leydi njottoo.
Hammadi taykiti sifa majje jeegom
De laaytal mum majoy fade kammu toBde.
Yogaaje wulaam tan tan nii rufoyta.
Mo yii yoga majje saltini yeru no kahi nii,
caBe mum mawDe telloo faa a leydi.
Mo labbini laayte deen kaa yeru mo dammbaa
hakkunde duule DiDi cukkaa yo buurti
DiDi nyonngaaDi ana leldii a boowal.
Hammadi yiiti yoga majje gaDDe gabbe
Delmita seyna ede ngay hono no nyaango
ngo siire waDaa e muuDum semmbe toyyaa
leydi e kammu hakkunde mum waDoyta.
[English translation]
When the Great Forger of the skies reached his forge,
he plied his bellows till the forge came alight.
When it glowed, heat came to the earth
and was heavy on it, till everyone sweltered and suffocated.
Men and beasts sweated in its heat.
The servitor-clouds were coming and going,
cutting across the firmament, going to the pool of heaven,
drawing water there, and drinking their fill.
These are the clouds, pregnant with the waters they have drunk,
that then relieve themselves, and spit out stabbing the earth,
as though to purge every man of his every hidden sin.
The Forger of the skies now sets to work:
He hammers the mass on his anvil till it glows
And the sparks fly and come to earth as lightning flashes.
Hammadi could discern six various kinds
whose brightness flashed before the heavens rained down.
Most merely poured down fire.
He saw some forked like a kahi-tree,
its great branches descending right to the ground.
He noticed some flashes as it were fettered together
between two clouds, close together like two cattle-tracks,
separate but bunched together, in a clearing.
Hammadi saw others like little grains
dazzling wonderfully like a magic jewel
imbued with a mystic force, striking sparks
between earth and sky.
-snip-
And there are many sensitive little touches such as the picture of a dying flame
-snip-
V
Mo sooynii fooyre ana maja fooyre fitila.
Liccere mum yarii timmii nebam mum.
Fooyre na fooDa Demngal saa e saanga,
ana mettoo ko heddii ko suuwi-noo e mum.
[English translation]
He saw a flickering lamp-flame.
Its wick had drunk up all its oil.
And the flame from time to time threw forth its tongue,
Licking up the last liquid drop.
****
Thanks for visiting pancocojams.
Visitors' comments are welcome.
This post features two excerpts of the "Kaidara", a traditional African epic poem. The "Kaidara" originally was prose recitations which formed part of traditional Fulani religious education.
These excerpts demonstrate that people speaking traditional African languages created compositions that are the complete opposite of the meaningless "ooga booga" utterances that Hollywood and other elements of Western societies characterized those languages as being.
The content of this post is presented for folkloric, cultural, and aesthetic purposes.
All copyrights remain with their owners.
Thank to those who composed this traditional narrative. Thanks also to Amadou-Hampaté Ba for putting this narrative in versified form. And thanks to D. W. Arnott and others for providing excerpts of and information about "Kaidara" and other examples of Fulani narrative compositions.
****
DEFINITION OF "EPIC POEM"
From http://education-portal.com/academy/lesson/epic-poetry-definition-heroes-stories.html#lesson
"An epic poem is a long, narrative poem that is usually about heroic deeds and events that are significant to the culture of the poet. Many ancient writers used epic poetry to tell tales of intense adventures and heroic feats. Some of the most famous literary masterpieces in the world were written in the form of epic poetry."
-snip-
The two examples of epic poems that the article cited focus on are "Gilgamesh" and "The Iliad". The Fulani narrative "Kaidara" fits that definition of an epic poem.
****
FEATURED EXCERPTS
From http://www.webpulaaku.net/defte/dwarnott/fula_literature.html#n12 D. W. Arnott. "Literature in Fula" in in Literatures in African Languages: theoretical issues and sample surveys B.W. Andrzejewski, S. Pilaszewicz, W. Tyloch (eds.)Cambridge University Press. 1985. p. 72-97
The Fulani, Fula, or Fulɓe are the traditionally nomadic cattle owners of West Africa, whose ultimate origins have been the subject of much speculation. While their early habitat in West Africa was apparently in an area in the vicinity of the borders of present-day Mali, Senegal and Mauritania, they are now, after centuries of gradual migrations and conquests, spread throughout a wide band of West Africa...
The Fulani preoccupation with cattle is also reflected in their many spells and incantations, while traces of their pre Islamic religion survive in initiatory recitations and the like.
