Edited by Azizi Powell
Revised January 20, 2018
This post showcases seven videos of Abou Djouba Deh, a Senegalese vocalist of traditional Fulbé (Fula; Fulani, Peul) songs. The singer's name is also given as "Abou Djouba" "Abou Diouba" and "Abu Juba".
Brief informational quotes about Fula (Fulani, Fulbé, Peul) culture and brief informational quotes about Abou Djouba Deh are also included in this post.
The content of this post is provided for cultural, entertainment, and aesthetic reasons.
All copyright remains with their owners.
Thanks to Abou Djouba Deh for his musical legacy. Thanks to all others who are featured in these videos. Thanks also to all those who are quoted in this post, and thanks to the publishers of these videos on YouTube.
****
INFORMATION ABOUT FULA PEOPLE
From http://en.wikipedia.org/wiki/Fula_people
The Fula people or Fulani or Fulɓe (Fula: Fulɓe; French: Peul; Hausa: Fulani; Portuguese: Fula; Wolof: Pël; Bambara: Fulaw) are one of the largest ethnolinguistic groups in Africa, numbering approximately 40 million people in total. They are one of the most widely dispersed and culturally diverse of the peoples of Africa.[18] The Fulani are bound together by the common language of Fulfulde, as well as by some basic elements of Fulbe culture, such as The pulaaku , a code of conduct common to all Fulani groups.
A significant proportion of their number, (an estimated 13 million), are nomadic, making them the largest pastoral nomadic group in the world.[19] Spread over many countries, they are found mainly in West Africa and northern parts of Central Africa, but also in Sudan and Egypt...
Total population:
c. 40 Million +
significant concentrations in:
Nigeria, Guinea, Cameroon, Senegal, Mali, Niger, Burkina Faso, Sudan, Chad
****
Music
The Fula have a rich musical culture and play a variety of traditional instruments including drums, hoddu (a plucked skin-covered lute similar to a banjo) and riti or riiti (a one-string bowed instrument similar to a violin), in addition to vocal music. The well known Senegalese Fula popular musician Baaba Maal sings in Pulaar on his recordings. "Zaghareet" or ululation is a popular form of vocal music formed by rapidly moving the tongue sideways and making a sharp, high sound.
Fulani music is as varied as its people."...
****
INFORMATION ABOUT ABOU DJOUBA DEH
From http://www.natari.com/senegal.htm
ABOU DJOUBA DEH ET LE JAARE N'GENNDY
"Quite an interesting style to Abou's mbalax as his incisive vocals put the bite on your ears one minute while his softer side is quite hypnotic the next. The music from the seven members of the group is a pleasure to listen to with the twinkling strings of Mamadou Sy and Djiby Dia's xalams up front and competeing with Moussa Ngning and Elle Mbaye's drumming. Nice bit of keyboard play from Aziz and Baidy Diallo which adds to the overall difference. ( F.T.Index:Cemmedel Kessel, Dewgal, Mounal, Jam E Kasamaas, Dimo, Dental. ) [6T/36M]"
**
Album review: ABOU DJOUBA TEDDOUNGAL TORO TEDDO TC 6.50 COL
"A lovely album of traditional Fula style music that's just full of tinkling xalam, hoddou and kora, plus percussion from tama, talmbatt, etc. Abou is an immensly popular and also a very powerful singer not just in his own ethnic area but is also much appreciated in Dakar. His style is quite similar to Baaba Maal so if you like Baaba then you'll love this one from Abou. Beautiful and atmospheric. (F.T.INDEX: Doro Dia, Demiba, Diao Dia, Poullo-Oro, Yobe-Garr, Cire Kane, Thilo Ba, Bodial.) [8T/30M] "
-snip-
This album review is an excerpt from an alphabetical listing of reviews of various Senegalese albums.
****
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: abu juba/yewwende
barubah54, Uploaded on Jun 19, 2008
www.mbiimi.com
Music
"Yéwendé" by Abou Diouba Deh, le Jaaré N'Genndy, Abou Diouba Deh, le Jaaré N'Genndy
****
Example #2: Abou djouba Deh
Al Hussein Ly, Uploaded on Nov 13, 2010
pulagu,
ina welii
this selection of Abou Djouba's songs reminds any peulh (fulani) back home
****
Example #3: Abou Diouba Deh: Beeli Seeno | Fulbe(Fulani) music
Ethio0203, Uploaded on Dec 21, 2010
****
Example #4: ABOU DIOUBA /HAMO DIOP/NDEYE COUMBA DIA NOUAKCHOTT
DIAMAL70, Published on May 25, 2012
****
Example #5: Retour triomphal sur scène d'Abou Diouba Deh à Nouakchott [PhotoReportage]
cridem.org Published on Apr 14, 2013
Révélé pour son œuvre musicale qui a marqué des générations et des époques, le chanteur sénégalais Abou Diouba Deh a chauffé Mauricom ce vendredi 12 avril 2013 avec une prestation musicale qui s'est prolongée tard dans la nuit.
-snip-
Google translate from French to English:
Revealed for his musical work that has influenced generations and eras, Senegalese singer Abu Diouba Deh heated Mauricom this Friday, April 12, 2013 with a musical performance that went on late into the night.
