Edited by Azizi Powell
This pancocojams post documents a number of comments from the discussion thread of the 2010 YouTube video entitled "Foli - There Is No Movement Without Rhythm" that noted what commenters consider to be similarities the traditional culture of the Malinke people of West Africa and the cultures of Tamil people in India and the Ho people in India.
Information about the Malinke (Mandingo) people of West Africa is included in this pancocojams post. Information about Tamils and the Ho people in India is also included in this post.
Addendum #1 showcases a Tamil video that was mentioned in one of the comments that is quoted from the discussion thread for the "Foli" video.
Addendum #2 quotes a comment exchange from that discussion thread that informs readers that it's the Malinke (Mandingo) culture that is the focus of this video.
****
The content of this post is presented for folkloric and cultural purposes.
All copyrights remain with their owners.
Thanks Thomas Roebers and Floris Leeuwenberg, the producers and publishers on YouTube of this embedded video. Thanks to all those who are featured in this video. Thanks also to all those who are quoted in this post.
****
SHOWCASE VIDEO: FOLI (there is no movement without rhythm) original version by Thomas Roebers and Floris Leeuwenberg
thomas roebers, Published on Oct 25, 2010
Dedicated to the people of Baro*. Please share.
Life has a rhythm, it's constantly moving.
The word for rhythm ( used by the Malinke tribes ) is FOLI.
It is a word that encompasses so much more than drumming, dancing or sound.
It's found in every part of daily life.
In this film you not only hear and feel rhythm but you see it.
It's an extraordinary blend of image and sound that
feeds the senses and reminds us all
how essential it is.
Caption author (Portuguese (Brazil))
Yuri Sucupira
-snip-
Statistics: as of May 6, 2019 3:18 PM
total views - 19,807,382
total likes - 193,000
total dislikes - 4,800
-snip-
Baro is a city in Guinea, West Africa. Click https://en.wikipedia.org/wiki/Baro,_Guinea for information about Baro, Guinea.
Click https://en.wikipedia.org/wiki/Guinea for information about Guinea, West Africa (Guinea-Conakry).
****
DISCLAIMER:
This pancocojams post was prompted by the fact that when I read the discussion thread for the YouTube video "Foli", I repeatedly read comments about the similarities between the cultures of the Tamils and the culture of the people who are the focus of that video, particularly with regard to drumming styles. This post documents some of those comments.
I don't take any position as to whether the cultures mentioned in this post are similar or not.
This compilation isn't meant to be the sum total of all the comments on this subject in that discussion thread. Although I read a large number of comments in that discussion thread, I didn't read the entire thread. There may be some comments which I read on this subject that I unintentionally didn't include in this compilation. There may also be comments on this subject in the portion of that discussion thread that I didn't read.
****
INFORMATION ABOUT MALINKE (MANDINGO) PEOPLE
From https://en.wikipedia.org/wiki/Mandinka_people
"The Mandinka or Malinke (also known as Maninka, Manding, Mandingo, Mandenka, Dioula, Bambara and Mandinko)[8] are a West African ethnic group with an estimated global population of 32 million (the other three largest ethnic groups in Africa being the unrelated Fula, Hausa and Songhai peoples). The Mandinka are one ethnic group within the larger linguistic family of the Mandé peoples, who account for more than 87 million people. (Other Mande peoples include the Soninke, Dyula, Bozo, Bissa and Bambara.)
The Mandinka are the descendants of the Mali Empire, which rose to power in the 13th century under the rule of king Sundiata Keita who founded an empire which would go on to span the large part of West Africa. They migrated west from the Niger River in search of better agricultural lands and more opportunities for conquest.[9]
The Mandinka people live primarily in West Africa in Mali, The Gambia, Guinea, Sierra Leone, Senegal, Burkina Faso, Liberia, Guinea-Bissau, Niger, Mauritania and Ivory Coast. Although widespread, in most countries the Mandinka are not the largest ethnic group,[10] except in The Gambia, Mali and Guinea where they constitute the largest ethnic group.[10] Most Mandinka live in family-related compounds in traditional rural villages. Their traditional society has featured socially stratified castes.[8][11][12] Mandinka communities have been fairly autonomous and self-ruled, being led by a chief and group of elders. Mandinka has been an oral society where mythologies, history and knowledge are verbally transmitted from one generation to next.[13] More than 99% of Mandinka in contemporary Africa are Muslim.[14]
****
INFORMATION ABOUT TAMILS
From https://en.wikipedia.org/wiki/Tamils#Music
"The Tamil people (/ˈtæmɪl/; Tamil: தமிழர், tamiẓhar (singular) ? [t̪ɐmɪɻɐɾ], or Tamil: தமிழர்கள், tamiẓarkaḷ (plural) ? [t̪ɐmɪɻɐɾxɐɭ]), also known as Tamilar, Tamilans or simply Tamils, are an ethnic group who speak the language Tamil as their mother tongue and trace their ancestry to southern India and north-eastern Sri Lanka.[6] Tamils, with a population of around 76 million and with a documented history stretching back over 3,000 years, are one of the largest and oldest extant ethnolinguistic groups in the modern world.[7] Tamils constitute 5.9% of the population in India (mostly concentrated in south India), 15.3% in Sri Lanka,[note 1] 6% in Mauritius,[14] 7% in Malaysia and 5% in Singapore.
On 5 April 2019, it was established that the Tamil civilization is proven to date back to at least 900 BC, results of radio carbon dating of samples from Adichanallur archaeological site, village on the banks of the Tamirabarani river in Tuticorin district of southern Tamil Nadu, were revealed by the Madurai bench of the Madras High Court.[15]"...
****
INFORMATION ABOUT THE HO PEOPLE (IN INDIA)
From https://en.wikipedia.org/wiki/Ho_people
"The Ho people are an ethnic group of India. They are an Austroasiatic ethnic group concentrated in the state of Jharkhand and Odisha[2][3][4] where they constitute around 10.5% of the Scheduled Tribes. With a population of approximately 700,000 in the state in 2001, the Ho were the fourth most numerous Scheduled tribe in Jharkhand after the Santhals, Kurukhs, and Mundas.[5] Ho territory also extends to adjacent areas in the neighboring states of West bengal, where there are approximately 80,600 Ho, Chhattisgarh and Bihar.They also live in Bangladesh and Nepal[6]
The ethnonym "Ho" is derived from the Ho language word hō meaning "human". The name is also applied to their language which is an Austroasiatic language closely related to Mundari. According to Ethnologue, the total number of people speaking the Ho language was 1,040,000 as of 2001.[7] Similar to other Austroasiatic groups in the area, the Ho report varying degrees of multilingualism, also using Hindi and English.[8]
Over 90% of the Ho practice the indigenous religion Sarnaism. The majority of the Ho are involved in agriculture, either as land owners or laborers, while others are engaged in mining. Compared to the rest of India, the Ho have a low literacy rate and a low rate of school enrollment. The government of Jharkhand has recently approved measures to help increase enrollment and literacy among children.[9][10][11]"...
****
SELECTED COMMENTS
These comments are presented in chronological order based on their publishing date in the discussion thread for the video that is embedded in this post, with the oldest dated comments given first.
I wrote two comments in this discussion thread which provided Google translations of other comments.
Numbers are added for referencing purposes only.
2018
1. Pavanendra Singh Sisodia
"Like that culture we have in India at jhabua district, visit once... To see n feel."
**
2. venkat chal
"So much similarity with Indian forms of dance....WoW!"
**
REPLY
3. Laniiyah Scott
"venkat chal Yes indeed! So beautiful isn't it?!❤️🙌🏾"
**
REPLY
4. Kate B.
"That's because as humans we have a unique global conscience, deep inside us..."
**
5. Robert Tamil
"The DNA of parai music of tamil nadu ,India and african music are same."
**
6. praba haran
"I feel my Tamil culture !!! It may resemble , great civilization .."
**
7. GANESH RAJA
"Tamil song la intha rythm ketta mari iruku, but enna pattunu theriyelea"
**
REPLY
8. Ju
"Tamilana ? 🤗
Urumi vasikara satham familiar ah iruku"
**
9. Right Time
"https://youtu.be/hRwlozbln-A Tamil Folk Music
-snip-
This video is shown in Addendum #1 of this pancocojams post.
****
2019
10. ShivaSidhartha Gowdaಶಿವಸಿದ್ಧಾರ್ಥಗೌಡ
"Do only I feel... That it has our "south Indian tribal culture flavor" ?"
**
REPLY
11. Andrea Barnes
"You got it from them."
**
REPLY
12. ShivaSidhartha Gowdaಶಿವಸಿದ್ಧಾರ್ಥಗೌಡ
"@Andrea Barnes yep... I know. Thanks"
**
13. Neeta Tiu
"So familiar and beautiful and lovely and simply loving. Lots of respects from the Ho tribes of India. ❤"
**
REPLY
14. Food Gurudev
"We love our HO tribes 😊"
**
15. SHAJAHAN SHAJAHAN
"People's real rhythm of sound still lives in Africa!! Love from Tamil Nadu. INDIA."
***
16. Sant C
"These r universal tribal beats,similar beats & rhythm can be found in tribal / folk music all over the world"
**
REPLY
17. Neeta Tiu
"Very true."
**
18. Neeta Tiu
"As there is a saying in Ho tribe in India " Talking/saying/telling is song and walking is dance"."
**
19. Manikandan T
"மனிதவாழ்வின்எந்தசூழ்ழிழம்.
கலைஉறவுஇருக்கும்.
Manitavalvinentacullilam."
-snip-
Google translation from Tamil to English
For kalaiuravuir.
Manitavalvinentacullilam.
**
20. Victor Arunachalam
"Tamil people and africa people same their cultures"
**
21. May 17
"Just like 100% same in Tamilnadu (India) doing village life not in single peasant change."
-snip-
"May 17" is the commenter's screen name
**
22. Praadyumna kumar singh Chinda
"In India this instrument is called ,Dhol ,tasa and nishan.a folk instruments."
**
23. вы
"Шамана они и в Африке и в Индии шаманы. )))"
**
REPLY
24. Praadyumna kumar singh Chinda
"Write in English that I can understand .love from India."
**
REPLY
25. Azizi Powell
"@Praadyumna kumar singh Chinda Google translation from Russian to English:
"The shamans are both in Africa and in India shamans. )))"
**
26. Jaya Prakash
"தமிழின் கலாச்சாரம் உள்ளது.உரல், கிணறு, பாடல் , கோடாளி , கொல்லர்"
**
REPLY
27. ABC DEF
"Type in English so that we understand"
**
REPLY
28. Azizi Powell
"@ABC DEF Google translation from Tamil to English:
"There is a culture of Tamils.Lural, well, song, kodali, kolar"
****
ADDENDUM #1:
Here's the video that was mentioned in Comment #9 above:
#FolkArt #Kattiyakkaran #periyamelam
Periya Melam | பெரிய மேளம் | Folk Art | Kattiyakkaran | Munusamy
Kattiyakkaran, Published on Nov 30, 2018
Periya Melam Munusamy
****
ADDENDUM #2
Here's an exchange from that discussion thread that informs the readers that the video is about Mandingo culture:
1. hukmichand choudhary
"I no understand this language but this calture song nice"
**
REPLY
2. Namory Condé
"hukmichand choudhary it’s Mandingo from guinea Conakry"
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Showing posts with label Guinean music and dance. Show all posts
Showing posts with label Guinean music and dance. Show all posts
Monday, May 6, 2019
Thursday, October 19, 2017
Mory Kanté & Fatala - "Yeke Yeke" (Guinean song: information, YouTube examples, & comments)
This summary is not available. Please
click here to view the post.
Saturday, June 24, 2017
Nimbaya! (formerly known as the Amazones) Guinea, West Africa's First Female Djembe (Drum) Group
Edited by Azizi Powell
This pancocojams post was first published in 2011. This version includes additional text and three additional videos.
Click https://pancocojams.blogspot.com/2011/11/nimbaya-formerly-known-as-amazones.html to read comments that were posted to that 2011 post.
****
This is the first post of an ongoing pancocojams series on Black female drummers. This post focuses on Nimbaya! female djembe drummers of Guinea, West Africa. [revised June 24, 2017]
Click http://pancocojams.blogspot.com/2011/11/rwandan-female-drummers.html for the second post in this series.
Click https://pancocojams.blogspot.com/2011/11/african-female-drummers-senegal-rwanda.html for the third post in this series.
Also, click https://pancocojams.blogspot.com/2011/11/how-djembes-became-african-drum-to-beat.html for a 2011 pancocojams post entitled "How Djembes Became The African Drum To Beat In The United States"
****
This post is presented for folkloric, cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to Nimbaya! for their musical legacy. Thanks to all those who are quoted in this post and thanks to the publishers of these YouTube videos.
-snip-
If you know the language and the meaning of the word "Nimbaya", please add that information to the comment section of this post. Thanks!
****
INFORMATION ABOUT DJEMBES
From http://en.wikipedia.org/wiki/Djembe
"A djembe ... also known as jembe, jenbe, djbobimbe, jymbe, yembe, or jimbay, or sanbanyi in Susu; is a skin-covered drum meant to be played with bare hands...
It is a member of the membranophone family of musical instruments: a frame or shell (in the djembe's case it is a wood shell) covered by a membrane or drumhead made of rawhide or some other material...The primary notes are generally referred to as "bass", "tone", and "slap", though a variety of other tones can also be produced by advanced players. The slap has a high and sharp sound, the tone is more round and full, and the bass is low and deep...
Origin
There is general agreement that the origin of the djembe is associated with a class of Mandinka blacksmiths known as Numu. The wide dispersion of the djembe drums throughout West Africa may be due to Numu migrations."
****
NIMBAYA! GUINEA FEMALE DJEMBE PLAYERS
From http://www.amazoneswomandrummers.com/press.html
"Nimbaya!, previously Amazones Women Master Drummers, welcomes in the new age, presenting West Africa’s traditional musical arts in a graceful proficiency that clearly differs from the masculine drumming style...
Before this group formed, no females in Guinea were permitted to learn the art of djembe drumming. In 1988, with the support of the Department of Culture of Guinea, group founder Mamoudou Conde brought together 15 women from the four different regions of Guinea. Some of these women faced disownment from their families by pushing the boundaries of tradition, but after training for years to become master drummers, the women began to tour the world…playing instruments that have traditionally been denied them."
****
From http://www.amazoneswomandrummers.com/history.html
"...From The creation and realization of “NIMBAYA!” aims to address three objectives, all of which are both diachronic and synchronic.
From the point of view of rehabilitating musical culture through the djembe, “NIMBAYA!” constitutes a response of sorts to the age-old traditions, which have demeaned the Djembe vis-à-vis other instruments such as the princely Cora or the ancient mythical Bala. “NIMBAYA!” is also daring considering the <> imposed on women concerning the practice of the djembe. Never before has a woman played this instrument in Guinea.
From the point of view of the economic liberation, which took place in Guinea following the change of political regime in 1984, the women are engaged in a fight for survival through the development of a lucrative art-form, capable of supporting its members. Each ‘NIMBAYA!’ has chosen to break with the uncertainty and the precarious lifestyle imposed on her by her individual social situation - woman without education; woman with an ‘undesired pregnancy’, sent away from the family home; woman-victim of the duplicity of a ‘bad-man’; young woman from a family struck by poverty... In choosing to become a djembe-player, each of these categories of women shows her desire to dignify herself by dignifying her instrument.