An outstanding example of such a survival is Kaidara, with its sequel Laaytere koodal (The brightness of the great star), and Lootori (Ritual bathing). Originally prose recitations which formed part of traditional Fulani religious education, they have been published in a versified form which owes much to the poetic genius of Amadou-Hampaté Ba.
Kaidara, a poem of 2,452 lines, is an allegorical representation of the process of initiation with its 12 stages. It tells of the descent into a magic underworld of three men —a freeman and two serfs— and the adventures and vicissitudes they encounter on their journey to “the country of dwarf spirits, the mystic land of Kaidara”, the supreme spirit. They encounter successively a dozen creatures or natural phenomena which are symbols with mystical significance : a chameleon, a bat, a scorpion, a pool guarded by twin serpents, two fountains, and so forth.
The whole tale is presented dramatically and with imaginative and highly developed descriptions which from the literary point of view are the highlights of the poem-poetic descriptions of the dawn, and vivid and artistic accounts of a forest fire, a tornado and a tropical storm, of which the following verses are typical
[Citation] 12 & 13: Ba, Amadou-Hampaté and Lilyan Kesteloot (ed.), Kaidara, lines 1246-1271.
13. Ibid., lines 1544-1547
IV
Nde Baylal-kammu kem-noo Doo, e mbayla,
yani ana wifa bifirDi fa mbayla jaaBa.
Nde ka hoondoy wulaare wadoy e leydi
teddi e mayri faa kala waryhi, hayyhi.
YimBe e daabe nguli mum annii yaara
Keddii duule kaadime njaa na ngarta
ana tayha mbeeyu ana njaha weendu kammu
de yhoogoya Doon ndiyam njara faa De mbiya pett!
Yo Dee maa duule cinyruDe yarde diyyhe
ngoni a bawloyde, tuutude jukka leydi
hono faa enta kala kala boofi suuDii.
Baylal-kammu annii golle hiinnii
mo tappan Boolde dow taaneere nyaara
pette na njalta, ngona maje leydi njottoo.
Hammadi taykiti sifa majje jeegom
De laaytal mum majoy fade kammu toBde.
Yogaaje wulaam tan tan nii rufoyta.
Mo yii yoga majje saltini yeru no kahi nii,
caBe mum mawDe telloo faa a leydi.
Mo labbini laayte deen kaa yeru mo dammbaa
hakkunde duule DiDi cukkaa yo buurti
DiDi nyonngaaDi ana leldii a boowal.
Hammadi yiiti yoga majje gaDDe gabbe
Delmita seyna ede ngay hono no nyaango
ngo siire waDaa e muuDum semmbe toyyaa
leydi e kammu hakkunde mum waDoyta.
[English translation]
When the Great Forger of the skies reached his forge,
he plied his bellows till the forge came alight.
When it glowed, heat came to the earth
and was heavy on it, till everyone sweltered and suffocated.
Men and beasts sweated in its heat.
The servitor-clouds were coming and going,
cutting across the firmament, going to the pool of heaven,
drawing water there, and drinking their fill.
These are the clouds, pregnant with the waters they have drunk,
that then relieve themselves, and spit out stabbing the earth,
as though to purge every man of his every hidden sin.
The Forger of the skies now sets to work:
He hammers the mass on his anvil till it glows
And the sparks fly and come to earth as lightning flashes.
Hammadi could discern six various kinds
whose brightness flashed before the heavens rained down.
Most merely poured down fire.
He saw some forked like a kahi-tree,
its great branches descending right to the ground.
He noticed some flashes as it were fettered together
between two clouds, close together like two cattle-tracks,
separate but bunched together, in a clearing.
Hammadi saw others like little grains
dazzling wonderfully like a magic jewel
imbued with a mystic force, striking sparks
between earth and sky.
-snip-
And there are many sensitive little touches such as the picture of a dying flame
-snip-
V
Mo sooynii fooyre ana maja fooyre fitila.
Liccere mum yarii timmii nebam mum.
Fooyre na fooDa Demngal saa e saanga,
ana mettoo ko heddii ko suuwi-noo e mum.
[English translation]
He saw a flickering lamp-flame.
Its wick had drunk up all its oil.
And the flame from time to time threw forth its tongue,
Licking up the last liquid drop.
****
Thanks for visiting pancocojams.
Visitors' comments are welcome.