“Revealed” here probably means “celebrated”
****
Examble #6: Abou Djouba Deh - Adama Nilla Sow
2F-Fooyere Fulbe, Published on Nov 14, 2013
Abonnez-vous sur Pulaagu Tv- pour rester au cœur de l'univers Fulbé
http://www.youtube.com/channel/UCs_Hi...
Adama Nilla Sow
****
Example #7: Abou Djouba Deh - Mamoudou Samba Lewyel (Live)
2F-Fooyere Fulbe, Published on Nov 14, 2013
Abonnez-vous sur Pulaagu Tv- pour rester au cœur de l'univers Fulbé
http://www.youtube.com/channel/UCs_Hi...
****
Thanks for visiting pancocojams.
Viewer comments are welcome.
Showing posts with label Fulani. Show all posts
Showing posts with label Fulani. Show all posts
Friday, March 13, 2015
Friday, July 18, 2014
Two Excerpts Of The "Kaidara", A Fulani Epic Poem (with English translations)
Edited by Azizi Powell
This post features two excerpts of the "Kaidara", a traditional African epic poem. The "Kaidara" originally was prose recitations which formed part of traditional Fulani religious education.
These excerpts demonstrate that people speaking traditional African languages created compositions that are the complete opposite of the meaningless "ooga booga" utterances that Hollywood and other elements of Western societies characterized those languages as being.
The content of this post is presented for folkloric, cultural, and aesthetic purposes.
All copyrights remain with their owners.
Thank to those who composed this traditional narrative. Thanks also to Amadou-Hampaté Ba for putting this narrative in versified form. And thanks to D. W. Arnott and others for providing excerpts of and information about "Kaidara" and other examples of Fulani narrative compositions.
****
DEFINITION OF "EPIC POEM"
From http://education-portal.com/academy/lesson/epic-poetry-definition-heroes-stories.html#lesson
"An epic poem is a long, narrative poem that is usually about heroic deeds and events that are significant to the culture of the poet. Many ancient writers used epic poetry to tell tales of intense adventures and heroic feats. Some of the most famous literary masterpieces in the world were written in the form of epic poetry."
-snip-
The two examples of epic poems that the article cited focus on are "Gilgamesh" and "The Iliad". The Fulani narrative "Kaidara" fits that definition of an epic poem.
****
FEATURED EXCERPTS
From http://www.webpulaaku.net/defte/dwarnott/fula_literature.html#n12 D. W. Arnott. "Literature in Fula" in in Literatures in African Languages: theoretical issues and sample surveys B.W. Andrzejewski, S. Pilaszewicz, W. Tyloch (eds.)Cambridge University Press. 1985. p. 72-97
The Fulani, Fula, or Fulɓe are the traditionally nomadic cattle owners of West Africa, whose ultimate origins have been the subject of much speculation. While their early habitat in West Africa was apparently in an area in the vicinity of the borders of present-day Mali, Senegal and Mauritania, they are now, after centuries of gradual migrations and conquests, spread throughout a wide band of West Africa...
The Fulani preoccupation with cattle is also reflected in their many spells and incantations, while traces of their pre Islamic religion survive in initiatory recitations and the like.
An outstanding example of such a survival is Kaidara, with its sequel Laaytere koodal (The brightness of the great star), and Lootori (Ritual bathing). Originally prose recitations which formed part of traditional Fulani religious education, they have been published in a versified form which owes much to the poetic genius of Amadou-Hampaté Ba.
Kaidara, a poem of 2,452 lines, is an allegorical representation of the process of initiation with its 12 stages. It tells of the descent into a magic underworld of three men —a freeman and two serfs— and the adventures and vicissitudes they encounter on their journey to “the country of dwarf spirits, the mystic land of Kaidara”, the supreme spirit. They encounter successively a dozen creatures or natural phenomena which are symbols with mystical significance : a chameleon, a bat, a scorpion, a pool guarded by twin serpents, two fountains, and so forth.
The whole tale is presented dramatically and with imaginative and highly developed descriptions which from the literary point of view are the highlights of the poem-poetic descriptions of the dawn, and vivid and artistic accounts of a forest fire, a tornado and a tropical storm, of which the following verses are typical
[Citation] 12 & 13: Ba, Amadou-Hampaté and Lilyan Kesteloot (ed.), Kaidara, lines 1246-1271.
13. Ibid., lines 1544-1547
IV
Nde Baylal-kammu kem-noo Doo, e mbayla,
yani ana wifa bifirDi fa mbayla jaaBa.
Nde ka hoondoy wulaare wadoy e leydi
teddi e mayri faa kala waryhi, hayyhi.
YimBe e daabe nguli mum annii yaara
Keddii duule kaadime njaa na ngarta
ana tayha mbeeyu ana njaha weendu kammu
de yhoogoya Doon ndiyam njara faa De mbiya pett!
Yo Dee maa duule cinyruDe yarde diyyhe
ngoni a bawloyde, tuutude jukka leydi
hono faa enta kala kala boofi suuDii.
Baylal-kammu annii golle hiinnii
mo tappan Boolde dow taaneere nyaara
pette na njalta, ngona maje leydi njottoo.
Hammadi taykiti sifa majje jeegom
De laaytal mum majoy fade kammu toBde.
Yogaaje wulaam tan tan nii rufoyta.
Mo yii yoga majje saltini yeru no kahi nii,
caBe mum mawDe telloo faa a leydi.
Mo labbini laayte deen kaa yeru mo dammbaa
hakkunde duule DiDi cukkaa yo buurti
DiDi nyonngaaDi ana leldii a boowal.