But it is with NIMBAYA! That a brave new adventure is beginning - a socio-cultural and economic departure from tradition, which is fired by a fervent determination to attain the level of the great djembefola and to live by the sweat of their own brows. Hence the name ‘NIMBAYA’, recalling the bravura and courage of the intrepid warrior-women of the ancient kingdom of Dahomey (now called Benin). Equally daring is their goal to ‘demystify’ the djembe, an instrument historically reserved for male players and for many years, an instrument without nobility or notoriety. With ‘NIMBAYA!’ all these preconceptions melt away and what is left is a powerful, energetic and grandiose spectacle, which sends to the world, its message of peace, optimism and serenity.
-Saidou Dioubate, National Director of Culture of the Republic of Guinea, Conakry and edited by Nathalie Roy & Mamoudou Conde".
-snip-
Note: "Djembefola" means "djembe player. "Bala" is a traditional name for "balafon".
****
From http://www.amazoneswomandrummers.com/bio.html
Nimbaya! The Women's Drum & Dance Company of Guinea
"It’s the drumbeat that pulls you in… These women are in demand around the world, as much for their prodigious choreographies as for their fiery djembe rhythms. Their unique concept and their energy drive the crowds wild!
NIMBAYA! is a daring response to taboos stretching back thousands of years. Never before had women played the djembe in West Africa, the instrument being historically reserved for male players. In 1998, while managing the world-renowned ensemble “Les Percussions de Guinée”, Mamoudou Conde realized the world was ripe for change and decided to create an all-women percussion and dance ensemble.
Chosen from among those living in the most difficult conditions - jobless and often with children to support - the women artists participate in the development of a lucrative art-form, one that has facilitated a change in their economic independence. Each artist strives to break free of the financially precarious lifestyle imposed upon her by society. In choosing to become a percussion player, these women have demonstrated their desire to control their destiny."...
****
SHOWCASE VIDEOS
Example #1: African Women Djembefola
Uploaded by chicagodjembeproject on Oct 11, 2006
African women playing djembe in Guinea, West Africa
**
Example #2: Amazones - Women Drummers of Guinea @ CCC 092007
Uploaded by rpmime on Sep 20, 2007
The Amazing "Amazones - Women Drummers of Guinea" performed at the 'One World Under One Roof', part of the World Music Festival (2007) last day here in Chicago.
**
Example #3: NIMBAYA!
Uploaded by Nathalie Roy on Jan 18, 2010
THIS IS STUDIO RECORDING - Formerly named Amazones Women Master Drummers, NIMBAYA! Drum & Dance Company is the first professional all-female ensemble on traditional drums. they have toured USA, Canada, UAE, Brazil, Europe, South Korea...
****
[UPDATE: VIDEOS ADDED JUNE 24, 2017]
Example #4: Archives: Amazones Master Women Drummers in Philadelphia
GRIOTWORKS Published on Jul 23, 2009
Presented by the African Diaspora Arts Collective, Amazones women drummers of Guinea come to Philadelphia to bring hope and inspiration to youth, particularly young girls. Video by Jos Duncan [2007]
****
Example #5: NIMBAYA! EDUCATIONAL video
Sekou Conde, Published on Oct 23, 2011
****
Example #6: NIMBAYA!'s Auditions, Charleston SC - Im in Heaven!!!
BRENDA J. PEART, Published on Oct 29, 2012
Im lost in the drums, nearly forgot it was auditions.. They're JAMMIN'!!!
NIMBAYA! is an ALL Female Percussion group from Guinea, the first to tour the world!!!!
This is part of the auditions held in Charleston SC, even drawing in dancers from Charlotte, North Carolina!!!
Sitting in with them from Charleston by way of Buffalo NY, JAMES HARRIS, by way of Columbia SC, Thomas OLA Mosley....
the dancers MELLISSA SCOTT, ONEAKA MACK, SHALENA CAPERS, FAITH CADE, BRANDY JOHNSON, CHRISTINA BATTLE, MIYA FOWLER & SOFIE!!!!
****
Example #7: Beating the Odds: The Women of Nimbaya!
colacollkoalas, Published on Apr 9, 2015
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This pancocojams post was first published in 2011. This version includes additional text and three additional videos.
Click https://pancocojams.blogspot.com/2011/11/nimbaya-formerly-known-as-amazones.html to read comments that were posted to that 2011 post.
****
This is the first post of an ongoing pancocojams series on Black female drummers. This post focuses on Nimbaya! female djembe drummers of Guinea, West Africa. [revised June 24, 2017]
Click http://pancocojams.blogspot.com/2011/11/rwandan-female-drummers.html for the second post in this series.
Click https://pancocojams.blogspot.com/2011/11/african-female-drummers-senegal-rwanda.html for the third post in this series.
Also, click https://pancocojams.blogspot.com/2011/11/how-djembes-became-african-drum-to-beat.html for a 2011 pancocojams post entitled "How Djembes Became The African Drum To Beat In The United States"
****
This post is presented for folkloric, cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to Nimbaya! for their musical legacy. Thanks to all those who are quoted in this post and thanks to the publishers of these YouTube videos.
-snip-
If you know the language and the meaning of the word "Nimbaya", please add that information to the comment section of this post. Thanks!
****
INFORMATION ABOUT DJEMBES
From http://en.wikipedia.org/wiki/Djembe
"A djembe ... also known as jembe, jenbe, djbobimbe, jymbe, yembe, or jimbay, or sanbanyi in Susu; is a skin-covered drum meant to be played with bare hands...
It is a member of the membranophone family of musical instruments: a frame or shell (in the djembe's case it is a wood shell) covered by a membrane or drumhead made of rawhide or some other material...The primary notes are generally referred to as "bass", "tone", and "slap", though a variety of other tones can also be produced by advanced players. The slap has a high and sharp sound, the tone is more round and full, and the bass is low and deep...
Origin
There is general agreement that the origin of the djembe is associated with a class of Mandinka blacksmiths known as Numu. The wide dispersion of the djembe drums throughout West Africa may be due to Numu migrations."
****
NIMBAYA! GUINEA FEMALE DJEMBE PLAYERS
From http://www.amazoneswomandrummers.com/press.html
"Nimbaya!, previously Amazones Women Master Drummers, welcomes in the new age, presenting West Africa’s traditional musical arts in a graceful proficiency that clearly differs from the masculine drumming style...
Before this group formed, no females in Guinea were permitted to learn the art of djembe drumming. In 1988, with the support of the Department of Culture of Guinea, group founder Mamoudou Conde brought together 15 women from the four different regions of Guinea. Some of these women faced disownment from their families by pushing the boundaries of tradition, but after training for years to become master drummers, the women began to tour the world…playing instruments that have traditionally been denied them."
****
From http://www.amazoneswomandrummers.com/history.html
"...From The creation and realization of “NIMBAYA!” aims to address three objectives, all of which are both diachronic and synchronic.
From the point of view of rehabilitating musical culture through the djembe, “NIMBAYA!” constitutes a response of sorts to the age-old traditions, which have demeaned the Djembe vis-à-vis other instruments such as the princely Cora or the ancient mythical Bala. “NIMBAYA!” is also daring considering the <
From the point of view of the economic liberation, which took place in Guinea following the change of political regime in 1984, the women are engaged in a fight for survival through the development of a lucrative art-form, capable of supporting its members. Each ‘NIMBAYA!’ has chosen to break with the uncertainty and the precarious lifestyle imposed on her by her individual social situation - woman without education; woman with an ‘undesired pregnancy’, sent away from the family home; woman-victim of the duplicity of a ‘bad-man’; young woman from a family struck by poverty... In choosing to become a djembe-player, each of these categories of women shows her desire to dignify herself by dignifying her instrument.
But it is with NIMBAYA! That a brave new adventure is beginning - a socio-cultural and economic departure from tradition, which is fired by a fervent determination to attain the level of the great djembefola and to live by the sweat of their own brows. Hence the name ‘NIMBAYA’, recalling the bravura and courage of the intrepid warrior-women of the ancient kingdom of Dahomey (now called Benin). Equally daring is their goal to ‘demystify’ the djembe, an instrument historically reserved for male players and for many years, an instrument without nobility or notoriety. With ‘NIMBAYA!’ all these preconceptions melt away and what is left is a powerful, energetic and grandiose spectacle, which sends to the world, its message of peace, optimism and serenity.
-Saidou Dioubate, National Director of Culture of the Republic of Guinea, Conakry and edited by Nathalie Roy & Mamoudou Conde".
-snip-
Note: "Djembefola" means "djembe player. "Bala" is a traditional name for "balafon".
****
From http://www.amazoneswomandrummers.com/bio.html
Nimbaya! The Women's Drum & Dance Company of Guinea
"It’s the drumbeat that pulls you in… These women are in demand around the world, as much for their prodigious choreographies as for their fiery djembe rhythms. Their unique concept and their energy drive the crowds wild!
NIMBAYA! is a daring response to taboos stretching back thousands of years. Never before had women played the djembe in West Africa, the instrument being historically reserved for male players. In 1998, while managing the world-renowned ensemble “Les Percussions de Guinée”, Mamoudou Conde realized the world was ripe for change and decided to create an all-women percussion and dance ensemble.
Chosen from among those living in the most difficult conditions - jobless and often with children to support - the women artists participate in the development of a lucrative art-form, one that has facilitated a change in their economic independence. Each artist strives to break free of the financially precarious lifestyle imposed upon her by society. In choosing to become a percussion player, these women have demonstrated their desire to control their destiny."...
****
SHOWCASE VIDEOS
Example #1: African Women Djembefola
Uploaded by chicagodjembeproject on Oct 11, 2006
African women playing djembe in Guinea, West Africa
**
Example #2: Amazones - Women Drummers of Guinea @ CCC 092007
Uploaded by rpmime on Sep 20, 2007
The Amazing "Amazones - Women Drummers of Guinea" performed at the 'One World Under One Roof', part of the World Music Festival (2007) last day here in Chicago.
**
Example #3: NIMBAYA!
Uploaded by Nathalie Roy on Jan 18, 2010
THIS IS STUDIO RECORDING - Formerly named Amazones Women Master Drummers, NIMBAYA! Drum & Dance Company is the first professional all-female ensemble on traditional drums. they have toured USA, Canada, UAE, Brazil, Europe, South Korea...
****
[UPDATE: VIDEOS ADDED JUNE 24, 2017]
Example #4: Archives: Amazones Master Women Drummers in Philadelphia
GRIOTWORKS Published on Jul 23, 2009
Presented by the African Diaspora Arts Collective, Amazones women drummers of Guinea come to Philadelphia to bring hope and inspiration to youth, particularly young girls. Video by Jos Duncan [2007]
****
Example #5: NIMBAYA! EDUCATIONAL video
Sekou Conde, Published on Oct 23, 2011
****
Example #6: NIMBAYA!'s Auditions, Charleston SC - Im in Heaven!!!
BRENDA J. PEART, Published on Oct 29, 2012
Im lost in the drums, nearly forgot it was auditions.. They're JAMMIN'!!!
NIMBAYA! is an ALL Female Percussion group from Guinea, the first to tour the world!!!!
This is part of the auditions held in Charleston SC, even drawing in dancers from Charlotte, North Carolina!!!
Sitting in with them from Charleston by way of Buffalo NY, JAMES HARRIS, by way of Columbia SC, Thomas OLA Mosley....
the dancers MELLISSA SCOTT, ONEAKA MACK, SHALENA CAPERS, FAITH CADE, BRANDY JOHNSON, CHRISTINA BATTLE, MIYA FOWLER & SOFIE!!!!
****
Example #7: Beating the Odds: The Women of Nimbaya!
colacollkoalas, Published on Apr 9, 2015
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Sunday, April 30, 2017
Eight Video Examples Of Contemporary Mamaya (Guinea, West Africa) Social Events Worldwide
Edited by Azizi Powell
This is Part II of a two part series on "Mamaya" traditions in Malinke cultures.
This post presents a few excerpts from online articles about "Mamaya".
Part II also showcases eight videos of more contemporary Mamaya social events (in comparison to the description of Mamaya & the Mamaya videos that are found in Part I of this series and in comparison to the description of Mamaya that is given as Excerpt #1 below.)
Click https://pancocojams.blogspot.com/2017/04/seven-mamaya-videos-book-excerpt_30.html for Part I of this post. Paert I also provides information about Malinke cultures, provides an excerpt from Ingrid Monson's book about "Mamaya" song, dance, and events.
Par I also showcases seven YouTube examples of "Mamaya" song and dance events, with particular focus on older forms of Mamaya social events.
The content of this post is presented for folkloric, historical, cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to the creators of Mamaya music, dance, and cultural events.
Thanks to all those who are quoted in this post. Thanks also to all those who are featured in these YouTube examples and thanks to the publishers of these examples.
****
SELECTED ONLINE EXCERPTS ABOUT MAMAYA SONG, DANCE, AND SOCIAL EVENTS
These excerpts are given in no particular order and are numbered for referencing purposes only.
Excerpt #1:
From http://www.paulnas.eu/wap/mamaya.html
"The old Mandingo-dance Mamaya (Mamayah) was very populair in Guinea during the 1940 - 1960 period. Traditionally it was a very stately dance, that was performed in a club or a group where one was part of. Dressed in gouba's and embroded shirts, male and female dancers could express their beauty, while dancing in two circles (men in outer circle, women in inner circle). Dance-steps were made in a majestic way and a handkerchief or decorated stick was used as an attribute. The rhythm started with the singing of a Griot and/or music made with the Balafon, Bolon or Tama. Mamaya is traditionally without an echauffement. Mamady Keïta, Mamoudou 'Delmundo' Keïta and Famoudou Konaté have their own interpretations of Mamaya, but the melody compares.
Sources:
Lessons from Martin Bernhard, Mamoudou 'Delmundo' Keïta
Written material: Famoudou Konaté, Mamady Keïta, Åge Delbanco, Paul Janse, Rafaël Kronberger
WAP-pages / Paul Nas / Last updated on 1-1-2015"
****
Excerpt #2:
From https://www.washingtonpost.com/archive/lifestyle/1985/07/11/moving-with-mamaya/f4398354-60c7-432a-a098-5116f5778ea4/?utm_term=.f68b47237053 Moving With Mamaya By Mike Joyce, July 11, 1985
"Djimo Kouyate, who moved from his native Senegal to Washington four years ago, couldn't believe the audience reaction when his modern African music ensemble Mamaya performed at Dance Place recently.
"We intended to play for only 40 minutes but ended up playing for an hour and a half," he says. "Everybody, everybody began to dance. For them, it was a great disco. It was beautiful to see everyone moving to the music. I didn't know we were going to communicate that quickly with people who had never heard our music before."...
Steve Bloom, who along with his wife, Carla Perlo, founded D.C. Wheel Productions, which runs Dance Place, was even more impressed. "It was the finale of an evening of music I produced with my group, Steve Bloom and the Crux," he says. "People went wild. We had every intention of making it a dance event, but all of a sudden it became a giant breakdown. People were flying everywhere."...