Sunday, December 16, 2012
Tiécoro Sissoko (Mali Griots' Comments & Griot Song/Spoken Word)
Edited by Azizi Powell
This post showcases a video from Mali, West Africa entitled "Tiécoro Sissoko". That video features comments from a male Griot,Djeli N'goni of Adama Tounkara, and an unnamed female Griot about the legacy of Griots. That video also features a song/spoken word composition by the Griot Tiécoro Sissoko.
English subtitles for this song/spoken word composition were given in the video, and I've re-produced those sub-titles in this post.
The content of this post is presented for folkloric, historical, and aesthetic purposes.
All copyrights remain with their owner.
FEATURED VIDEO: Tiécoro Sissoko
ksksystemkrush, Published on Aug 1, 2012
Published on Aug 1, 2012
http://www.systemkrush.com
Keme Borama is an album recorded and produced by KSK Records. The 2012 release features Tiécoro Sissoko's classic Djeli singing and phenomenal solo guitar style. Tiécoro is accompanied by the skilled Djeli N'goni of Adama Tounkara musically conversing with Madouba Camara's melodic Kora. In stark comparison to "Afro Pop" this album is a testament to the raw musicality of the Djelis from the Kayes Region of Mali.
ENGLISH TRANSCRIPTION OF THE VIDEO
(This transcription is from the video's subtitles. These words are reproduced as they are written on the screen except for spacing, and a spelling correction for the word "reputation".)
COMMENTS:
Djeli N'goni of Adama Tounkara with background Kora playing by Madouba Camara:
No matter how you can be
You shouldn’t forget about your roots.
That is what is in this country.
We are the Griots.
The culture was created, put in a suitcase…
And given to us to protect.
If we weren’t here to save the past...
the lineage would be lost.
Here in Mali our kingdom will never disappear.
Female speaker seated next to Djeli N'goni of Adama Tounkara with background Kora playing by Madouba Camara:
Being a Griot belongs to us.
I have been a Griot since I was little.
Djeli N'goni of Adama Tounkara with background Kora playing by Madouba Camara:
The importances of being a Griot are endless.
Myself, I don’t what could be sweeter than being a Griot.
It doesn’t exist.
COMMENTS:
Tiécoro Sissoko:
Spoken (with Tiécoro humming and guitar playing in the background)
My name is Tiécoro
I was raised in our family and all my descendants are Griot.
I first moved here [Bamako] to learn guitar from my brother.
I came here in 1968.
That was the only reason I came here.
Three days after I arrived here, they bought me a guitar.
And I started learning on it.
SONG/SPOKEN WORD: "THE CHARMING GRIOT IS LIVING"* - Tiécoro Sissoko
[humming & guitar playing]
I’m part of it. I’m not part of it. **
I will agree to that, charming Griot.
If you miss him this year, you will not
see him until next year.
Everyone depends on their mother’s blessings.
Good afternoon, the greatest personality of the house.
Love someone who loves you.
Abandon someone who has no love for you.
Death can reach you anywhere you go.
Death can reach you anyplace you go in this world,
Allah is the highest.
Death can reach you while you are sick.
[humming & guitar playing]
You have to work for your name. You cannot force it.
Someone with a good reputation will never be equal to
someone with a bad one.
The deep darkness of Africa.
[humming & guitar playing]
Oh, that is true, life is a turn. ***
You have to enjoy life while you are living it...
because we will all die
one day like a light bulb going out.
and it doesn’t matter if you agree, it will
happen.
God forbid, God forbid, the day that He does it, who is going to ask Him why he did it?
If you are living you have to enjoy life until the end.
Before death reaches you.
If you agree or not, you cannot escape death.
[humming & guitar playing]
People who are doing good things, that’s what
will be said after you.
People who are doing bad things, that’s what
will be said after you.
People who are making the Griot happy, that’s what
will be said after you.
People who disrespect the Griot, that’s what
will be said after you.
Ignorance is darkness.
Don’t you see? Whatever you do,
after you are gone, it will be said.
Great personality of the house.
That is true. What you do, is what will be said
when you pass away.
This guy is good. This guy is bad.
Whatever you do in this life.
there is an importance to it.
If you cannot get a benefit from
anything, maybe you can get tired and quit.
Otherwise there is benefit in everything, good or bad.
[humming & guitar playing]
COMMENTS Tiécoro Sissoko [with Tiécoro humming and guitar playing in the background]
What my reflections give me is that...
the reason why music of
today’s youth is not progressing...
Is that they are not asking for guidance
from the elder musicians.
[song/spoken word continues]
I did not forget about the laughing girl.
I’ll see you in the morning and the charming Griot is living.