Hammadi yiiti yoga majje gaDDe gabbe
Delmita seyna ede ngay hono no nyaango
ngo siire waDaa e muuDum semmbe toyyaa
leydi e kammu hakkunde mum waDoyta.
[English translation]
When the Great Forger of the skies reached his forge,
he plied his bellows till the forge came alight.
When it glowed, heat came to the earth
and was heavy on it, till everyone sweltered and suffocated.
Men and beasts sweated in its heat.
The servitor-clouds were coming and going,
cutting across the firmament, going to the pool of heaven,
drawing water there, and drinking their fill.
These are the clouds, pregnant with the waters they have drunk,
that then relieve themselves, and spit out stabbing the earth,
as though to purge every man of his every hidden sin.
The Forger of the skies now sets to work:
He hammers the mass on his anvil till it glows
And the sparks fly and come to earth as lightning flashes.
Hammadi could discern six various kinds
whose brightness flashed before the heavens rained down.
Most merely poured down fire.
He saw some forked like a kahi-tree,
its great branches descending right to the ground.
He noticed some flashes as it were fettered together
between two clouds, close together like two cattle-tracks,
separate but bunched together, in a clearing.
Hammadi saw others like little grains
dazzling wonderfully like a magic jewel
imbued with a mystic force, striking sparks
between earth and sky.
-snip-
And there are many sensitive little touches such as the picture of a dying flame
-snip-
V
Mo sooynii fooyre ana maja fooyre fitila.
Liccere mum yarii timmii nebam mum.
Fooyre na fooDa Demngal saa e saanga,
ana mettoo ko heddii ko suuwi-noo e mum.
[English translation]
He saw a flickering lamp-flame.
Its wick had drunk up all its oil.
And the flame from time to time threw forth its tongue,
Licking up the last liquid drop.
****
Thanks for visiting pancocojams.
Visitors' comments are welcome.
This post features two excerpts of the "Kaidara", a traditional African epic poem. The "Kaidara" originally was prose recitations which formed part of traditional Fulani religious education.
These excerpts demonstrate that people speaking traditional African languages created compositions that are the complete opposite of the meaningless "ooga booga" utterances that Hollywood and other elements of Western societies characterized those languages as being.
The content of this post is presented for folkloric, cultural, and aesthetic purposes.
All copyrights remain with their owners.
Thank to those who composed this traditional narrative. Thanks also to Amadou-Hampaté Ba for putting this narrative in versified form. And thanks to D. W. Arnott and others for providing excerpts of and information about "Kaidara" and other examples of Fulani narrative compositions.
****
DEFINITION OF "EPIC POEM"
From http://education-portal.com/academy/lesson/epic-poetry-definition-heroes-stories.html#lesson
"An epic poem is a long, narrative poem that is usually about heroic deeds and events that are significant to the culture of the poet. Many ancient writers used epic poetry to tell tales of intense adventures and heroic feats. Some of the most famous literary masterpieces in the world were written in the form of epic poetry."
-snip-
The two examples of epic poems that the article cited focus on are "Gilgamesh" and "The Iliad". The Fulani narrative "Kaidara" fits that definition of an epic poem.
****
FEATURED EXCERPTS
From http://www.webpulaaku.net/defte/dwarnott/fula_literature.html#n12 D. W. Arnott. "Literature in Fula" in in Literatures in African Languages: theoretical issues and sample surveys B.W. Andrzejewski, S. Pilaszewicz, W. Tyloch (eds.)Cambridge University Press. 1985. p. 72-97
The Fulani, Fula, or Fulɓe are the traditionally nomadic cattle owners of West Africa, whose ultimate origins have been the subject of much speculation. While their early habitat in West Africa was apparently in an area in the vicinity of the borders of present-day Mali, Senegal and Mauritania, they are now, after centuries of gradual migrations and conquests, spread throughout a wide band of West Africa...
The Fulani preoccupation with cattle is also reflected in their many spells and incantations, while traces of their pre Islamic religion survive in initiatory recitations and the like.
An outstanding example of such a survival is Kaidara, with its sequel Laaytere koodal (The brightness of the great star), and Lootori (Ritual bathing). Originally prose recitations which formed part of traditional Fulani religious education, they have been published in a versified form which owes much to the poetic genius of Amadou-Hampaté Ba.
Kaidara, a poem of 2,452 lines, is an allegorical representation of the process of initiation with its 12 stages. It tells of the descent into a magic underworld of three men —a freeman and two serfs— and the adventures and vicissitudes they encounter on their journey to “the country of dwarf spirits, the mystic land of Kaidara”, the supreme spirit. They encounter successively a dozen creatures or natural phenomena which are symbols with mystical significance : a chameleon, a bat, a scorpion, a pool guarded by twin serpents, two fountains, and so forth.
The whole tale is presented dramatically and with imaginative and highly developed descriptions which from the literary point of view are the highlights of the poem-poetic descriptions of the dawn, and vivid and artistic accounts of a forest fire, a tornado and a tropical storm, of which the following verses are typical
[Citation] 12 & 13: Ba, Amadou-Hampaté and Lilyan Kesteloot (ed.), Kaidara, lines 1246-1271.
13. Ibid., lines 1544-1547
IV
Nde Baylal-kammu kem-noo Doo, e mbayla,
yani ana wifa bifirDi fa mbayla jaaBa.