For Kouyate, the nine-member ensemble Mamaya is the latest project in a life dedicated to the preservation and promotion of African culture. Kouyate is a griot -- "a traditional musician and historian to African society," as he puts it -- and a master of the ancient 21-string instrument known as the kora.
While the kora, congas and marimba (a modern substitute for the balaphon) link Mamaya's music to the African past, as do many of the group's songs, Kouyate is quick to point out that the addition of guitars and borrowed elements of jazz improvisation make it thoroughly modern as well, and surprisingly accessible to American ears....
"Mamaya is beautiful dance music," Kouyate says. "African jazz music. It's the modern high-life music of West Africa. In Africa when they play Mamaya, all the beautiful women come out to dance, and the griots, the musicians, spend all year making sure the event is something very special."...
****
Example #3:
From http://www.to-music.ca/newsletter_43.htm
[Press release about Toronto, Canada's Mamaya Festival and one of its featured performers Katenen "Cheka" Dioubata)
... "Mamaya Festival (Aug. 11) [2007]
Local Guinean griot, Katenen "Cheka" Dioubaté has been making quite an impression in the relatively short time she has been performing in Toronto. She performs with a backing band, "Snowgriots" made up of some excellent local African musicians, including Kobena Acqua-Harrison, Tamsir Seck and Kassoum Diamoutene.
She and the band opened for Toumani Diabaté last month at Harbourfront, (my photos of her set are posted here), and they have been making a number of performances around town. (I saw her perform two days in a row this week).
Next weekend, she brings the traditional Guinean "Mamaya" festival to Toronto. Sat. Aug. 11, 2-8pm at the Regent Park Community Centre, 203 Sackville St. Free. "Everyone and all ages welcome". Dress code: "Baby blue (or white)". For information, see her notes about Mamaya below. (Taken from her MySpace page)
WHAT IS MAMAYA?
Mamaya is an all-ages dance, a song and an event originating from the city of Kankan, the second largest in Guinée (W. Africa). It has spread to Mali Senegal, Burkina Faso, Cote D’Ivoire and now Canada. In Guinée, Mamaya is traditionally celebrated once a year at Ramadan, bringing everyone together to celebrate the beautiful nature of their culture, in happiness, peace and joy. Selected musicians will gather in a chosen outdoor area. The public participates altogether by becoming dancers, each one wearing a similar type of light blue coloured clothing called bakha (sky blue). In our Canadian version, some people may choose to wear sky blue dress or white. This shows that every person is the same, united and equal: women and men, rich and poor. It also looks beautiful and tells everyone that something great is going on!
With Mamaya there’s no racism or discrimination. We are one people, no matter where we are from and on this occasion, we unite different cultures and think in new ways. This Mamaya in Canada occurs during summer and is a non-denominational, family event. Mamaya will be free of charge. At one side will be a stage for the musicians with a central area for dancing. People may sit or stand at the sides surrounding the dance area. Instructors will show you how to dance Mamaya and doumdoumba. Those familiar with the event and the traditional role of a griot/musicians, will bring money to “spray” them in thanks and reciprocity for good mention and blessings."
-snip-
Click https://www.youtube.com/watch?v=xNm66ipvOq0 for a 2008 video of in Guinea. The video summary includes this statement "West African Festival that originated in Kakan, Guinea West Africa. Cheka Katenen Dioubate has started these festivals in Toronto Canada, this is Mamaya 2008."
****
Example #4:
From https://www.facebook.com/events/666092116874784/
"Details
The Guinea Association is proud to present...,
"Mamaya in Seattle" it is a full afternoon of community, music dancing, celebration and cultural sharing to be held at the amphitheater in the center of beautiful Seward Park in South Seattle on September 17th, 2016.
Mamaya started many years ago in the city of Kankan, Guinea West Africa by the group of people of the same age called; Serere. In honor of the Serere group, Currently this dance is danced all over the world.
This is an An All African Community Celebration. We're inviting every African Association, Every Church, Student, Every Community Family, Every supporter of Arts and Culture and every Artist to come out and Join us!
You are invited to attend and we encourage you to bring friends and family.
The African Market Place will include; yummy food vendors, retail vendors, cultural displays and networking opportunities.
There will be large selections of African merchandise, such as African clothing for men, women and children. beautiful and unique Jelwrey, amazing African instruments and there will be ways to support local artist by purchasing their CD's , T-shirts and DVD's.
At 12noon DJ MOH and his crew will kick-off the event.
Live entertainment will be performed by:
* Message from Guinea
* The Djeliyah Band
* Dembaya with Manimou Camara
* Kouyate Arts
* and more Cultural presentations will honor the event sponsors and patrons who will be recognized for their outstanding support. These moments to honor will be done in a traditional way.
This event is Free!
Wear Your Light Blue!"
****
SHOWCASE VIDEOS
Pancocojams Editor's note & question:
Most of the videos that are showcased below highlight social events that appear to be sponsored by and primarily (if not entirely attended by) Guineans or other Malinke people living in West Africa, or in Europe, the United States, or Canada.
Notice that Mamaya dancing has changed from the description given in Part I of men dancing sedately in a outer circle and women sedately in an inner circle to just women dancing sedately in a single file, and then to more energetic women dancing. Also, notice the tradition of "spraying" paper money to show appreciation and support.
I'm curious. Do Malinke men still dance Mamaya either the "old school" way or any way at all?
****
Example #1: Sofoli - Mamaya (Bransang, Guinea, November 2011)
Traditional Malinke Music from Guinea (and some other things), Published on Jul 18, 2012
The rhythm Mamaya being played by members of Mansa Camio's group Sofoli in Bransan, a small village close to Baro. It's interesting to see how the Mamaya fete is now very often mixed with a disco. The DJ will arrive and set up the sound system and the drummers play first. Then they close off the area and people have to pay 500GF to entre (0.06 euro) to dance to the DJ's mix of reggae and African pop.
On djembe we have have Kebre Conde and Moriciré Camara
Karamo on sangban
Namory Keita on dundunba
Lanfia on kesedeni
****
Example #2: Grande Soirée MAMAYA 1 de Montréal 2011 - 1 video1 by dj.ikk
Kalil Koulibaly. Published on Aug 5, 2012
Grande Soirée MAMAYA 1 de Montréal 2011 - 1 video1 by dj.ikk
****
Example #3: MAMAYA COLORADO # 2 = 21
kerfala d, Published on Apr 14, 2013
****
Example #4: Mamaya bayo mali
kerfala d Published on May 28, 2013
****
Example #5: Amadou Sodia live @ SunRise - Dance Mamaya 2013 Rotterdam –
Exilic Productions Published on Jul 16, 2013
...Djigui Promotion Presente -"Amadou Sodia & Hadja Kouyate Live Concert" (Dance Mamaya 2013 Rotterdam) MAINTENANT DISPONIBLE SUR LE DVD.
****
Example #6: Doussougbe Kante - La Meilleure mamaya Africaines en Amerique
kerfala d, Published on Aug 6, 2013
Mamaya African Way to Party Wedding
-snip-
[Google translate from French to English]
"La Meilleure mamaya Africaines en Amerique" = The Best African Mamas in America
****
Example #7: Mamaya-Maimouna Toure New HD
kerfala, Published on Dec 9, 2013
One Of the Best Mamaya To Watch..She Looked Beautiful
-snip-
I'm not sure who or what this social event was in honor of or where it was held.
****
Example #8: mamaya teaser
bachir keita Published on Sep 18, 2016
TEASER MAMAYA 2016 À PARIS
****
This concludes Part II of this two part series on Mamaya.
Thanks for visiting pancocojams.
Visitor comments are welcome.
This is Part II of a two part series on "Mamaya" traditions in Malinke cultures.
This post presents a few excerpts from online articles about "Mamaya".
Part II also showcases eight videos of more contemporary Mamaya social events (in comparison to the description of Mamaya & the Mamaya videos that are found in Part I of this series and in comparison to the description of Mamaya that is given as Excerpt #1 below.)
Click https://pancocojams.blogspot.com/2017/04/seven-mamaya-videos-book-excerpt_30.html for Part I of this post. Paert I also provides information about Malinke cultures, provides an excerpt from Ingrid Monson's book about "Mamaya" song, dance, and events.
Par I also showcases seven YouTube examples of "Mamaya" song and dance events, with particular focus on older forms of Mamaya social events.
The content of this post is presented for folkloric, historical, cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to the creators of Mamaya music, dance, and cultural events.
Thanks to all those who are quoted in this post. Thanks also to all those who are featured in these YouTube examples and thanks to the publishers of these examples.
****
SELECTED ONLINE EXCERPTS ABOUT MAMAYA SONG, DANCE, AND SOCIAL EVENTS
These excerpts are given in no particular order and are numbered for referencing purposes only.
Excerpt #1:
From http://www.paulnas.eu/wap/mamaya.html
"The old Mandingo-dance Mamaya (Mamayah) was very populair in Guinea during the 1940 - 1960 period. Traditionally it was a very stately dance, that was performed in a club or a group where one was part of. Dressed in gouba's and embroded shirts, male and female dancers could express their beauty, while dancing in two circles (men in outer circle, women in inner circle). Dance-steps were made in a majestic way and a handkerchief or decorated stick was used as an attribute. The rhythm started with the singing of a Griot and/or music made with the Balafon, Bolon or Tama. Mamaya is traditionally without an echauffement. Mamady Keïta, Mamoudou 'Delmundo' Keïta and Famoudou Konaté have their own interpretations of Mamaya, but the melody compares.
Sources:
Lessons from Martin Bernhard, Mamoudou 'Delmundo' Keïta
Written material: Famoudou Konaté, Mamady Keïta, Åge Delbanco, Paul Janse, Rafaël Kronberger
WAP-pages / Paul Nas / Last updated on 1-1-2015"
****
Excerpt #2:
From https://www.washingtonpost.com/archive/lifestyle/1985/07/11/moving-with-mamaya/f4398354-60c7-432a-a098-5116f5778ea4/?utm_term=.f68b47237053 Moving With Mamaya By Mike Joyce, July 11, 1985
"Djimo Kouyate, who moved from his native Senegal to Washington four years ago, couldn't believe the audience reaction when his modern African music ensemble Mamaya performed at Dance Place recently.
"We intended to play for only 40 minutes but ended up playing for an hour and a half," he says. "Everybody, everybody began to dance. For them, it was a great disco. It was beautiful to see everyone moving to the music. I didn't know we were going to communicate that quickly with people who had never heard our music before."...
Steve Bloom, who along with his wife, Carla Perlo, founded D.C. Wheel Productions, which runs Dance Place, was even more impressed. "It was the finale of an evening of music I produced with my group, Steve Bloom and the Crux," he says. "People went wild. We had every intention of making it a dance event, but all of a sudden it became a giant breakdown. People were flying everywhere."...
For Kouyate, the nine-member ensemble Mamaya is the latest project in a life dedicated to the preservation and promotion of African culture. Kouyate is a griot -- "a traditional musician and historian to African society," as he puts it -- and a master of the ancient 21-string instrument known as the kora.
While the kora, congas and marimba (a modern substitute for the balaphon) link Mamaya's music to the African past, as do many of the group's songs, Kouyate is quick to point out that the addition of guitars and borrowed elements of jazz improvisation make it thoroughly modern as well, and surprisingly accessible to American ears....
"Mamaya is beautiful dance music," Kouyate says. "African jazz music. It's the modern high-life music of West Africa. In Africa when they play Mamaya, all the beautiful women come out to dance, and the griots, the musicians, spend all year making sure the event is something very special."...
****
Example #3:
From http://www.to-music.ca/newsletter_43.htm
[Press release about Toronto, Canada's Mamaya Festival and one of its featured performers Katenen "Cheka" Dioubata)
... "Mamaya Festival (Aug. 11) [2007]
Local Guinean griot, Katenen "Cheka" Dioubaté has been making quite an impression in the relatively short time she has been performing in Toronto. She performs with a backing band, "Snowgriots" made up of some excellent local African musicians, including Kobena Acqua-Harrison, Tamsir Seck and Kassoum Diamoutene.
She and the band opened for Toumani Diabaté last month at Harbourfront, (my photos of her set are posted here), and they have been making a number of performances around town. (I saw her perform two days in a row this week).
Next weekend, she brings the traditional Guinean "Mamaya" festival to Toronto. Sat. Aug. 11, 2-8pm at the Regent Park Community Centre, 203 Sackville St. Free. "Everyone and all ages welcome". Dress code: "Baby blue (or white)". For information, see her notes about Mamaya below. (Taken from her MySpace page)
WHAT IS MAMAYA?
Mamaya is an all-ages dance, a song and an event originating from the city of Kankan, the second largest in Guinée (W. Africa). It has spread to Mali Senegal, Burkina Faso, Cote D’Ivoire and now Canada. In Guinée, Mamaya is traditionally celebrated once a year at Ramadan, bringing everyone together to celebrate the beautiful nature of their culture, in happiness, peace and joy. Selected musicians will gather in a chosen outdoor area. The public participates altogether by becoming dancers, each one wearing a similar type of light blue coloured clothing called bakha (sky blue). In our Canadian version, some people may choose to wear sky blue dress or white. This shows that every person is the same, united and equal: women and men, rich and poor. It also looks beautiful and tells everyone that something great is going on!
With Mamaya there’s no racism or discrimination. We are one people, no matter where we are from and on this occasion, we unite different cultures and think in new ways. This Mamaya in Canada occurs during summer and is a non-denominational, family event. Mamaya will be free of charge. At one side will be a stage for the musicians with a central area for dancing. People may sit or stand at the sides surrounding the dance area. Instructors will show you how to dance Mamaya and doumdoumba. Those familiar with the event and the traditional role of a griot/musicians, will bring money to “spray” them in thanks and reciprocity for good mention and blessings."
-snip-
Click https://www.youtube.com/watch?v=xNm66ipvOq0 for a 2008 video of in Guinea. The video summary includes this statement "West African Festival that originated in Kakan, Guinea West Africa. Cheka Katenen Dioubate has started these festivals in Toronto Canada, this is Mamaya 2008."
****
Example #4:
From https://www.facebook.com/events/666092116874784/
"Details
The Guinea Association is proud to present...,
"Mamaya in Seattle" it is a full afternoon of community, music dancing, celebration and cultural sharing to be held at the amphitheater in the center of beautiful Seward Park in South Seattle on September 17th, 2016.
Mamaya started many years ago in the city of Kankan, Guinea West Africa by the group of people of the same age called; Serere. In honor of the Serere group, Currently this dance is danced all over the world.
This is an An All African Community Celebration. We're inviting every African Association, Every Church, Student, Every Community Family, Every supporter of Arts and Culture and every Artist to come out and Join us!
You are invited to attend and we encourage you to bring friends and family.
The African Market Place will include; yummy food vendors, retail vendors, cultural displays and networking opportunities.
There will be large selections of African merchandise, such as African clothing for men, women and children. beautiful and unique Jelwrey, amazing African instruments and there will be ways to support local artist by purchasing their CD's , T-shirts and DVD's.
At 12noon DJ MOH and his crew will kick-off the event.
Live entertainment will be performed by:
* Message from Guinea
* The Djeliyah Band
* Dembaya with Manimou Camara
* Kouyate Arts
* and more Cultural presentations will honor the event sponsors and patrons who will be recognized for their outstanding support. These moments to honor will be done in a traditional way.