[End of song/spoken word]
COMMENTS - Tiécoro Sissoko
Ever since I started,
I have benefitted…
from being an artist.
Music is like any job, if you don’t learn it
you won’t do well.
end of comments
Video Producer's notes:
Tiécoro Sissoko died in May of 2012.
He was 66 years old.
For more information about Tiecoro and other KSK artists please visit http://www.systemkrush.com
-snip-
Editor's notes:
* No title was given to this song. I used the last words of this song/spoken word composition as its title. I have posted a comment on this video's viewer comment thread asking for the correct title. When I receive a response, I will change the title of this song/spoken word.
It seems to me that in the context of this song, the meaning of "charming" is probably "1. To attract or delight greatly" and not
2. To induce by using strong personal attractiveness" or
3. To cast or seem to cast a spell on; bewitch.
[http://www.thefreedictionary.com/charming]
-snip-
I think that the word "charming" as used in this song/spoken word may also mean "a person who has a way with words", a person who has a "smooth tongue". However, in the United States, a "charming" person may be viewed with suspicion. For instance, Americans may consider a man who is "turning on the charm" as doing so for some ulterior motive that benefits him and not anyone else. In the United States a smooth talker, or a charming man (or woman) might have elements of a "snake oil salesman"-"snake oil" being a general term for home made useless medicine. While Tiécoro Sissoko's use of the word "charming" probably carries the smooth talking description, it probably doesn't carry the negative "snake oil salesman" connotation.
-snip-
It seems to me that this song/spoken word is composed of reflections and/or proverbs/folk sayings such as "Love someone who loves you", conversational lines such as "Good afternoon, the greatest personality of the house" and other comments such as "I’m part of it. I’m not part of it./ I will agree to that, charming Griot."
-snip-
** My guess is that the line "I’m part of it. I’m not part of it" refers to Tiécoro Sissoko continuing the Griot traditions but accompanying himself with a guitar and not a kora.
-snip-
*** Another way to say "life is a turn" might be “life is like a wheel turning”.
ACKNOWLEDGEMENT AND THANKS
Thanks to Griots featured in this video. RIP Tiécoro Sissoko.
Thanks to the uploader of this video, ksksystemkrush.
Also, thank you for visiting pancocojams.
Viewer comments are welcome.
This post showcases a video from Mali, West Africa entitled "Tiécoro Sissoko". That video features comments from a male Griot,Djeli N'goni of Adama Tounkara, and an unnamed female Griot about the legacy of Griots. That video also features a song/spoken word composition by the Griot Tiécoro Sissoko.
English subtitles for this song/spoken word composition were given in the video, and I've re-produced those sub-titles in this post.
The content of this post is presented for folkloric, historical, and aesthetic purposes.
All copyrights remain with their owner.
FEATURED VIDEO: Tiécoro Sissoko
ksksystemkrush, Published on Aug 1, 2012
Published on Aug 1, 2012
http://www.systemkrush.com
Keme Borama is an album recorded and produced by KSK Records. The 2012 release features Tiécoro Sissoko's classic Djeli singing and phenomenal solo guitar style. Tiécoro is accompanied by the skilled Djeli N'goni of Adama Tounkara musically conversing with Madouba Camara's melodic Kora. In stark comparison to "Afro Pop" this album is a testament to the raw musicality of the Djelis from the Kayes Region of Mali.
ENGLISH TRANSCRIPTION OF THE VIDEO
(This transcription is from the video's subtitles. These words are reproduced as they are written on the screen except for spacing, and a spelling correction for the word "reputation".)
COMMENTS:
Djeli N'goni of Adama Tounkara with background Kora playing by Madouba Camara:
No matter how you can be
You shouldn’t forget about your roots.
That is what is in this country.
We are the Griots.
The culture was created, put in a suitcase…
And given to us to protect.
If we weren’t here to save the past...
the lineage would be lost.
Here in Mali our kingdom will never disappear.
Female speaker seated next to Djeli N'goni of Adama Tounkara with background Kora playing by Madouba Camara:
Being a Griot belongs to us.
I have been a Griot since I was little.
Djeli N'goni of Adama Tounkara with background Kora playing by Madouba Camara:
The importances of being a Griot are endless.
Myself, I don’t what could be sweeter than being a Griot.
It doesn’t exist.
COMMENTS:
Tiécoro Sissoko:
Spoken (with Tiécoro humming and guitar playing in the background)
My name is Tiécoro
I was raised in our family and all my descendants are Griot.
I first moved here [Bamako] to learn guitar from my brother.