Nde ka hoondoy wulaare wadoy e leydi
teddi e mayri faa kala waryhi, hayyhi.
YimBe e daabe nguli mum annii yaara
Keddii duule kaadime njaa na ngarta
ana tayha mbeeyu ana njaha weendu kammu
de yhoogoya Doon ndiyam njara faa De mbiya pett!
Yo Dee maa duule cinyruDe yarde diyyhe
ngoni a bawloyde, tuutude jukka leydi
hono faa enta kala kala boofi suuDii.
Baylal-kammu annii golle hiinnii
mo tappan Boolde dow taaneere nyaara
pette na njalta, ngona maje leydi njottoo.
Hammadi taykiti sifa majje jeegom
De laaytal mum majoy fade kammu toBde.
Yogaaje wulaam tan tan nii rufoyta.
Mo yii yoga majje saltini yeru no kahi nii,
caBe mum mawDe telloo faa a leydi.
Mo labbini laayte deen kaa yeru mo dammbaa
hakkunde duule DiDi cukkaa yo buurti
DiDi nyonngaaDi ana leldii a boowal.
Hammadi yiiti yoga majje gaDDe gabbe
Delmita seyna ede ngay hono no nyaango
ngo siire waDaa e muuDum semmbe toyyaa
leydi e kammu hakkunde mum waDoyta.
[English translation]
When the Great Forger of the skies reached his forge,
he plied his bellows till the forge came alight.
When it glowed, heat came to the earth
and was heavy on it, till everyone sweltered and suffocated.
Men and beasts sweated in its heat.
The servitor-clouds were coming and going,
cutting across the firmament, going to the pool of heaven,
drawing water there, and drinking their fill.
These are the clouds, pregnant with the waters they have drunk,
that then relieve themselves, and spit out stabbing the earth,
as though to purge every man of his every hidden sin.
The Forger of the skies now sets to work:
He hammers the mass on his anvil till it glows
And the sparks fly and come to earth as lightning flashes.
Hammadi could discern six various kinds
whose brightness flashed before the heavens rained down.
Most merely poured down fire.
He saw some forked like a kahi-tree,
its great branches descending right to the ground.
He noticed some flashes as it were fettered together
between two clouds, close together like two cattle-tracks,
separate but bunched together, in a clearing.
Hammadi saw others like little grains
dazzling wonderfully like a magic jewel
imbued with a mystic force, striking sparks
between earth and sky.
-snip-
And there are many sensitive little touches such as the picture of a dying flame
-snip-
V
Mo sooynii fooyre ana maja fooyre fitila.
Liccere mum yarii timmii nebam mum.
Fooyre na fooDa Demngal saa e saanga,
ana mettoo ko heddii ko suuwi-noo e mum.
[English translation]
He saw a flickering lamp-flame.
Its wick had drunk up all its oil.
And the flame from time to time threw forth its tongue,
Licking up the last liquid drop.
****
Thanks for visiting pancocojams.
Visitors' comments are welcome.
Five Videos Of Gambian Fulani Musician/Singer Juldeh Camara
Edited by Azizi Powell
This post features five videos of Gambian Fulani Musician/Singer Juldeh Camara. Information about Juldeh Camara and information about the nyanyeru (riti), the one string violin (fiddle) that he plays, is also included in this post.
The content of this post is presented for folkloric, cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thank to Juldeh Camara for his musical legacy. Thanks also to also to all those who are quoted in this post and thanks to the publishers of these videos on YouTube.
****
INFORMATION ABOUT JULDEH CAMARA
http://www.worldmusic.co.uk/juldeh_camara
"Juldeh Camara, Gambian griot and acknowledged master of the one-string fiddle (aka nyanyeru, ritti or riti), is a solo artist, but is often more know[n] for his collaborations with [other] artists...: He is most often associated with guitarist Justin Adams these days (alongside Salah Dawson Miller on percussion).
"Born in 1966 in Basse, Gambia, West Africa, ...Camara has been recognised as the leading ritti player in the world....
The riti or nyanyeru is a one-string violin, originating from the Fulani people. The Fulani are originally a nomadic people and you can find various Fulani people all over the Sahel, from East to West. In Wolof the violin is called the riti, and in Fula the nyanyeru.
”The djinni took his eyes and gave him the violin, the gift to play on it and the gift to see what other people cannot see." This is Juldeh's story about how his father became a musician. Juldeh's grandfather was a hunter, and he wanted his son Serif to become a great hunter as himself, but when Serif was 15 years old he disappeared in the forest. Everyone thought he was dead, killed by the hyenas. One year later his father still went every day to the forest to look for his son. Suddenly he could hear a sound from a tree. He came closer and he saw his son sitting in the tree playing a golden violin. He understood that Serif was hypnotised by the djinni and after many hours he managed to drive the djinni away, but at the same time the violin was gone. Serif followed his father home, but every day he went back to the forest to learn more from the djinni. When the time came, and Serif had become a fully trained musician and Marabou, the djinni took his eyesight in return. Juldeh grew up in Sariyalla in Casamance, West Africa, with his blind jali-father as his teacher. When one listens carefully one can hear the sound of the djinni in Juldeh's music"...