This event is Free!
Wear Your Light Blue!"
****
SHOWCASE VIDEOS
Pancocojams Editor's note & question:
Most of the videos that are showcased below highlight social events that appear to be sponsored by and primarily (if not entirely attended by) Guineans or other Malinke people living in West Africa, or in Europe, the United States, or Canada.
Notice that Mamaya dancing has changed from the description given in Part I of men dancing sedately in a outer circle and women sedately in an inner circle to just women dancing sedately in a single file, and then to more energetic women dancing. Also, notice the tradition of "spraying" paper money to show appreciation and support.
I'm curious. Do Malinke men still dance Mamaya either the "old school" way or any way at all?
****
Example #1: Sofoli - Mamaya (Bransang, Guinea, November 2011)
Traditional Malinke Music from Guinea (and some other things), Published on Jul 18, 2012
The rhythm Mamaya being played by members of Mansa Camio's group Sofoli in Bransan, a small village close to Baro. It's interesting to see how the Mamaya fete is now very often mixed with a disco. The DJ will arrive and set up the sound system and the drummers play first. Then they close off the area and people have to pay 500GF to entre (0.06 euro) to dance to the DJ's mix of reggae and African pop.
On djembe we have have Kebre Conde and Moriciré Camara
Karamo on sangban
Namory Keita on dundunba
Lanfia on kesedeni
****
Example #2: Grande Soirée MAMAYA 1 de Montréal 2011 - 1 video1 by dj.ikk
Kalil Koulibaly. Published on Aug 5, 2012
Grande Soirée MAMAYA 1 de Montréal 2011 - 1 video1 by dj.ikk
****
Example #3: MAMAYA COLORADO # 2 = 21
kerfala d, Published on Apr 14, 2013
****
Example #4: Mamaya bayo mali
kerfala d Published on May 28, 2013
****
Example #5: Amadou Sodia live @ SunRise - Dance Mamaya 2013 Rotterdam –
Exilic Productions Published on Jul 16, 2013
...Djigui Promotion Presente -"Amadou Sodia & Hadja Kouyate Live Concert" (Dance Mamaya 2013 Rotterdam) MAINTENANT DISPONIBLE SUR LE DVD.
****
Example #6: Doussougbe Kante - La Meilleure mamaya Africaines en Amerique
kerfala d, Published on Aug 6, 2013
Mamaya African Way to Party Wedding
-snip-
[Google translate from French to English]
"La Meilleure mamaya Africaines en Amerique" = The Best African Mamas in America
****
Example #7: Mamaya-Maimouna Toure New HD
kerfala, Published on Dec 9, 2013
One Of the Best Mamaya To Watch..She Looked Beautiful
-snip-
I'm not sure who or what this social event was in honor of or where it was held.
****
Example #8: mamaya teaser
bachir keita Published on Sep 18, 2016
TEASER MAMAYA 2016 À PARIS
****
This concludes Part II of this two part series on Mamaya.
Thanks for visiting pancocojams.
Visitor comments are welcome.
Seven Mamaya (Guinea, West Africa) Videos & Book Excerpt: "African Diaspora: A Musical Perspective" (Quotes From The Chapter On Malinke Cultures' Mamaya Music & Dance Tradition)
Edited by Azizi Powell
This is Part I of a two part series on "Mamaya" traditions in Malinke cultures.
This post provides information about Malinke cultures, provides an excerpt from Ingrid Monson's book about "Mamaya" song, dance, and events.
This post also showcases seven YouTube examples of "Mamaya" song and dance events.
Click https://pancocojams.blogspot.com/2017/04/eight-video-examples-of-contemporary.html for Part II of this series. Part II provides a few additional excerpts from online articles about "Mamaya". Part II also showcases eight videos of more contemporary Mamaya social events.
The content of this post is presented for folkloric, historical, cultural, entertainment, and aesthetic purposes.
Pancocojams visitors are encouraged to read this entire chapter and/or this entire book.
All copyrights remain with their owners.
Thanks to the creators of Mamaya music, dance, and cultural events.
Thanks Ingrid Monson for her research that is excerpted below, and thanks to all those who are quoted in this post. Thanks also to all those who are featured in these YouTube examples and thanks to the publishers of these examples.
****
INFORMATION ABOUT MALINKE CULTURES
From https://www.britannica.com/topic/Malinke
"Malinke, also called Maninka, Mandinka, Mandingo, or Manding, a West African people occupying parts of Guinea, Ivory Coast, Mali, Senegal, The Gambia, and Guinea-Bissau. They speak a Mandekan language of the Mande branch of the Niger-Congo family.
The Malinke are divided into numerous independent groups dominated by a hereditary nobility, a feature that distinguishes them from most of their more egalitarian neighbours. One group, the Kangaba, has one of the world’s most ancient dynasties; its rule has been virtually uninterrupted for 13 centuries. Beginning in the 7th century ad as the centre of a small state, Kangaba became the capital of the great Malinke empire known as Mali. This was the most powerful and most renowned of all the empires of the western Sudan, now memorialized in the name of the Republic of Mali."...
****
BOOK EXCERPT:
From African Diaspora: A Musical Perspective
edited by Ingrid Monson (Routledge, Mar 1, 2004)
Pancocojams Editor's Note: Malinke words and French words are given in this pancocojams post without their accent marks.
[Google book] https://books.google.com/books?id=VS-UAgAAQBAJ&pg=PA192&lpg=PA192&dq=mamaya+guinean+word&source=bl&ots=dj26nDAJbs&sig=hncrNuhXJquuOydrqB8Q1ymQi6w&hl=en&sa=X&ved=0ahUKEwiMnauPpsrTAhVI0iYKHflsBToQ6AEIPTAD#v=onepage&q=mamaya%20guinean%20word&f=false
[page] 188
..."Not only have the words, melodies, and harmonies of Mamaya become widely known and appreciated, but the time and place that it represents is fondly remembered as yet one more instance of a local flowering of a broadly influential Mande expressive culture.
In the aftermath of the late-nineteenth century wars of the almami Samory Toure, followed by the French colonial rule in 1898, Kankan, the former capital of the kingdom of Bateh, emerged as the major cultural and political center in Upper Guinea (Kaba, 1973). The city became known for its entrepreneurial and erudite Muslim culture with a rich musical life to match ...When the generations born in the late 1910s and 1920s reached adulthood in the 1930s, they celebrated their artistic tastes and lifestyles in Mamaya, one of the most innovative and influential musical movements in the Maninnka world.
Played on xylophones (bala; balafo means "to play the bala) with a female chorus, and occasionally a bass drum (dundun), or Western drum set, Mamaya was an exquisite and joyful music and dance event- or ambiance as it is called in West African French - in which both young men and women participated in their finest clothes. Mamaya was created by a renowned Kankan composer and bala player, Sidi Djeli Djoubate, for his children's enjoyment. Although it primarily centered around Sidi Djeli's family, and more specifically associated with his sons Sidi Karammo, Sidi Mamadi, and Sidi Moussa, (and later Djanka Amo), whose bala trio was recorded in 1949 and 1952, Mamaya involved musicians from other Kankan musical lineages, including the Kouyate, Diawara, and Kante families.
The actual piece of music called Mamaya as distinguished from the whole event of the same name holds special place in the repertory of Maninnka musicians due to its unique character. An extended bala and vocal composition, the core of Mamaya is a long section of lyrics sung to a melody with few repetitions and many twists and turns. It is one of the most through-composed melodies in the repertory of jelis (called griots by the French), the Maninnka musical culture. Several bala based musical accompaniments can be played before and after this extended song.
Mamaya performances usually involved verse after verse of choral singing, set to other melodies and punctuated by bala solos, praising the Kankan notables of the day. The sum total of a Mamaya
[page] 189 includes portion of Mamaya lyrics]
[pages 190 -191 not given in this Google Book edition]
[page] 192
The word Mamaya has no clear meaning in the Maninnka language. It implies, however, a sense of collective excitement, joy, and refined pageantry cultivated in a prosperous urban environment . It also conjures up images of serious artistry in music and dance of a colonial era in which local African culture was celebrated with finesse and pride. A popular youth music grounded in Kankan’s traditions, Mamaya expresses the musical preferences of the younger generations as well as the cosmopolitan culture for which that city was first known in the first half of the twentieth century.... An inquiry into the cultural and historical background of Mamaya can provide insight into how Africans, specifically Maninnka of Upper Guinea have confronted and integrated diverse influences into their own unique cultural expressions in the mid-twentieth century, with continued strong reverberations through several generations into the next century.
[...]
[page] 196
....A key to understanding the importance of Mamaya during its time, as well as its ongoing status is appreciating the significance of age groups.
[...]
[page] 197
...age groups definitely define and bind generations together. In Kankan there are five sede and each has a name: dan diya ("End's happiness"), perhaps an allusion to the dictum that there is an end to everything; san diya ("Year's happiness"), hara makonon ("Expecting good tidings"), du diya (Town's happiness), and jamana diya ("Country's happiness"). Sede are initially based on the grouping of children born during the same epoch and membership lasts a lifetime. Males and females are grouped together under the same sede name, but they have their own group leaders. Every three or four years, new initiates enter into the next rotation of sede so that every fifteen or twenty years the sede names cycle around. The sede known as san diya groups together those born in the early 1920s. They were the first performers of Mamaya.
The time of the san diya generation born in the early 1920s was crucial in colonial Kankan. By that time European culture and values had filtered into the urban environment through travels, schooling, and contact with some members of the white community. Africans, however, did not adopt all the European cultural symbols they had observed. Rather, they reshaped those elements of European culture that they found attractive to fit their own lifestyles. The young men of san diya and other age groups admired such European musical instruments as the guitar and drum set, and such dances of the day as the tango, waltz, rumba, and bolero. They were eager to live their own lives, as every generation desires. But, rigid cultural mores and constraints prevented Kankan youth from introducing European-dance styles based on physical contact between male and female dancers into their beloved hometown. For Kankan, although a modern metropolis, was home to Cheikh Muhammad Cherif and other religious leaders who made it an abode of Maninnka rigorism and a city of strict adherence to Islamic codes of behavior. Early testimony is provided by the French traveler Rene Caillile (1968: 1: 269), who sojourned in Kankan in 1823: "Music and dancing are forbidden among Musulmans [Muslims], and consequently their amusements are far from equalling in frolic and gaiety those which prevail among the pagans"...
[page] 198
...Although dancing was permitted in Kankan with certain restrictions, it was genteel in style and did not take on the sometimes frenetic and violent nature of jembe based rhythms such as Dundunba...
The generational problems of the san diya and the dan diya youth of the 1930s and 1940s generations found a creative solution in Mamaya. They had to initiate an open theatrical forums to conform with their generational attitudes and preferences that would also be compatible with the culture of Kankan. A new artistic form had to be invented, composed, rehearsed, and performed in public. Mamaya expressed this harmony between the imperatives of renewal and respect for traditions.
[...]
page 199
[...]
A typical Mamaya performance involved three bala, a chorus of female singers standing behind them, and sometimes a dun dun (bass drum) or jass drum set player. Youth organized the performance to begin in the mid-afternoon. Grooups of the same age set (sede) would compete for the most elaborate and successful performance, and two Mamaya were often held the same day in Kabada and Timbo, the two largest sections in Kankan. The male members of the sede would wear white or azure damask caftans or boubous (robes), white socks, and open-backed shoes (babouches). They danced in front of the musicians a la ronde holding a staff or handkerchief in their hands. As the dancers would turn to face the musicians, their names would be sung. The length of the Mamaya core and extended lyrics, unusual in African musical tradition, derived from the need to recognize each dancer, his or her family, and specific quality. This implies that Mamaya belonged to the Maninnka tradition of praise song, but performed in a new style and a new context.
[...]
[page] 200
The closest historical model for Mamaya is probably the piece Lamban, which like Mamaya, is distinguished for the rest of the jeli's repertory in two ways. First, both Lamban and Mamaya have a specific dance associated with them. This occurs with very few jeli musical compositions, notably Janjon, which originated in the hunter's repertory. With some exceptions, traditional jeliya is for listening, not dancing. Secondary, neither Lamban nor Mamaya are dedicated to a particular patron or event of political significance, another rare
[page 201-202 aren't included in this Google book excerpt].
page 203
[...]
Transformation of the tradition has also included the use of instruments other than balas for Mamaya recordings. (See El Hadj Djeli Sory Kouyate (1992) for bala recordings and Djeli Moussa Djawara [1988) for a recording using bala, guitar, and kora... Modern renditions of Mamaya often add other instruments, such as guitars, electric bass, keyboards, and brass, while reducing the role of the bala. Once again, whether this is a renewal or a corruption depends on one's vantage point and the creativity of the artist.
[...]
It [Mamaya] remains a symbol of musical innovation within the jeli's tradition, and of a Maninnka group's genius for creative renewal in musical expression."
****
SHOWCASE VIDEOS
[With the exception of the first video, these examples are given in chronological order based on their publishing date, with the oldest dated example given first.]
Excerpt #1: Ami Koïta – Mamaya
Ousmane Bakary Kaba Uploaded on Aug 27, 2010
un tube qui reste aussi célèbre qu'à la date de sa sortie. ici la diva Ami koïta rend hommage au Mali son pays. le clip a été tournée en Guinée avec une réalisation de JMJ
-snip-
(Google translate from French to English)
A tube that remains as famous as when it was released. Here the diva Ami koïta pays tribute to Mali his country. The clip was shot in Guinea with a realization of WYD.
****
Excerpt #2: RTG conakry presente la Mamaya de Kankan 2005
Aladji Toure, Uploaded on Dec 16, 2006
La Mamaya 2005 a kankan presenté par la radio television guinéeenne organisé par Sede sandiaya 3 de kankan a suivre
[Google translate from French to English]
La Mamaya 2005 a kankan presented by the radio television guineaeenne organized by Sede sandiaya 3 of kankan to follow
****
Example #3: MAMAYA DE KANKAN 2008
Aladji Toure Uploaded on Jan 26, 2008
{Gooble translate from French to English]
The radio-kankan.com presents the biggest griots most popular has kankan for the cause of the mamaya follow well this film unique in the world
**
Except #4: Mamaya 2008 a kankan
Aladji Toure Uploaded on Mar 27, 2008
****
Example #5: Le MAMAYA de 30 MAI 2009 en Hollande
Djiguipromotions Uploaded on Dec 21, 2009
Djigui promotion presente
Le MAMAYA de 30 MAI 2009 en Hollande
****
Excerpt #6: Kankan Mamaya 2006
Aladji Toure, Uploaded on May 4, 2011
radio-kankan.com presente Mamaya 2006 avec Sede sandiya 3 a kankan
Voila la derniere version de la mamaya a kankan un orchestre de sididou anime la soirée
{Google translate from French to English)
Here is the last version of the mamaya a kankan an orchestra of sididou animates the evening
****
Excerpt #7: MAMAYA DE KANKAN- TOUJOUR LIVE.
Seretoure Sekoukaba, Published on Mar 9, 2015
-snip-
This is showcased in this post in part because of its historical photographs
.****
This concludes Part I of this two part series about Mamaya.
Thanks for visiting pancocojams.
Visitor comments are welcome.
This is Part I of a two part series on "Mamaya" traditions in Malinke cultures.