I came here in 1968.
That was the only reason I came here.
Three days after I arrived here, they bought me a guitar.
And I started learning on it.
SONG/SPOKEN WORD: "THE CHARMING GRIOT IS LIVING"* - Tiécoro Sissoko
[humming & guitar playing]
I’m part of it. I’m not part of it. **
I will agree to that, charming Griot.
If you miss him this year, you will not
see him until next year.
Everyone depends on their mother’s blessings.
Good afternoon, the greatest personality of the house.
Love someone who loves you.
Abandon someone who has no love for you.
Death can reach you anywhere you go.
Death can reach you anyplace you go in this world,
Allah is the highest.
Death can reach you while you are sick.
[humming & guitar playing]
You have to work for your name. You cannot force it.
Someone with a good reputation will never be equal to
someone with a bad one.
The deep darkness of Africa.
[humming & guitar playing]
Oh, that is true, life is a turn. ***
You have to enjoy life while you are living it...
because we will all die
one day like a light bulb going out.
and it doesn’t matter if you agree, it will
happen.
God forbid, God forbid, the day that He does it, who is going to ask Him why he did it?
If you are living you have to enjoy life until the end.
Before death reaches you.
If you agree or not, you cannot escape death.
[humming & guitar playing]
People who are doing good things, that’s what
will be said after you.
People who are doing bad things, that’s what
will be said after you.
People who are making the Griot happy, that’s what
will be said after you.
People who disrespect the Griot, that’s what
will be said after you.
Ignorance is darkness.
Don’t you see? Whatever you do,
after you are gone, it will be said.
Great personality of the house.
That is true. What you do, is what will be said
when you pass away.
This guy is good. This guy is bad.
Whatever you do in this life.
there is an importance to it.
If you cannot get a benefit from
anything, maybe you can get tired and quit.
Otherwise there is benefit in everything, good or bad.
[humming & guitar playing]
COMMENTS Tiécoro Sissoko [with Tiécoro humming and guitar playing in the background]
What my reflections give me is that...
the reason why music of
today’s youth is not progressing...
Is that they are not asking for guidance
from the elder musicians.
[song/spoken word continues]
I did not forget about the laughing girl.
I’ll see you in the morning and the charming Griot is living.
[End of song/spoken word]
COMMENTS - Tiécoro Sissoko
Ever since I started,
I have benefitted…
from being an artist.
Music is like any job, if you don’t learn it
you won’t do well.
end of comments
Video Producer's notes:
Tiécoro Sissoko died in May of 2012.
He was 66 years old.
For more information about Tiecoro and other KSK artists please visit http://www.systemkrush.com
-snip-
Editor's notes:
* No title was given to this song. I used the last words of this song/spoken word composition as its title. I have posted a comment on this video's viewer comment thread asking for the correct title. When I receive a response, I will change the title of this song/spoken word.
It seems to me that in the context of this song, the meaning of "charming" is probably "1. To attract or delight greatly" and not
2. To induce by using strong personal attractiveness" or
3. To cast or seem to cast a spell on; bewitch.
[http://www.thefreedictionary.com/charming]
-snip-
I think that the word "charming" as used in this song/spoken word may also mean "a person who has a way with words", a person who has a "smooth tongue". However, in the United States, a "charming" person may be viewed with suspicion. For instance, Americans may consider a man who is "turning on the charm" as doing so for some ulterior motive that benefits him and not anyone else. In the United States a smooth talker, or a charming man (or woman) might have elements of a "snake oil salesman"-"snake oil" being a general term for home made useless medicine. While Tiécoro Sissoko's use of the word "charming" probably carries the smooth talking description, it probably doesn't carry the negative "snake oil salesman" connotation.
-snip-
It seems to me that this song/spoken word is composed of reflections and/or proverbs/folk sayings such as "Love someone who loves you", conversational lines such as "Good afternoon, the greatest personality of the house" and other comments such as "I’m part of it. I’m not part of it./ I will agree to that, charming Griot."
-snip-
** My guess is that the line "I’m part of it. I’m not part of it" refers to Tiécoro Sissoko continuing the Griot traditions but accompanying himself with a guitar and not a kora.
-snip-
*** Another way to say "life is a turn" might be “life is like a wheel turning”.
ACKNOWLEDGEMENT AND THANKS
Thanks to Griots featured in this video. RIP Tiécoro Sissoko.
Thanks to the uploader of this video, ksksystemkrush.
Also, thank you for visiting pancocojams.
Viewer comments are welcome.
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