-snip-
"Jali" = griot
****
From https://realworldrecords.com/artist/3193/juldeh-camara/
Quoting The Guardian: "Gambian musician Juldeh Camara is a virtuoso on the ritti. In his hands, this rustic, one-stringed fiddle provides a supple accompaniment to his vocals: rolling fables, wry observations and passionate declamations, all sung in the Fulani language. He's an immensely likable performer..."
-snip-
Click http://en.wikipedia.org/wiki/Goje for more information about the one stringed or two stringed fiddle known as "goje", "riti", "nyanyeru" and other names.
****
FEATURED VIDEOS
These examples are presented in chronological order based on their posting date on YouTube with the oldest dated posts presented first. Unfortunately, I've not been able to find information about the meaning of the two Fulani titles. Any information would be greatly appreciated.
Example #1: Justin Adams & Juldeh Camara's "Ya Ta Kaaya"
World Village USA Uploaded on Apr 30, 2008
"Ya Ta Kaaya" from BBC Radio 3 World Music Award winning album "Soul Science"
-snip-
This is a collaboration between Justin Adams (guitar), Juldeh Camara (nyanyeru) and Salah Dawson Miller (percussion)
****
Example #2: Juldeh Camara - Nyenyero
nijiidk Uploaded on Jul 1, 2008
Juldeh Camara and Tiramakang Ensemble in Copenhagen - August 2000. More on Gambian Music: http://www.gambia.dk
****
Example #3: Samba & Julde Camara
Sankulay Jallow, Uploaded on Dec 1, 2010
****
Example #4: Madam Mariama - Juldeh Camara, Justin Adams & Roy Oodds
brummydublinerUploaded on Feb 18, 2011
From 'Horo Gheallaidh'
****
Example #5: JuJu (Justin Adams Juldeh Camara) Mariama Trance
SasaMusicAgency, Uploaded on Apr 11, 2011
****
Thanks for visiting pancocojams.
Visitors' comments are welcome.
This post features five videos of Gambian Fulani Musician/Singer Juldeh Camara. Information about Juldeh Camara and information about the nyanyeru (riti), the one string violin (fiddle) that he plays, is also included in this post.
The content of this post is presented for folkloric, cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thank to Juldeh Camara for his musical legacy. Thanks also to also to all those who are quoted in this post and thanks to the publishers of these videos on YouTube.
****
INFORMATION ABOUT JULDEH CAMARA
http://www.worldmusic.co.uk/juldeh_camara
"Juldeh Camara, Gambian griot and acknowledged master of the one-string fiddle (aka nyanyeru, ritti or riti), is a solo artist, but is often more know[n] for his collaborations with [other] artists...: He is most often associated with guitarist Justin Adams these days (alongside Salah Dawson Miller on percussion).
"Born in 1966 in Basse, Gambia, West Africa, ...Camara has been recognised as the leading ritti player in the world....
The riti or nyanyeru is a one-string violin, originating from the Fulani people. The Fulani are originally a nomadic people and you can find various Fulani people all over the Sahel, from East to West. In Wolof the violin is called the riti, and in Fula the nyanyeru.
”The djinni took his eyes and gave him the violin, the gift to play on it and the gift to see what other people cannot see." This is Juldeh's story about how his father became a musician. Juldeh's grandfather was a hunter, and he wanted his son Serif to become a great hunter as himself, but when Serif was 15 years old he disappeared in the forest. Everyone thought he was dead, killed by the hyenas. One year later his father still went every day to the forest to look for his son. Suddenly he could hear a sound from a tree. He came closer and he saw his son sitting in the tree playing a golden violin. He understood that Serif was hypnotised by the djinni and after many hours he managed to drive the djinni away, but at the same time the violin was gone. Serif followed his father home, but every day he went back to the forest to learn more from the djinni. When the time came, and Serif had become a fully trained musician and Marabou, the djinni took his eyesight in return. Juldeh grew up in Sariyalla in Casamance, West Africa, with his blind jali-father as his teacher. When one listens carefully one can hear the sound of the djinni in Juldeh's music"...
-snip-
"Jali" = griot
****
From https://realworldrecords.com/artist/3193/juldeh-camara/
Quoting The Guardian: "Gambian musician Juldeh Camara is a virtuoso on the ritti. In his hands, this rustic, one-stringed fiddle provides a supple accompaniment to his vocals: rolling fables, wry observations and passionate declamations, all sung in the Fulani language. He's an immensely likable performer..."
-snip-
Click http://en.wikipedia.org/wiki/Goje for more information about the one stringed or two stringed fiddle known as "goje", "riti", "nyanyeru" and other names.
****
FEATURED VIDEOS
These examples are presented in chronological order based on their posting date on YouTube with the oldest dated posts presented first. Unfortunately, I've not been able to find information about the meaning of the two Fulani titles. Any information would be greatly appreciated.
Example #1: Justin Adams & Juldeh Camara's "Ya Ta Kaaya"
World Village USA Uploaded on Apr 30, 2008
"Ya Ta Kaaya" from BBC Radio 3 World Music Award winning album "Soul Science"
-snip-
This is a collaboration between Justin Adams (guitar), Juldeh Camara (nyanyeru) and Salah Dawson Miller (percussion)
****
Example #2: Juldeh Camara - Nyenyero
nijiidk Uploaded on Jul 1, 2008
Juldeh Camara and Tiramakang Ensemble in Copenhagen - August 2000. More on Gambian Music: http://www.gambia.dk
****
Example #3: Samba & Julde Camara
Sankulay Jallow, Uploaded on Dec 1, 2010
****
Example #4: Madam Mariama - Juldeh Camara, Justin Adams & Roy Oodds
brummydublinerUploaded on Feb 18, 2011
From 'Horo Gheallaidh'
****
Example #5: JuJu (Justin Adams Juldeh Camara) Mariama Trance
SasaMusicAgency, Uploaded on Apr 11, 2011
****
Thanks for visiting pancocojams.