This post provides information about Malinke cultures, provides an excerpt from Ingrid Monson's book about "Mamaya" song, dance, and events.
This post also showcases seven YouTube examples of "Mamaya" song and dance events.
Click https://pancocojams.blogspot.com/2017/04/eight-video-examples-of-contemporary.html for Part II of this series. Part II provides a few additional excerpts from online articles about "Mamaya". Part II also showcases eight videos of more contemporary Mamaya social events.
The content of this post is presented for folkloric, historical, cultural, entertainment, and aesthetic purposes.
Pancocojams visitors are encouraged to read this entire chapter and/or this entire book.
All copyrights remain with their owners.
Thanks to the creators of Mamaya music, dance, and cultural events.
Thanks Ingrid Monson for her research that is excerpted below, and thanks to all those who are quoted in this post. Thanks also to all those who are featured in these YouTube examples and thanks to the publishers of these examples.
****
INFORMATION ABOUT MALINKE CULTURES
From https://www.britannica.com/topic/Malinke
"Malinke, also called Maninka, Mandinka, Mandingo, or Manding, a West African people occupying parts of Guinea, Ivory Coast, Mali, Senegal, The Gambia, and Guinea-Bissau. They speak a Mandekan language of the Mande branch of the Niger-Congo family.
The Malinke are divided into numerous independent groups dominated by a hereditary nobility, a feature that distinguishes them from most of their more egalitarian neighbours. One group, the Kangaba, has one of the world’s most ancient dynasties; its rule has been virtually uninterrupted for 13 centuries. Beginning in the 7th century ad as the centre of a small state, Kangaba became the capital of the great Malinke empire known as Mali. This was the most powerful and most renowned of all the empires of the western Sudan, now memorialized in the name of the Republic of Mali."...
****
BOOK EXCERPT:
From African Diaspora: A Musical Perspective
edited by Ingrid Monson (Routledge, Mar 1, 2004)
Pancocojams Editor's Note: Malinke words and French words are given in this pancocojams post without their accent marks.
[Google book] https://books.google.com/books?id=VS-UAgAAQBAJ&pg=PA192&lpg=PA192&dq=mamaya+guinean+word&source=bl&ots=dj26nDAJbs&sig=hncrNuhXJquuOydrqB8Q1ymQi6w&hl=en&sa=X&ved=0ahUKEwiMnauPpsrTAhVI0iYKHflsBToQ6AEIPTAD#v=onepage&q=mamaya%20guinean%20word&f=false
[page] 188
..."Not only have the words, melodies, and harmonies of Mamaya become widely known and appreciated, but the time and place that it represents is fondly remembered as yet one more instance of a local flowering of a broadly influential Mande expressive culture.
In the aftermath of the late-nineteenth century wars of the almami Samory Toure, followed by the French colonial rule in 1898, Kankan, the former capital of the kingdom of Bateh, emerged as the major cultural and political center in Upper Guinea (Kaba, 1973). The city became known for its entrepreneurial and erudite Muslim culture with a rich musical life to match ...When the generations born in the late 1910s and 1920s reached adulthood in the 1930s, they celebrated their artistic tastes and lifestyles in Mamaya, one of the most innovative and influential musical movements in the Maninnka world.
Played on xylophones (bala; balafo means "to play the bala) with a female chorus, and occasionally a bass drum (dundun), or Western drum set, Mamaya was an exquisite and joyful music and dance event- or ambiance as it is called in West African French - in which both young men and women participated in their finest clothes. Mamaya was created by a renowned Kankan composer and bala player, Sidi Djeli Djoubate, for his children's enjoyment. Although it primarily centered around Sidi Djeli's family, and more specifically associated with his sons Sidi Karammo, Sidi Mamadi, and Sidi Moussa, (and later Djanka Amo), whose bala trio was recorded in 1949 and 1952, Mamaya involved musicians from other Kankan musical lineages, including the Kouyate, Diawara, and Kante families.
The actual piece of music called Mamaya as distinguished from the whole event of the same name holds special place in the repertory of Maninnka musicians due to its unique character. An extended bala and vocal composition, the core of Mamaya is a long section of lyrics sung to a melody with few repetitions and many twists and turns. It is one of the most through-composed melodies in the repertory of jelis (called griots by the French), the Maninnka musical culture. Several bala based musical accompaniments can be played before and after this extended song.
Mamaya performances usually involved verse after verse of choral singing, set to other melodies and punctuated by bala solos, praising the Kankan notables of the day. The sum total of a Mamaya
[page] 189 includes portion of Mamaya lyrics]
[pages 190 -191 not given in this Google Book edition]
[page] 192
The word Mamaya has no clear meaning in the Maninnka language. It implies, however, a sense of collective excitement, joy, and refined pageantry cultivated in a prosperous urban environment . It also conjures up images of serious artistry in music and dance of a colonial era in which local African culture was celebrated with finesse and pride. A popular youth music grounded in Kankan’s traditions, Mamaya expresses the musical preferences of the younger generations as well as the cosmopolitan culture for which that city was first known in the first half of the twentieth century.... An inquiry into the cultural and historical background of Mamaya can provide insight into how Africans, specifically Maninnka of Upper Guinea have confronted and integrated diverse influences into their own unique cultural expressions in the mid-twentieth century, with continued strong reverberations through several generations into the next century.
[...]
[page] 196
....A key to understanding the importance of Mamaya during its time, as well as its ongoing status is appreciating the significance of age groups.
[...]
[page] 197
...age groups definitely define and bind generations together. In Kankan there are five sede and each has a name: dan diya ("End's happiness"), perhaps an allusion to the dictum that there is an end to everything; san diya ("Year's happiness"), hara makonon ("Expecting good tidings"), du diya (Town's happiness), and jamana diya ("Country's happiness"). Sede are initially based on the grouping of children born during the same epoch and membership lasts a lifetime. Males and females are grouped together under the same sede name, but they have their own group leaders. Every three or four years, new initiates enter into the next rotation of sede so that every fifteen or twenty years the sede names cycle around. The sede known as san diya groups together those born in the early 1920s. They were the first performers of Mamaya.
The time of the san diya generation born in the early 1920s was crucial in colonial Kankan. By that time European culture and values had filtered into the urban environment through travels, schooling, and contact with some members of the white community. Africans, however, did not adopt all the European cultural symbols they had observed. Rather, they reshaped those elements of European culture that they found attractive to fit their own lifestyles. The young men of san diya and other age groups admired such European musical instruments as the guitar and drum set, and such dances of the day as the tango, waltz, rumba, and bolero. They were eager to live their own lives, as every generation desires. But, rigid cultural mores and constraints prevented Kankan youth from introducing European-dance styles based on physical contact between male and female dancers into their beloved hometown. For Kankan, although a modern metropolis, was home to Cheikh Muhammad Cherif and other religious leaders who made it an abode of Maninnka rigorism and a city of strict adherence to Islamic codes of behavior. Early testimony is provided by the French traveler Rene Caillile (1968: 1: 269), who sojourned in Kankan in 1823: "Music and dancing are forbidden among Musulmans [Muslims], and consequently their amusements are far from equalling in frolic and gaiety those which prevail among the pagans"...
[page] 198
...Although dancing was permitted in Kankan with certain restrictions, it was genteel in style and did not take on the sometimes frenetic and violent nature of jembe based rhythms such as Dundunba...
The generational problems of the san diya and the dan diya youth of the 1930s and 1940s generations found a creative solution in Mamaya. They had to initiate an open theatrical forums to conform with their generational attitudes and preferences that would also be compatible with the culture of Kankan. A new artistic form had to be invented, composed, rehearsed, and performed in public. Mamaya expressed this harmony between the imperatives of renewal and respect for traditions.
[...]
page 199
[...]
A typical Mamaya performance involved three bala, a chorus of female singers standing behind them, and sometimes a dun dun (bass drum) or jass drum set player. Youth organized the performance to begin in the mid-afternoon. Grooups of the same age set (sede) would compete for the most elaborate and successful performance, and two Mamaya were often held the same day in Kabada and Timbo, the two largest sections in Kankan. The male members of the sede would wear white or azure damask caftans or boubous (robes), white socks, and open-backed shoes (babouches). They danced in front of the musicians a la ronde holding a staff or handkerchief in their hands. As the dancers would turn to face the musicians, their names would be sung. The length of the Mamaya core and extended lyrics, unusual in African musical tradition, derived from the need to recognize each dancer, his or her family, and specific quality. This implies that Mamaya belonged to the Maninnka tradition of praise song, but performed in a new style and a new context.
[...]
[page] 200
The closest historical model for Mamaya is probably the piece Lamban, which like Mamaya, is distinguished for the rest of the jeli's repertory in two ways. First, both Lamban and Mamaya have a specific dance associated with them. This occurs with very few jeli musical compositions, notably Janjon, which originated in the hunter's repertory. With some exceptions, traditional jeliya is for listening, not dancing. Secondary, neither Lamban nor Mamaya are dedicated to a particular patron or event of political significance, another rare
[page 201-202 aren't included in this Google book excerpt].
page 203
[...]
Transformation of the tradition has also included the use of instruments other than balas for Mamaya recordings. (See El Hadj Djeli Sory Kouyate (1992) for bala recordings and Djeli Moussa Djawara [1988) for a recording using bala, guitar, and kora... Modern renditions of Mamaya often add other instruments, such as guitars, electric bass, keyboards, and brass, while reducing the role of the bala. Once again, whether this is a renewal or a corruption depends on one's vantage point and the creativity of the artist.
[...]
It [Mamaya] remains a symbol of musical innovation within the jeli's tradition, and of a Maninnka group's genius for creative renewal in musical expression."
****
SHOWCASE VIDEOS
[With the exception of the first video, these examples are given in chronological order based on their publishing date, with the oldest dated example given first.]
Excerpt #1: Ami Koïta – Mamaya
Ousmane Bakary Kaba Uploaded on Aug 27, 2010
un tube qui reste aussi célèbre qu'à la date de sa sortie. ici la diva Ami koïta rend hommage au Mali son pays. le clip a été tournée en Guinée avec une réalisation de JMJ
-snip-
(Google translate from French to English)
A tube that remains as famous as when it was released. Here the diva Ami koïta pays tribute to Mali his country. The clip was shot in Guinea with a realization of WYD.
****
Excerpt #2: RTG conakry presente la Mamaya de Kankan 2005
Aladji Toure, Uploaded on Dec 16, 2006
La Mamaya 2005 a kankan presenté par la radio television guinéeenne organisé par Sede sandiaya 3 de kankan a suivre
[Google translate from French to English]
La Mamaya 2005 a kankan presented by the radio television guineaeenne organized by Sede sandiaya 3 of kankan to follow
****
Example #3: MAMAYA DE KANKAN 2008
Aladji Toure Uploaded on Jan 26, 2008
{Gooble translate from French to English]
The radio-kankan.com presents the biggest griots most popular has kankan for the cause of the mamaya follow well this film unique in the world
**
Except #4: Mamaya 2008 a kankan
Aladji Toure Uploaded on Mar 27, 2008
****
Example #5: Le MAMAYA de 30 MAI 2009 en Hollande
Djiguipromotions Uploaded on Dec 21, 2009
Djigui promotion presente
Le MAMAYA de 30 MAI 2009 en Hollande
****
Excerpt #6: Kankan Mamaya 2006
Aladji Toure, Uploaded on May 4, 2011
radio-kankan.com presente Mamaya 2006 avec Sede sandiya 3 a kankan
Voila la derniere version de la mamaya a kankan un orchestre de sididou anime la soirée
{Google translate from French to English)
Here is the last version of the mamaya a kankan an orchestra of sididou animates the evening
****
Excerpt #7: MAMAYA DE KANKAN- TOUJOUR LIVE.
Seretoure Sekoukaba, Published on Mar 9, 2015
-snip-
This is showcased in this post in part because of its historical photographs
.****
This concludes Part I of this two part series about Mamaya.
Thanks for visiting pancocojams.
Visitor comments are welcome.
Wednesday, February 18, 2015
Dundunba Dance -Traditional Purpose & Description Of The Traditional Attire Of Dundunba Dancers
Edited by Azizi Powell
This is Part III of a three part series on dundunba drum rhythms and dances. Part III provides information about traditional purpose of Dundunba and includes descriptions of the traditional attire for those dancers.
Click http://pancocojams.blogspot.com/2015/02/african-drums-dances-dundunba-guinean.html for Part I of this series.
Part I provides information about the dundunba drum and showcases nine videos of traditional performances* of dundunba rhythms and dances in Guinea, West Africa.
Click http://pancocojams.blogspot.com/2015/02/african-drums-dances-dundunba-guinean_16.html for Part II of this series.
Part II provides additional information about dundunba and showcases seven videos of dundunba parties in Guinea and concert (on stage) performances of Guinean dundunba rhythms.
The content of this post is presented for cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to all those who are quoted in this post. Thanks also to all those featured in this video and thanks to the publisher of the video that is featured in this post. Thanks also to .
*From reading the excerpts found below and others, I'm aware that the Dundunba performances described in those passages and shown on video are partial reinactments of traditional dances. As such, these performances can't be said to be completely the actual ways that Dundunba was really danced. Furthermore, the attire described for these dancers might be different-in greater or lesser ways- from the actual attire of non-reinactment Dundunba dancers.
****
SHOWCASE VIDEO: Dunumba - Demosonikelen
guedom, Uploaded on Jun 6, 2007
Demosonikelen @ Fete de la Mare (Baro 2002)
http://www.kingkon.nl
****
INFORMATION ABOUT THE TRADITIONAL PURPOSE OF DUNDUNBA & THE TRADITIONAL ATTIRE OF DUNDUNBA DANCERS
Excerpt from "Djoliba Crossing: Journeys Into West African Music and Culture" Written and Illustrated by Dave Kobrenski (Publisher Artemisia Books, 2013)
From Google Books, pps 79-81 https://books.google.com/books?id=d9PwAgAAQBAJ&pg=PA79&lpg=PA79&dq=dundunba+dancers+attire+djoliba+crossing&source=bl&ots=Lpw0xsS26F&sig=SoBwxFrgJp-Cl7RthGRvUnqoQpA&hl=en&sa=X&ei=jgTlVLTPDam0sATpiYHwDQ&ved=0CCMQ6AEwAA#v=onepage&q=dundunba%20dancers%20attire%20djoliba%20crossing&f=false
..."The drumming had begun. Upon arriving at the great courtyard, I could se the crowds were beginning to gather around the perimeter, and the dancers were beginning to make their way to the center: two lines of about eight men each, wearing the traditional attire of dundunba dancers, long loose fitting black trousers with white lines down the sides, colorful headbands, shirtless, showing off their strong physique. Each man carried in one hand a small adorned axe (called djende), in the other a long leather whip made from hippopotamus skin (called manin fasson. This fete was to be a Dundunba , an event that belonged to a family of about thirty rhythms and dances, aptly referred to as the “dance of the strong men”.
Here in the Hamana region, the men of the village each belong to a specific group based on age. These age groups comprise a complex social hierarchy, with each group having a leader and certain rights and duties in the village. In former times, I was told, the dundunba dances were carried out as a means of settling power conflicts among age groups: often a younger age group dissatisfied with what was perceived as lesser rights and freedoms in comparison to an older age group, would challenge the power of the other, hoping to supersede them in the village. The event would result in a day-long and sometimes bloody contest, witnessed by the whole village, which would end only when one age group submitted to the other, determining the winner-and bringing the conflict to a public and permanent close, ensuring that the village would not be plagued by incessant quarrelling. Today, the ongoing tradition of the dance continues to signify these social hierarchies between age groups, but it is now carried out in a playful but showy display of strength among the men, without real fighting. The event still last throughout the entire day, with only short pauses, and requires great stamina and fitness from the participants.
At one end of the bara across from the great baobab tree, the drummers were clustered together: at the center, the powerful dundunba drum- a large deep sounding barrel of a drum with thick cow skin on both ends and a iron bell attached to its frame- was used to pind out complex brass phrases, mostly in the off-beat here in the rhythm that was its namesake, the sangban drum, similar to the dundunba, but only slightly smaller, played the main melody, an intricate phrase around which the dundunba melody wound itself; the kenkini drum, the smaller of the three bass drums, played its characteristic off beat phrase that was the same for each of the thirty or so rhythms in the dundunba family. Three djembe players were present at the head of the group, playing with bare hands, goat-skinned stretched tightly over wooden shells, and alternating with each other in playing complimentary accompaniment parts with one soloist playing fast, precise phrases, simultaneously leading and responding to the movement of the dancers.
The dance had begun. Two lines of men, each single file with their leader in front, marched in opposite directions around the large perimeter of the courtyard, and only after a time the lines would converge again directly in front of the drummers, at which time, the “fight” would ensue: the drummers broke into the échauffement, a section of the music that heated both the rhythm and the dance, becoming faster and more intense. The dancers vigorously engaged each other, sweat dripping from them, released at last upon the drummers signal. The two groups of dancers broke apart from each other, following the perimeter of the courtyard once again, dust now rising into the scorched air. I watched the dance unfold from my place near the drummers, attempting to follow the complex polyrhythm patterns which were sometimes improvised, but never strayed far from the melodic theme.
Into the afternoon the dance went on, barely ceasing in its intensity, until finally the dance broke at the peak of the day’s heat, and the crowds dispersed- for a time."...
-snip-
Information about "Djobila Crossings"'s author/illustrator
from http://books.google.com/books/about/Djoliba_Crossing.html?id=d9PwAgAAQBAJ
"Dave Kobrenski is a musician, artist, and performer with a background in illustration and graphic design. Between 2001 and 2008, Dave traveled extensively in West Africa to study music with master musicians such as Famoudou Konaté, Nansady Keita, Sayon Camara, and other musicians of the region. He studied the African flute with a master of the Malinké flute tradition, Lanciné Condé. Djoliba Crossing is his first book."
-snip-
Click http://djembefola.com/board/media-f31/djoliba-crossing-t4809.html for comments about the book "Djobila Crossing" by participants in a forum of jembe drummers, with particular focus on the book review by djembefola.
-snip-
"Djoliba or Joliba is the name of the Niger River in the Bamana language."- This information from the Wikipedia article about the Djoliba Athletic Club, a Malian [West Africa] football [soccer] club and one of the two biggest teams in Mali alongside the Stade Malien Malia". -http://en.wikipedia.org/wiki/Djoliba_AC
-snip-
échauffement {French language]= overheating
[Extrapolating, I believe in music, échauffement is the phase of the music when the rhythm intensifies]
-snip-
Additional Comments About The Traditional Attire* Of Dundunba Dancers:
Dave Kobrenski described the traditional attire of dundunba dancers as "long loose fitting black trousers with white lines down the sides, colorful headbands, shirtless, showing off their strong physique."
Those "long loose fitting black trousers" are the same as or very similar to "harem pants". Here's information about "harem pants" from http://en.wikipedia.org/wiki/Harem_pants
..."The original so-called 'harem pants/skirts' were introduced to Western fashion by Paul Poiret around 1910, although they themselves were inspired by Middle East styles, and by şalvar (Turkish trousers)... A version of harem pants popularized in the late 1980s by [American Rapper] M. C. Hammer[11] became known as Hammer pants."
-end of quote-
The head band that was traditionally worn by the dancers probably served the purpose of catching some of the men's sweat that was the result of such rigorous dancing in the heat.
****
From http://www.reynders-bonhagen.nl/ritme/dunumba_dununba_dounumba_.html "DUNUMBA, DUNUNBA, DOUNUMBA"
"The word "dunumba" or "doundumba" describes a type of dance that is popular in Upper Guinea in the Kankan, Siguiri and Kourousa regions, but its roots are to be found in Hamanah, a canton of the prefecture of Kourousa. It is also called "the Dance of the Strong Men". The names of its various rhythms, of which there are a good twenty, are taken from their places of origin, from the names of the people they portray or to whom they are dedicated, from the characteristics of their structure or from the way the performers appear during the dance.
The "Dance of the Strong Men" as danced by the Malinke of Hamanah occupies a position that makes it more of a social ritual than an amusement, although this aspect is also not ignored. It takes place in the Bara, the space for dancing that every village possesses and which has a large tree, either a Kapok or Mangrove, planted in the center. The circles of men or boys are formed around the tree, each circle representing a social or age group (kare). The Baranti, the masters of the Bara form the group that assumes responsibility for the smooth running of the festivities. They are the first to dance, and no-one else can use the Bara without their agreement. Although the Dunumba is reserved for men as its name indicates, women could take part by dancing at one side or by coming to the centre to enliven the atmosphere."...
-snip-
That article includes additional quotes from different sources about dundunba, and brief descriptions of various dundunba rhythms.
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This is Part III of a three part series on dundunba drum rhythms and dances. Part III provides information about traditional purpose of Dundunba and includes descriptions of the traditional attire for those dancers.
Click http://pancocojams.blogspot.com/2015/02/african-drums-dances-dundunba-guinean.html for Part I of this series.
Part I provides information about the dundunba drum and showcases nine videos of traditional performances* of dundunba rhythms and dances in Guinea, West Africa.
Click http://pancocojams.blogspot.com/2015/02/african-drums-dances-dundunba-guinean_16.html for Part II of this series.
Part II provides additional information about dundunba and showcases seven videos of dundunba parties in Guinea and concert (on stage) performances of Guinean dundunba rhythms.
The content of this post is presented for cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to all those who are quoted in this post. Thanks also to all those featured in this video and thanks to the publisher of the video that is featured in this post. Thanks also to .
*From reading the excerpts found below and others, I'm aware that the Dundunba performances described in those passages and shown on video are partial reinactments of traditional dances. As such, these performances can't be said to be completely the actual ways that Dundunba was really danced. Furthermore, the attire described for these dancers might be different-in greater or lesser ways- from the actual attire of non-reinactment Dundunba dancers.
****
SHOWCASE VIDEO: Dunumba - Demosonikelen
guedom, Uploaded on Jun 6, 2007
Demosonikelen @ Fete de la Mare (Baro 2002)
http://www.kingkon.nl
****
INFORMATION ABOUT THE TRADITIONAL PURPOSE OF DUNDUNBA & THE TRADITIONAL ATTIRE OF DUNDUNBA DANCERS
Excerpt from "Djoliba Crossing: Journeys Into West African Music and Culture" Written and Illustrated by Dave Kobrenski (Publisher Artemisia Books, 2013)
From Google Books, pps 79-81 https://books.google.com/books?id=d9PwAgAAQBAJ&pg=PA79&lpg=PA79&dq=dundunba+dancers+attire+djoliba+crossing&source=bl&ots=Lpw0xsS26F&sig=SoBwxFrgJp-Cl7RthGRvUnqoQpA&hl=en&sa=X&ei=jgTlVLTPDam0sATpiYHwDQ&ved=0CCMQ6AEwAA#v=onepage&q=dundunba%20dancers%20attire%20djoliba%20crossing&f=false
..."The drumming had begun. Upon arriving at the great courtyard, I could se the crowds were beginning to gather around the perimeter, and the dancers were beginning to make their way to the center: two lines of about eight men each, wearing the traditional attire of dundunba dancers, long loose fitting black trousers with white lines down the sides, colorful headbands, shirtless, showing off their strong physique. Each man carried in one hand a small adorned axe (called djende), in the other a long leather whip made from hippopotamus skin (called manin fasson. This fete was to be a Dundunba , an event that belonged to a family of about thirty rhythms and dances, aptly referred to as the “dance of the strong men”.
Here in the Hamana region, the men of the village each belong to a specific group based on age. These age groups comprise a complex social hierarchy, with each group having a leader and certain rights and duties in the village. In former times, I was told, the dundunba dances were carried out as a means of settling power conflicts among age groups: often a younger age group dissatisfied with what was perceived as lesser rights and freedoms in comparison to an older age group, would challenge the power of the other, hoping to supersede them in the village. The event would result in a day-long and sometimes bloody contest, witnessed by the whole village, which would end only when one age group submitted to the other, determining the winner-and bringing the conflict to a public and permanent close, ensuring that the village would not be plagued by incessant quarrelling. Today, the ongoing tradition of the dance continues to signify these social hierarchies between age groups, but it is now carried out in a playful but showy display of strength among the men, without real fighting. The event still last throughout the entire day, with only short pauses, and requires great stamina and fitness from the participants.
At one end of the bara across from the great baobab tree, the drummers were clustered together: at the center, the powerful dundunba drum- a large deep sounding barrel of a drum with thick cow skin on both ends and a iron bell attached to its frame- was used to pind out complex brass phrases, mostly in the off-beat here in the rhythm that was its namesake, the sangban drum, similar to the dundunba, but only slightly smaller, played the main melody, an intricate phrase around which the dundunba melody wound itself; the kenkini drum, the smaller of the three bass drums, played its characteristic off beat phrase that was the same for each of the thirty or so rhythms in the dundunba family. Three djembe players were present at the head of the group, playing with bare hands, goat-skinned stretched tightly over wooden shells, and alternating with each other in playing complimentary accompaniment parts with one soloist playing fast, precise phrases, simultaneously leading and responding to the movement of the dancers.
The dance had begun. Two lines of men, each single file with their leader in front, marched in opposite directions around the large perimeter of the courtyard, and only after a time the lines would converge again directly in front of the drummers, at which time, the “fight” would ensue: the drummers broke into the échauffement, a section of the music that heated both the rhythm and the dance, becoming faster and more intense. The dancers vigorously engaged each other, sweat dripping from them, released at last upon the drummers signal. The two groups of dancers broke apart from each other, following the perimeter of the courtyard once again, dust now rising into the scorched air. I watched the dance unfold from my place near the drummers, attempting to follow the complex polyrhythm patterns which were sometimes improvised, but never strayed far from the melodic theme.
Into the afternoon the dance went on, barely ceasing in its intensity, until finally the dance broke at the peak of the day’s heat, and the crowds dispersed- for a time."...
-snip-
Information about "Djobila Crossings"'s author/illustrator
from http://books.google.com/books/about/Djoliba_Crossing.html?id=d9PwAgAAQBAJ
"Dave Kobrenski is a musician, artist, and performer with a background in illustration and graphic design. Between 2001 and 2008, Dave traveled extensively in West Africa to study music with master musicians such as Famoudou Konaté, Nansady Keita, Sayon Camara, and other musicians of the region. He studied the African flute with a master of the Malinké flute tradition, Lanciné Condé. Djoliba Crossing is his first book."
-snip-
Click http://djembefola.com/board/media-f31/djoliba-crossing-t4809.html for comments about the book "Djobila Crossing" by participants in a forum of jembe drummers, with particular focus on the book review by djembefola.
-snip-
"Djoliba or Joliba is the name of the Niger River in the Bamana language."- This information from the Wikipedia article about the Djoliba Athletic Club, a Malian [West Africa] football [soccer] club and one of the two biggest teams in Mali alongside the Stade Malien Malia". -http://en.wikipedia.org/wiki/Djoliba_AC
-snip-
échauffement {French language]= overheating
[Extrapolating, I believe in music, échauffement is the phase of the music when the rhythm intensifies]
-snip-
Additional Comments About The Traditional Attire* Of Dundunba Dancers:
Dave Kobrenski described the traditional attire of dundunba dancers as "long loose fitting black trousers with white lines down the sides, colorful headbands, shirtless, showing off their strong physique."
Those "long loose fitting black trousers" are the same as or very similar to "harem pants". Here's information about "harem pants" from http://en.wikipedia.org/wiki/Harem_pants
..."The original so-called 'harem pants/skirts' were introduced to Western fashion by Paul Poiret around 1910, although they themselves were inspired by Middle East styles, and by şalvar (Turkish trousers)... A version of harem pants popularized in the late 1980s by [American Rapper] M. C. Hammer[11] became known as Hammer pants."
-end of quote-
The head band that was traditionally worn by the dancers probably served the purpose of catching some of the men's sweat that was the result of such rigorous dancing in the heat.
****
From http://www.reynders-bonhagen.nl/ritme/dunumba_dununba_dounumba_.html "DUNUMBA, DUNUNBA, DOUNUMBA"
"The word "dunumba" or "doundumba" describes a type of dance that is popular in Upper Guinea in the Kankan, Siguiri and Kourousa regions, but its roots are to be found in Hamanah, a canton of the prefecture of Kourousa. It is also called "the Dance of the Strong Men". The names of its various rhythms, of which there are a good twenty, are taken from their places of origin, from the names of the people they portray or to whom they are dedicated, from the characteristics of their structure or from the way the performers appear during the dance.
The "Dance of the Strong Men" as danced by the Malinke of Hamanah occupies a position that makes it more of a social ritual than an amusement, although this aspect is also not ignored. It takes place in the Bara, the space for dancing that every village possesses and which has a large tree, either a Kapok or Mangrove, planted in the center. The circles of men or boys are formed around the tree, each circle representing a social or age group (kare). The Baranti, the masters of the Bara form the group that assumes responsibility for the smooth running of the festivities. They are the first to dance, and no-one else can use the Bara without their agreement. Although the Dunumba is reserved for men as its name indicates, women could take part by dancing at one side or by coming to the centre to enliven the atmosphere."...
-snip-
That article includes additional quotes from different sources about dundunba, and brief descriptions of various dundunba rhythms.
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Monday, February 16, 2015
African Drums & Dances: Dundunba (Guinean Village Parties & Worldwide Concert Performances)
Edited by Azizi Powell
This is Part II of a three part series on dundunba drum rhythms and dances. Part II provides additional information about dundunba and showcases seven videos of dundunba parties in Guinea and concert (on stage) performances of Guinean dundunba rhythms.
Click http://pancocojams.blogspot.com/2015/02/african-drums-dances-dundunba-guinean.html for Part I of this series.
Part I provides information about the dundunba drum and showcases eight videos of traditional performances of dundunba rhythms and dances in Guinea, West Africa.
The videos of dundunba parties in Part II contrasts with those featured in Part I in that they may include female dancers as well as non-Guinean dancers, onlookers, and drummers.
Click http://pancocojams.blogspot.com/2015/02/dundunba-dance-traditional-purpose.html for Part III of this series, which was added on 2/18/2015.
Part III provides information about traditional purpose of Dundunba and includes a description of the traditional attire for those dancers.
The content of this post is presented for cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to all those featured in these videos and thanks to the publishers of these videos on YouTube. Thanks also to all those who are quoted in this post.