Visitors' comments are welcome.
Wednesday, July 2, 2014
Examples Of Fulani (African) Female Beaded Or Ornamental Hairstyles (videos & quotes)
Edited by Azizi Powell
This post provides information about ornamental hairstyles of Fulani (Fula, Fulbe, Peul) women and showcases four videos that include some Fula hairstyles as worn by women in several West African nations.
The content of this post is provided for folkloric, cultural, entertainment, and aesthetic purposes.
Note: In addition to the female hairstyles, I'm also interested in the vocal & instrumental music, traditional instruments, dancing, and clothing of the females and males in these videos.
All copyrights remain with their owners.
Thanks to all those featured in these videos. Thanks also to all those who are quoted in this post and thanks to the publishers of this video on YouTube.
****
GENERAL INFORMATION ABOUT FULANI PEOPLE
From http://en.wikipedia.org/wiki/Fula_people
"The Fula people or Fulani or Fulɓe (Fula: Fulɓe; French: Peul; Hausa: Fulani; Portuguese: Fula; Wolof: Pël; Bambara: Fulaw) are one of the largest ethnolinguistic groups in Africa, numbering approximately 40 million people in total. They form one of the most widely dispersed and culturally diverse of the peoples of Africa.[16] The Fulani are bound together by the common language of Fulfulde, as well as by some basic elements of Fulbe culture, such as The pulaaku , a code of conduct common to all Fulani groups.
A significant proportion of their number, (an estimated 13 million), are nomadic, making them the largest pastoral nomadic group in the world.[17] Spread over many countries, they are found mainly in West Africa and northern parts of Central Africa, but also in Sudan and Egypt. [18]"...
INFORMATION ABOUT FULANI FEMALE BEADED HAIRSTYLES
From http://africanbloodsiblings.wordpress.com/2011/12/09/hairstyles-in-african-culture
"Hairstyles in African Culture"
"A coiffure is perfected by various decorations: cowries, beads, mother-of-pearl buttons, medals, pieces of silver, amber balls, metal rings, and pins of wood, bone or ivory. In the West African Sahel, the Fulbe and Peul (Fulani) cultivate impressive hairstyles.
For purposes to do with magic, a man or woman may also attach amulets to certain hairdos. The more elaborate coiffure includes braids, crests, curls, cascades, chignons, and vertical cornrows."...
-snip-
That blogpost includes additional information and photographs of other African hairstyles.from the book Hair in African Art and Culture, Edit by Roy Sieber and Frank Herreman, The Museum for African Art, New York, 2000.
****
From http://www.webpulaaku.net/defte/adepegba/body_ornaments.html
C.O. Adepegba "Decorative Arts of the Fulani Nomads"
Ibadan. Ibadan University Press. 1986. 48 p.
Body Ornaments of the Fulani Nomads [with photographs]
...."In northeastern Nigeria, and in fact from Borno down to the Cameroons, nomadic Fulani women prefer to pack a substantial amount of their hair into the centre of the head like a flat bed stretching from the forehead to the back with hanging braids to the sides and the back.
In other parts of Nigeria, the female Fulani nomads use simple thick, hanging braids, usually one on each side of the face and a big one or some smaller ones at the back. The focus on the sides and back of the head in their hair styling is to ensure that the ornamental purpose for which the hair is done, is not defeated, as elaborate designs on top of the head will be covered by their usual headloads.
Similarly hanging braids, two falling on the cheeks, and ornamented with a white bead under the chin are reported to be worn by Fulani women of Dori who have just had their first baby, in other words, recently married, as Fulani women are not considered properly married until they have their first babies. The hanging braids together with the braids on the nape of her neck, which look like multiple fringes ornamented with stones, are said to symbolize wisdom and calmness, expedient of a new mother of a family 5. But such symbolic association does not seem to hold for such braids of Nigerian Fulani women. This is not to say that special hair styles are not made for that stage of life, the time for their proper marriage.
But in Nigeria styles similar to the one described above are adopted irrespective of the woments [sic] ages and number of children. Women who have apparently passed childbearing age also wear such styles (plate 6), to which most of them also add according to their different tastes, beads, buttons, cowrie shells and various pieces of bright metals, whose colours contrast sharply with their black hair.
The braids of the hair, too, are in most cases not the natural hair of the wearers. According to Eve de Negri, nomadic Fulani make use of false hair, which is generally believed to have been passed down from generation to generation. The false hair is said to be intertwined with the wearer's own hair to give the long braids. However, in many cases, the braids are not attached to the natural hair, but made into wig forms attached to round strings with which they are worn or tied to the head....
-snip-
Related link
http://www.the-nigeria.com/2011/10/fulani-woman-cultural-stylish-hair-and.html#.U7MLiI1OVv4 "Fulani woman: Cultural Stylish Hair and Costumes"
****
FEATURED VIDEOS
These videos are presented in chronological order wit the video with the oldest posting date presented first.