****
INFORMATION ABOUT DUNDUNBA
From http://echarry.web.wesleyan.edu/jembearticle/article.html "A Guide to the Jembe by Eric Charry",...Last updated 14 October 2000.
"The jembe (spelled djembe in French writing) is on the verge of achieving world status as a percussion instrument, rivaled in popularity perhaps only by the conga and steel pan. It first made an impact outside West Africa in the 1950s due to the world tours of Les Ballets Africains led by the Guinean Fodeba Keita...
Jembe repertories draw from many different sources. There are widespread core Maninka rhythms and dances such as Dundunba (one of the most widely recorded jembe rhythms), as well as more geographically limited dances such as Soli (Maninka of Guinea), Dansa (Xasonke of Mali) and Sunu (Bamana of Mali)...
Each jembe rhythm and dance has a purpose, a time, and a place. Some rhythms honor groups of people, such as Jeli don (jeli s), Woloso don (a class of slaves), or Dundunba (strong or brave men). (In Maninka, don means dance.) Other rhythms are associated with specific occasions, such as Soli (for circumcisions and excisions) and Kassa (accompanying the cultivation of fields). Ballet and concert jembe players have all grown up in and passed through village traditions. Bypassing training in village traditions is rare"...
****
From http://www.asgardprod.com/westafricanrhythmvol1.htm "West African Rhythms - Volume I"; A Dance CD by Roderick Jackson & Ensemble
"Dundunba = 'The dance of the strong men.' Among the Malinke of Guinea there are more than 20 different Doundounba rhythms. Each variation centers around the melodic conversation between the dundun, sangban, and kenkeni. Originally performed by wrestlers, Doundounba is currently performed by men and women and is regarded by many as the national rhythm and dance of Guinea"
-snip-
This is one of the five African drum rhythms featured in this CD.
****
FEATURED VIDEOS
These videos are presented in chronological order based on their publishing dates on YouTube with the examples with the oldest dates presented first.
Example #1: Dundunba in Conakry
Jessica Towns-Camara, Uploaded on Mar 29, 2008
www.douniadjembe.com This is a great video that features just about everyone who will be involved in Experience La Guinee, Dounia Djembe's educational and artistic journey to Guinea, West Africa with founder Manimou Camara.
****
Example #2: DUNDUNBA with Bolokada Conde and Wadaba Kourouma
djembefola, Uploaded on Oct 10, 2009
****
Example #3: Dununba #1 "HD" Djembe drum and dance party in Conakry, Guinea
Michael Pluznick, Uploaded on Dec 17, 2009
"African Dance": ...This video was shot a Dununba (aka dundunba) party I attended in Conakry, Guinea West Africa...
****
Example #4: "African Dance": "HD" Dundunba #5 Community African Drum and Dance party in Guinea, West Africa
Michael Pluznick Uploaded on Dec 18, 2009
...This video is number 5 in a new series of new high definition (HD 1080i) videos I shot on my drum study trip to Conakry, Guinea, West Africa to study with djembe masters and West African dancers. This is a Dundunba community drumT and dance party where dancers take turns showing their unique and interesting dance moves in the streets.
****
Example #5: Dundunba - Djembés d'or 2010
Guinean Dundunfola in Canada, Uploaded on Nov 7, 2010
Fode Mohamed Soumah (Akra) et plusieurs grands percussionnistes guinéens ont joué ces Dundunba au cours du spectacle Les Djembés d'or, qui s'est tenu les 5 et 6 novembre 2010 à Gatineau (Québec, Canada).
-snip-
Google translate from French to English:
"Fode Mohamed Soumah (Akra) and several large Guinean drummers played these Dundunba during the show Gold Djembes, held on 5 and 6 November 2010 in Gatineau (Quebec, Canada)."
****
Example #6: AFH348 - Mamady Keita & Sewa Kan
Afrikafestival Hertme, Published on Feb 2, 2014
Mamady KEITA was born in 1950 in the middle of the Guinean savannah. Introduced to the djembe from the age of 7, he joined the Ballet National Djoliba of Guinea at 14, quickly becoming the solo drummer and later artistic director. Mamady toured all over the world with Djoliba, appearing at numerous major festivals including, in 1969, the Pan-African Festival of Algiers where he received the gold medal and especially the title of "Africa's greatest drummer". In 1986, he joined the Koteba company in Abidjan directed by Souleymane Koly. In 1989, he created his group SEWA KAN and settled in Belgium. Mamady gave to djembe its letters of nobilities while bringing ist artistic autonomy, proving thus that it is not only one percussion instrument of accompaniment to the service of the song and the dance but also an instrument of creation. Mamady teaches djembe in the whole world (Europe, the USA, Japan, Bresil & Africa) where he has reached a celebrity on the way to become "mythical".
****
Example #7: Allstar Dununba in Toure Kunda (Conakry, Matam 2014)
Afropulsacja Kaczego, Published on Jun 29, 2014
Djembe solo / Amadou Bangoura
Dundun / Mouctar Toure
Sangban / Alaye Nabysangban Drame
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This is Part II of a three part series on dundunba drum rhythms and dances. Part II provides additional information about dundunba and showcases seven videos of dundunba parties in Guinea and concert (on stage) performances of Guinean dundunba rhythms.
Click http://pancocojams.blogspot.com/2015/02/african-drums-dances-dundunba-guinean.html for Part I of this series.
Part I provides information about the dundunba drum and showcases eight videos of traditional performances of dundunba rhythms and dances in Guinea, West Africa.
The videos of dundunba parties in Part II contrasts with those featured in Part I in that they may include female dancers as well as non-Guinean dancers, onlookers, and drummers.
Click http://pancocojams.blogspot.com/2015/02/dundunba-dance-traditional-purpose.html for Part III of this series, which was added on 2/18/2015.
Part III provides information about traditional purpose of Dundunba and includes a description of the traditional attire for those dancers.
The content of this post is presented for cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to all those featured in these videos and thanks to the publishers of these videos on YouTube. Thanks also to all those who are quoted in this post.
****
INFORMATION ABOUT DUNDUNBA
From http://echarry.web.wesleyan.edu/jembearticle/article.html "A Guide to the Jembe by Eric Charry",...Last updated 14 October 2000.
"The jembe (spelled djembe in French writing) is on the verge of achieving world status as a percussion instrument, rivaled in popularity perhaps only by the conga and steel pan. It first made an impact outside West Africa in the 1950s due to the world tours of Les Ballets Africains led by the Guinean Fodeba Keita...
Jembe repertories draw from many different sources. There are widespread core Maninka rhythms and dances such as Dundunba (one of the most widely recorded jembe rhythms), as well as more geographically limited dances such as Soli (Maninka of Guinea), Dansa (Xasonke of Mali) and Sunu (Bamana of Mali)...
Each jembe rhythm and dance has a purpose, a time, and a place. Some rhythms honor groups of people, such as Jeli don (jeli s), Woloso don (a class of slaves), or Dundunba (strong or brave men). (In Maninka, don means dance.) Other rhythms are associated with specific occasions, such as Soli (for circumcisions and excisions) and Kassa (accompanying the cultivation of fields). Ballet and concert jembe players have all grown up in and passed through village traditions. Bypassing training in village traditions is rare"...
****
From http://www.asgardprod.com/westafricanrhythmvol1.htm "West African Rhythms - Volume I"; A Dance CD by Roderick Jackson & Ensemble
"Dundunba = 'The dance of the strong men.' Among the Malinke of Guinea there are more than 20 different Doundounba rhythms. Each variation centers around the melodic conversation between the dundun, sangban, and kenkeni. Originally performed by wrestlers, Doundounba is currently performed by men and women and is regarded by many as the national rhythm and dance of Guinea"
-snip-
This is one of the five African drum rhythms featured in this CD.
****
FEATURED VIDEOS
These videos are presented in chronological order based on their publishing dates on YouTube with the examples with the oldest dates presented first.
Example #1: Dundunba in Conakry
Jessica Towns-Camara, Uploaded on Mar 29, 2008
www.douniadjembe.com This is a great video that features just about everyone who will be involved in Experience La Guinee, Dounia Djembe's educational and artistic journey to Guinea, West Africa with founder Manimou Camara.
****
Example #2: DUNDUNBA with Bolokada Conde and Wadaba Kourouma
djembefola, Uploaded on Oct 10, 2009
****
Example #3: Dununba #1 "HD" Djembe drum and dance party in Conakry, Guinea
Michael Pluznick, Uploaded on Dec 17, 2009
"African Dance": ...This video was shot a Dununba (aka dundunba) party I attended in Conakry, Guinea West Africa...
****
Example #4: "African Dance": "HD" Dundunba #5 Community African Drum and Dance party in Guinea, West Africa
Michael Pluznick Uploaded on Dec 18, 2009
...This video is number 5 in a new series of new high definition (HD 1080i) videos I shot on my drum study trip to Conakry, Guinea, West Africa to study with djembe masters and West African dancers. This is a Dundunba community drumT and dance party where dancers take turns showing their unique and interesting dance moves in the streets.
****
Example #5: Dundunba - Djembés d'or 2010
Guinean Dundunfola in Canada, Uploaded on Nov 7, 2010
Fode Mohamed Soumah (Akra) et plusieurs grands percussionnistes guinéens ont joué ces Dundunba au cours du spectacle Les Djembés d'or, qui s'est tenu les 5 et 6 novembre 2010 à Gatineau (Québec, Canada).
-snip-
Google translate from French to English:
"Fode Mohamed Soumah (Akra) and several large Guinean drummers played these Dundunba during the show Gold Djembes, held on 5 and 6 November 2010 in Gatineau (Quebec, Canada)."
****
Example #6: AFH348 - Mamady Keita & Sewa Kan
Afrikafestival Hertme, Published on Feb 2, 2014
Mamady KEITA was born in 1950 in the middle of the Guinean savannah. Introduced to the djembe from the age of 7, he joined the Ballet National Djoliba of Guinea at 14, quickly becoming the solo drummer and later artistic director. Mamady toured all over the world with Djoliba, appearing at numerous major festivals including, in 1969, the Pan-African Festival of Algiers where he received the gold medal and especially the title of "Africa's greatest drummer". In 1986, he joined the Koteba company in Abidjan directed by Souleymane Koly. In 1989, he created his group SEWA KAN and settled in Belgium. Mamady gave to djembe its letters of nobilities while bringing ist artistic autonomy, proving thus that it is not only one percussion instrument of accompaniment to the service of the song and the dance but also an instrument of creation. Mamady teaches djembe in the whole world (Europe, the USA, Japan, Bresil & Africa) where he has reached a celebrity on the way to become "mythical".
****
Example #7: Allstar Dununba in Toure Kunda (Conakry, Matam 2014)
Afropulsacja Kaczego, Published on Jun 29, 2014
Djembe solo / Amadou Bangoura
Dundun / Mouctar Toure
Sangban / Alaye Nabysangban Drame
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
African Drums & Dances: Dundunba (Guinean Village Performances)
Edited by Azizi Powell
This is Part I of a three part* series on dundunba drum rhythms and dances. This post provides information about the dundunba drum and showcases nine videos of traditional performances of dundunba rhythms and dances in Guinea, West Africa. [Link to another video was added on 2/17/2015]
Click http://pancocojams.blogspot.com/2015/02/african-drums-dances-dundunba-guinean_16.html for Part II of this series.
Part II provides additional information about dundunba and showcases seven videos of dundunba parties in Guinea and concert (on stage) performances of Guinean dundunba rhythms.
Click http://pancocojams.blogspot.com/2015/02/dundunba-dance-traditional-purpose.html for Part III of this series, which was added on 2/18/2015.
Part III provides information about traditional purpose of Dundunba and includes a description of the traditional attire for those dancers. As such, it serves as answers to the questions that I raised in the comment section below.
The content of this post is presented for cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to all those featured in these videos and thanks to the publishers of these videos on YouTube. Thanks also to all those who are quoted in this post.
****
INFORMATION ABOUT DUNDUNBA [revised on 2/18/2015]
From http://www.reynders-bonhagen.nl/ritme/dunumba_dununba_dounumba_.html "DUNUMBA, DUNUNBA, DOUNUMBA"
"The word "dunumba" or "doundumba" describes a type of dance that is popular in Upper Guinea in the Kankan, Siguiri and Kourousa regions, but its roots are to be found in Hamanah, a canton of the prefecture of Kourousa. It is also called "the Dance of the Strong Men". The names of its various rhythms, of which there are a good twenty, are taken from their places of origin, from the names of the people they portray or to whom they are dedicated, from the characteristics of their structure or from the way the performers appear during the dance.
The "Dance of the Strong Men" as danced by the Malinke of Hamanah occupies a position that makes it more of a social ritual than an amusement, although this aspect is also not ignored. It takes place in the Bara, the space for dancing that every village possesses and which has a large tree, either a Kapok or Mangrove, planted in the center. The circles of men or boys are formed around the tree, each circle representing a social or age group (kare). The Baranti, the masters of the Bara form the group that assumes responsibility for the smooth running of the festivities. They are the first to dance, and no-one else can use the Bara without their agreement. Although the Dunumba is reserved for men as its name indicates, women could take part by dancing at one side or by coming to the centre to enliven the atmosphere."...
-snip-
That article includes quotes from different sources about dundunba, and brief descriptions of various dundunba rhythms.
Click http://en.wikipedia.org/wiki/Dunun for information about dundunba drums
****
FEATURED VIDEOS
These videos are presented in chronological order based on their publishing dates on YouTube with the examples with the oldest dates presented first.
Example #1: Kouyate (Djembe y Dum Dum)
levy Braunstein, Uploaded on Dec 21, 2006
Toque tradicional de Djembe y Dum Dum, no se que pais creo que de Mali o Guinea, si saben mas diganme que me interesa conocer..
-snip-
Traditional rhythms of djembe and dundun. I'm not sure if this is from Mali or Guinea. If you know please tell me.
-snip-
Comment from David Langer, 2007
"el toque es uno de los ritmos Dunumbá de Guinea ,cro que es el Dunun gbé"
-snip-
English Translation: This is one of the Dunumbá rhythms of Guinea. I think it's the Dunun gbé.
**
Comment from andres luis sanchez bustos, 2009
"yo creo q es de guinea por que kouyate es la familia y si buscas en internet sale que la familia kouyate es de guinea ;)"
-snip-
Google translate:
I think guinea q is that Kouyate is family and if you search the internet goes guinea Kouyate family;)
****
Example #2: Dununba Traditional Guinea 2008 Sangbarala, Guinea
https://www.youtube.com/watch?v=1x9nEAM02Fs
Embedding disabled by request
Alan Tauber, Uploaded on Feb 13, 2009
http://www.drumconnection.com Traditional Dununba 2008 at village of Famoudou Konate. Many of my friends are dancing:) From DrumConnection Trip to Africa Educational Experience Nov 2008. Sangbarala Guinea.
****
Example #3: Sangbarala Dundunba
GUINEA ～Djembe～, Uploaded on Jun 29, 2011
２０１０ DEC.
サンバララ村のトラディショナルなドゥンドゥンバの祭り。
-snip-
UPDATE June 4, 2017
I wrote this comment in 2015 on this video's discussion thread along with a link to this post:
Azizi Powell, 2015
"I LOVE watching these dancers and drummers. As an African American community folklorist I'd love to learn more about the way this traditional dancing is done.
What is the significance of various groups of men dancing in their separate lines? Is there some criteria which determines which line men dance with? There seems to be older men leading or directing each line. Are these men graduates of those lines and the ones who teach the men these dances and perhaps other things about the dances cultural meanings?
Are the lines men wearing black pants with white geometric designs the "real" dundunba dancers (part of some group or groups) and the men who aren't wearing those pants and the rest of that outfit including the hand held items, just people from the community who want to dance or people from the community who weren't selected or initiated in dundunba groups?
And does one line of dundunba dancers compete with other lines of dancers?
I ask these questions with all respect and appreciation for this cultural art form.
Thanks for any responses to my questions."
****
Here's a response that I received on June 4, 2017
Bakary Kora, June 4, 2017
"Azizi Powell ... I haven't really seen much response to your questions even after 2 yrs later. May be you have gotten some answers already and if that's the case then this is just a small addition from a humble person who grew up in this culture and also blessed to speak English in order to communicate with my African American brother about this subject. Please know that there's more to these things than meets the eye. This is just amusing sounds and mere dance on the surface, but there are layers to Manding or African drumming in general. There is Sound Therapy, Biology, Social Science and other things in play. But to answer your question directly, let me say that the other dancers you distinguished here, even including the man leading the group are just dressed in western clothes as most of the world is today. That was never the case in the old days.... no one would've dared to dress like that in a traditional event like this whether they are the main characters of the event or not, but that's new age for you??? Even resilient African cultures are changing gradually but that's with everything, as you know nothing remains constant under the sun. So there is not much meaning to be found in the way they are dressed or how they are following each other in line, but the underlying meanings have been cultural essences automatically infused by our ancestors even when such essence was no longer understood by the participants. I said all this because you are a folklorist as you said and I respect your interest. Please message me so that I could elaborate more on this. There is much more to Manding drumming than people understand and we ain't telling everyone that's for sure."
-snip-
Bakary Kora's response to my questions is very much appreciated and is the only response that I've received to these questions as of this date. I referred him to this page for my contact information.
**
Here's another informative exchange from that video's discussion thread:
Marques Cameron, 2016
"Why do they pour water on the ground?"
**
Reply
Haly Bamba, 2016
"To avoid dust"
****
Example #4: Kaba Keita カバ・ケイタ ドゥンドゥンバ 演奏 doundounba
Keiko Ishida, Keiko Ishida Uploaded on Sep 17, 2011
Sarankoro, a small village in the Hamana region. 2011
Kaba plays with American, Abu, Ibru and Kemo
2011年にサランコロで撮影。子供たちが踊るドゥンドゥンバなどのカバの紹介ビデオ
-snip-
Kaba is also drumming in the video given as Example #2. In that video he's wearing blue and is the lead jembe player.
****
Example #5: Dundunba Dance - Baradata Dunun (Gbendo, Guinea, December 2011)
Traditional Malinke Music from Guinea (and some other things), Published on Jul 3, 2012
This rhythm is called Baradata dunun which literally means "drums for walking to the Bara (the village centre or open area). The drummers begin at the chief drummer's house and walk to the "bara". After a while you see the dundunbafola arrive with his instrument and the rhythm eventually changes to Kon/Dunungbe. and lastly Gbada. The drummers will play Kon-Gbada 3 times and by the end of the third time the dancers should have arrived and then the fete begins. This was filmed at 8am on the third day of the Baradasa celebrations.
Drummers are;
Petit Namory Keita (Baro) on djembe
Lai Kouyaté on sangban
Mamady "Sakala" Condé on kensendeni
and eventually Mamady "Roi" Kourouma on dundunba.
****
Example #6: Dundunba Dance - Kon, Denmusoni Kelen & Gbada no.2 (Gbendo, December 2011)
Traditional Malinke Music from Guinea (and some other things), Published on Jul 18, 2012
Kon, Denmusoni Kelen and Gbada being played in Gbendo, a village near Kankan in Guinea, West Africa. This was the first day of 3 days of celebrations for the Baradasa.
You can see at the end of the video how they begin Kon again, slowly. Kon is usually played 3 times at the beginning of a Dundunba fete.
On djembe we have Mamady "Sakala" Condé and another Mamady from Baro.
On sangban Lai Kouyaté
On dundunba Mamady "Kassa"
-snip-
Notice that one boy in this video is wearing a shirt with a picture of United States President Barack Obama. Another boy is wearing a shirt with the brand name of the American company "Addidas".
****
Example #7: Dundunba Dance - Kontèmudu & Bilakorodundun (Gbendo, December 2011)
Traditional Malinke Music from Guinea (and some other things) Published on Jul 18, 2012
The rhythms Kontèmudu and Bilakörödundun played in Gbendo.
The drummers are
Mamady "Sakala" Condé and Nansady Kourouma on djembe solo
Lai Kouyaté on sangban
Mamady "Roi" and Mamady "Kassa" on dundunba
****
Example #8: NANSADY KEITA.......DUNDUNBA EN SANGBARALA
oscar javier, Published on Jan 19, 2013
Fiesta dundunba en sangbaralla con el gran maestro NANSADY KEITA
-snip-
English Translation: Dundunba Sangbaralla party with the great master NANSADY KEITA.
****
Example #9: Faceli Kourouma & Moussa Oularé - Morowaya,Guinea 2013 (Part 2)
Jason Elbracht Published on May 15, 2014
Faceli Kourouma - Djembe
Moussa Oularé - Sangban
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This is Part I of a three part* series on dundunba drum rhythms and dances. This post provides information about the dundunba drum and showcases nine videos of traditional performances of dundunba rhythms and dances in Guinea, West Africa. [Link to another video was added on 2/17/2015]
Click http://pancocojams.blogspot.com/2015/02/african-drums-dances-dundunba-guinean_16.html for Part II of this series.
Part II provides additional information about dundunba and showcases seven videos of dundunba parties in Guinea and concert (on stage) performances of Guinean dundunba rhythms.
Click http://pancocojams.blogspot.com/2015/02/dundunba-dance-traditional-purpose.html for Part III of this series, which was added on 2/18/2015.
Part III provides information about traditional purpose of Dundunba and includes a description of the traditional attire for those dancers. As such, it serves as answers to the questions that I raised in the comment section below.
The content of this post is presented for cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to all those featured in these videos and thanks to the publishers of these videos on YouTube. Thanks also to all those who are quoted in this post.
****
INFORMATION ABOUT DUNDUNBA [revised on 2/18/2015]
From http://www.reynders-bonhagen.nl/ritme/dunumba_dununba_dounumba_.html "DUNUMBA, DUNUNBA, DOUNUMBA"
"The word "dunumba" or "doundumba" describes a type of dance that is popular in Upper Guinea in the Kankan, Siguiri and Kourousa regions, but its roots are to be found in Hamanah, a canton of the prefecture of Kourousa. It is also called "the Dance of the Strong Men". The names of its various rhythms, of which there are a good twenty, are taken from their places of origin, from the names of the people they portray or to whom they are dedicated, from the characteristics of their structure or from the way the performers appear during the dance.
The "Dance of the Strong Men" as danced by the Malinke of Hamanah occupies a position that makes it more of a social ritual than an amusement, although this aspect is also not ignored. It takes place in the Bara, the space for dancing that every village possesses and which has a large tree, either a Kapok or Mangrove, planted in the center. The circles of men or boys are formed around the tree, each circle representing a social or age group (kare). The Baranti, the masters of the Bara form the group that assumes responsibility for the smooth running of the festivities. They are the first to dance, and no-one else can use the Bara without their agreement. Although the Dunumba is reserved for men as its name indicates, women could take part by dancing at one side or by coming to the centre to enliven the atmosphere."...
-snip-
That article includes quotes from different sources about dundunba, and brief descriptions of various dundunba rhythms.
Click http://en.wikipedia.org/wiki/Dunun for information about dundunba drums
****
FEATURED VIDEOS
These videos are presented in chronological order based on their publishing dates on YouTube with the examples with the oldest dates presented first.
Example #1: Kouyate (Djembe y Dum Dum)
levy Braunstein, Uploaded on Dec 21, 2006
Toque tradicional de Djembe y Dum Dum, no se que pais creo que de Mali o Guinea, si saben mas diganme que me interesa conocer..
-snip-
Traditional rhythms of djembe and dundun. I'm not sure if this is from Mali or Guinea. If you know please tell me.
-snip-
Comment from David Langer, 2007
"el toque es uno de los ritmos Dunumbá de Guinea ,cro que es el Dunun gbé"
-snip-
English Translation: This is one of the Dunumbá rhythms of Guinea. I think it's the Dunun gbé.
**
Comment from andres luis sanchez bustos, 2009
"yo creo q es de guinea por que kouyate es la familia y si buscas en internet sale que la familia kouyate es de guinea ;)"
-snip-
Google translate:
I think guinea q is that Kouyate is family and if you search the internet goes guinea Kouyate family;)
****
Example #2: Dununba Traditional Guinea 2008 Sangbarala, Guinea
https://www.youtube.com/watch?v=1x9nEAM02Fs
Embedding disabled by request
Alan Tauber, Uploaded on Feb 13, 2009
http://www.drumconnection.com Traditional Dununba 2008 at village of Famoudou Konate. Many of my friends are dancing:) From DrumConnection Trip to Africa Educational Experience Nov 2008. Sangbarala Guinea.
****
Example #3: Sangbarala Dundunba
GUINEA ～Djembe～, Uploaded on Jun 29, 2011
２０１０ DEC.
サンバララ村のトラディショナルなドゥンドゥンバの祭り。
-snip-
UPDATE June 4, 2017
I wrote this comment in 2015 on this video's discussion thread along with a link to this post:
Azizi Powell, 2015
"I LOVE watching these dancers and drummers. As an African American community folklorist I'd love to learn more about the way this traditional dancing is done.
What is the significance of various groups of men dancing in their separate lines? Is there some criteria which determines which line men dance with? There seems to be older men leading or directing each line. Are these men graduates of those lines and the ones who teach the men these dances and perhaps other things about the dances cultural meanings?
Are the lines men wearing black pants with white geometric designs the "real" dundunba dancers (part of some group or groups) and the men who aren't wearing those pants and the rest of that outfit including the hand held items, just people from the community who want to dance or people from the community who weren't selected or initiated in dundunba groups?
And does one line of dundunba dancers compete with other lines of dancers?
I ask these questions with all respect and appreciation for this cultural art form.
Thanks for any responses to my questions."
****
Here's a response that I received on June 4, 2017
Bakary Kora, June 4, 2017
"Azizi Powell ... I haven't really seen much response to your questions even after 2 yrs later. May be you have gotten some answers already and if that's the case then this is just a small addition from a humble person who grew up in this culture and also blessed to speak English in order to communicate with my African American brother about this subject. Please know that there's more to these things than meets the eye. This is just amusing sounds and mere dance on the surface, but there are layers to Manding or African drumming in general. There is Sound Therapy, Biology, Social Science and other things in play. But to answer your question directly, let me say that the other dancers you distinguished here, even including the man leading the group are just dressed in western clothes as most of the world is today. That was never the case in the old days.... no one would've dared to dress like that in a traditional event like this whether they are the main characters of the event or not, but that's new age for you??? Even resilient African cultures are changing gradually but that's with everything, as you know nothing remains constant under the sun. So there is not much meaning to be found in the way they are dressed or how they are following each other in line, but the underlying meanings have been cultural essences automatically infused by our ancestors even when such essence was no longer understood by the participants. I said all this because you are a folklorist as you said and I respect your interest. Please message me so that I could elaborate more on this. There is much more to Manding drumming than people understand and we ain't telling everyone that's for sure."
-snip-
Bakary Kora's response to my questions is very much appreciated and is the only response that I've received to these questions as of this date. I referred him to this page for my contact information.
**
Here's another informative exchange from that video's discussion thread:
Marques Cameron, 2016
"Why do they pour water on the ground?"
**
Reply
Haly Bamba, 2016
"To avoid dust"
****
Example #4: Kaba Keita カバ・ケイタ ドゥンドゥンバ 演奏 doundounba
Keiko Ishida, Keiko Ishida Uploaded on Sep 17, 2011
Sarankoro, a small village in the Hamana region. 2011
Kaba plays with American, Abu, Ibru and Kemo
2011年にサランコロで撮影。子供たちが踊るドゥンドゥンバなどのカバの紹介ビデオ
-snip-
Kaba is also drumming in the video given as Example #2. In that video he's wearing blue and is the lead jembe player.
****
Example #5: Dundunba Dance - Baradata Dunun (Gbendo, Guinea, December 2011)
Traditional Malinke Music from Guinea (and some other things), Published on Jul 3, 2012
This rhythm is called Baradata dunun which literally means "drums for walking to the Bara (the village centre or open area). The drummers begin at the chief drummer's house and walk to the "bara". After a while you see the dundunbafola arrive with his instrument and the rhythm eventually changes to Kon/Dunungbe. and lastly Gbada. The drummers will play Kon-Gbada 3 times and by the end of the third time the dancers should have arrived and then the fete begins. This was filmed at 8am on the third day of the Baradasa celebrations.
Drummers are;
Petit Namory Keita (Baro) on djembe
Lai Kouyaté on sangban
Mamady "Sakala" Condé on kensendeni
and eventually Mamady "Roi" Kourouma on dundunba.
****
Example #6: Dundunba Dance - Kon, Denmusoni Kelen & Gbada no.2 (Gbendo, December 2011)
Traditional Malinke Music from Guinea (and some other things), Published on Jul 18, 2012
Kon, Denmusoni Kelen and Gbada being played in Gbendo, a village near Kankan in Guinea, West Africa. This was the first day of 3 days of celebrations for the Baradasa.
You can see at the end of the video how they begin Kon again, slowly. Kon is usually played 3 times at the beginning of a Dundunba fete.
On djembe we have Mamady "Sakala" Condé and another Mamady from Baro.
On sangban Lai Kouyaté
On dundunba Mamady "Kassa"
-snip-
Notice that one boy in this video is wearing a shirt with a picture of United States President Barack Obama. Another boy is wearing a shirt with the brand name of the American company "Addidas".
****
Example #7: Dundunba Dance - Kontèmudu & Bilakorodundun (Gbendo, December 2011)
Traditional Malinke Music from Guinea (and some other things) Published on Jul 18, 2012
The rhythms Kontèmudu and Bilakörödundun played in Gbendo.
The drummers are
Mamady "Sakala" Condé and Nansady Kourouma on djembe solo
Lai Kouyaté on sangban
Mamady "Roi" and Mamady "Kassa" on dundunba
****
Example #8: NANSADY KEITA.......DUNDUNBA EN SANGBARALA
oscar javier, Published on Jan 19, 2013
Fiesta dundunba en sangbaralla con el gran maestro NANSADY KEITA
-snip-
English Translation: Dundunba Sangbaralla party with the great master NANSADY KEITA.
****
Example #9: Faceli Kourouma & Moussa Oularé - Morowaya,Guinea 2013 (Part 2)
Jason Elbracht Published on May 15, 2014
Faceli Kourouma - Djembe
Moussa Oularé - Sangban
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Subscribe to:
Posts (Atom)