Example #1: Fula - Sare Mamudou(near Basse) [The Gambia]
platini64 Uploaded on Jun 9, 2010
Fula - Sare Mamudou(near Basse) Feb 2010
****
Example #2: AFRICAN MUSIC SOGHA FULBE [Niger]
Sankulay Jallow, Uploaded on Feb 22, 2011
****
Example #3 Viviane - Kumu Neexul [Senegal]
gelongalvideo , Uploaded on Apr 28, 2011
Viviane dans toute sa créativité. Kumu Neexul entre tradition et modernisme. Pour le plaisir des fans de la reine du Jolof Band. Réalisée au Sénégal par Gelongal
Google Translate From French to English:
Viviane in all its creativity. Kumu Neexul between tradition and modernism. To the delight of fans of the Queen of Jolof Band. Conducted in Senegal by Gelongal
-snip-
Click http://pancocojams.blogspot.com/2014/07/viviane-chidid-ndour-kumu-neexul-video.html for a pancocojams post about this song. A commenter in another example of that same video wrote that Viviane Ndour is dressed like a Fula but the song is in Wolof (another West African traditional language) and not Fula. Another commenter in yet another video of this same song wrote that she is Tukulor and that the clothing the women wore was the same as that worn by Tukulor people. A Britannica article indicates that were greatly influenced by Tukulor peoples, so both of these commenters are probably correct.
****
Example #4: Fulani music video - Love that Never Ends [Burkina Faso]
Stephen Davies, Published on Jun 23, 2014
Moumounie Bande sings 'Yidde Nde Timmata' (Love that Never Ends) from her album 'Alla yo Lobbo' (God is Good). Moumounie Bande and her husband Zakariya Bah are Fulani artists living in Ouagadougou, Burkina Faso. Video filmed in a Fulani village near Lumbila, 20km north of Ouagadougou.
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This post provides information about ornamental hairstyles of Fulani (Fula, Fulbe, Peul) women and showcases four videos that include some Fula hairstyles as worn by women in several West African nations.
The content of this post is provided for folkloric, cultural, entertainment, and aesthetic purposes.
Note: In addition to the female hairstyles, I'm also interested in the vocal & instrumental music, traditional instruments, dancing, and clothing of the females and males in these videos.
All copyrights remain with their owners.
Thanks to all those featured in these videos. Thanks also to all those who are quoted in this post and thanks to the publishers of this video on YouTube.
****
GENERAL INFORMATION ABOUT FULANI PEOPLE
From http://en.wikipedia.org/wiki/Fula_people
"The Fula people or Fulani or Fulɓe (Fula: Fulɓe; French: Peul; Hausa: Fulani; Portuguese: Fula; Wolof: Pël; Bambara: Fulaw) are one of the largest ethnolinguistic groups in Africa, numbering approximately 40 million people in total. They form one of the most widely dispersed and culturally diverse of the peoples of Africa.[16] The Fulani are bound together by the common language of Fulfulde, as well as by some basic elements of Fulbe culture, such as The pulaaku , a code of conduct common to all Fulani groups.
A significant proportion of their number, (an estimated 13 million), are nomadic, making them the largest pastoral nomadic group in the world.[17] Spread over many countries, they are found mainly in West Africa and northern parts of Central Africa, but also in Sudan and Egypt. [18]"...
INFORMATION ABOUT FULANI FEMALE BEADED HAIRSTYLES
From http://africanbloodsiblings.wordpress.com/2011/12/09/hairstyles-in-african-culture
"Hairstyles in African Culture"
"A coiffure is perfected by various decorations: cowries, beads, mother-of-pearl buttons, medals, pieces of silver, amber balls, metal rings, and pins of wood, bone or ivory. In the West African Sahel, the Fulbe and Peul (Fulani) cultivate impressive hairstyles.
For purposes to do with magic, a man or woman may also attach amulets to certain hairdos. The more elaborate coiffure includes braids, crests, curls, cascades, chignons, and vertical cornrows."...
-snip-
That blogpost includes additional information and photographs of other African hairstyles.from the book Hair in African Art and Culture, Edit by Roy Sieber and Frank Herreman, The Museum for African Art, New York, 2000.
****
From http://www.webpulaaku.net/defte/adepegba/body_ornaments.html
C.O. Adepegba "Decorative Arts of the Fulani Nomads"
Ibadan. Ibadan University Press. 1986. 48 p.
Body Ornaments of the Fulani Nomads [with photographs]
...."In northeastern Nigeria, and in fact from Borno down to the Cameroons, nomadic Fulani women prefer to pack a substantial amount of their hair into the centre of the head like a flat bed stretching from the forehead to the back with hanging braids to the sides and the back.
In other parts of Nigeria, the female Fulani nomads use simple thick, hanging braids, usually one on each side of the face and a big one or some smaller ones at the back. The focus on the sides and back of the head in their hair styling is to ensure that the ornamental purpose for which the hair is done, is not defeated, as elaborate designs on top of the head will be covered by their usual headloads.
Similarly hanging braids, two falling on the cheeks, and ornamented with a white bead under the chin are reported to be worn by Fulani women of Dori who have just had their first baby, in other words, recently married, as Fulani women are not considered properly married until they have their first babies. The hanging braids together with the braids on the nape of her neck, which look like multiple fringes ornamented with stones, are said to symbolize wisdom and calmness, expedient of a new mother of a family 5. But such symbolic association does not seem to hold for such braids of Nigerian Fulani women. This is not to say that special hair styles are not made for that stage of life, the time for their proper marriage.
But in Nigeria styles similar to the one described above are adopted irrespective of the woments [sic] ages and number of children. Women who have apparently passed childbearing age also wear such styles (plate 6), to which most of them also add according to their different tastes, beads, buttons, cowrie shells and various pieces of bright metals, whose colours contrast sharply with their black hair.
The braids of the hair, too, are in most cases not the natural hair of the wearers. According to Eve de Negri, nomadic Fulani make use of false hair, which is generally believed to have been passed down from generation to generation. The false hair is said to be intertwined with the wearer's own hair to give the long braids. However, in many cases, the braids are not attached to the natural hair, but made into wig forms attached to round strings with which they are worn or tied to the head....
-snip-
Related link
http://www.the-nigeria.com/2011/10/fulani-woman-cultural-stylish-hair-and.html#.U7MLiI1OVv4 "Fulani woman: Cultural Stylish Hair and Costumes"
****
FEATURED VIDEOS
These videos are presented in chronological order wit the video with the oldest posting date presented first.
Example #1: Fula - Sare Mamudou(near Basse) [The Gambia]
platini64 Uploaded on Jun 9, 2010
Fula - Sare Mamudou(near Basse) Feb 2010
****
Example #2: AFRICAN MUSIC SOGHA FULBE [Niger]
Sankulay Jallow, Uploaded on Feb 22, 2011
****
Example #3 Viviane - Kumu Neexul [Senegal]
gelongalvideo , Uploaded on Apr 28, 2011
Viviane dans toute sa créativité. Kumu Neexul entre tradition et modernisme. Pour le plaisir des fans de la reine du Jolof Band. Réalisée au Sénégal par Gelongal
Google Translate From French to English:
Viviane in all its creativity. Kumu Neexul between tradition and modernism. To the delight of fans of the Queen of Jolof Band. Conducted in Senegal by Gelongal
-snip-
Click http://pancocojams.blogspot.com/2014/07/viviane-chidid-ndour-kumu-neexul-video.html for a pancocojams post about this song. A commenter in another example of that same video wrote that Viviane Ndour is dressed like a Fula but the song is in Wolof (another West African traditional language) and not Fula. Another commenter in yet another video of this same song wrote that she is Tukulor and that the clothing the women wore was the same as that worn by Tukulor people. A Britannica article indicates that were greatly influenced by Tukulor peoples, so both of these commenters are probably correct.
****
Example #4: Fulani music video - Love that Never Ends [Burkina Faso]
Stephen Davies, Published on Jun 23, 2014
Moumounie Bande sings 'Yidde Nde Timmata' (Love that Never Ends) from her album 'Alla yo Lobbo' (God is Good). Moumounie Bande and her husband Zakariya Bah are Fulani artists living in Ouagadougou, Burkina Faso. Video filmed in a Fulani village near Lumbila, 20km north of Ouagadougou.
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Tuesday, March 11, 2014
For My People - Balele (Nigerian Rap with French & English lyrics)
Edited by Azizi Powell
This post showcases a YouTube video of a song by the Nigerian (Fulani) Hip-Hop Group "For My People" that encourages African peace and unity.
This video includes sub-titles in French for most of the song. I used Google translate to convert those lines to English, and sometimes added my corrections of that translation into Standard American English.
Unfortunately, there are no comments on this video's viewer comment thread to date, except my comment about this post. I'd love to know more about this group. Additions and corrections to my correction of the Google Translate lines are very welcome.
The content of this post is posted for folkloric, cultural, entertainment, motivational, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to the featured rappers, dancers, and musicians. Thanks also to this video's publisher.
****
SHOWCASE VIDEO: Balele (For my people)
)
qwxcf, Published on Jul 13, 2012
For my people est un groupe de RAP nigérien de la ville de Maradi qui s'est reconvertit en moderno-traditionnel. Ils chantent ici la paix en Afrique en langue fulbe (peulh)
Google translate from French to English* : For my people is a group of Nigerian RAP city of Maradi which converts into moderno-traditional. They sing here peace in Africa Fulani language (Fulani)
[Converted to Standard American English:
"For My People" is a Nigerian Hip-Hop (Rap) group from the city of Maradi. The group's style is modern-traditional. In this video they rap and sing in the African Fulani (Fulbe, Peul) language.
-snip-
*The publisher's summary says that the song [rap and singing] is in Fulani, but the words in the sub-titles are French.
I'm not sure if "Balele" means "For My People" in Fulani, or if that is the name of the group and the title of this song. From its use in this song, I think that "Balele" (given in this post without accent marks) means "For My People". However, I'm not sure about that: in f
****
LYRICS FROM THE VIDEO'S SUB-TITLES
FRENCH [words given without accent marks)
(chorus- Balele)
Je lance un appel a tous les citoyens:
Ill es temps qu’on s’unisse
Seule le’union est source du
developpment de toutes nos nations
On est contre la guerre
Notre devise est la’amour, la joie, l’unite
Telle est la voie du development de toutes nos nations
(chorus – Balele)
(a portion of rapping whose words aren’t given in subtitles)
(chorus – Balele)
Tous le africains duinvent prendre le bon example
Sachez que la guerre detruit un people
Raison pour laquelle toute l’Africains
dout s’unir pour combattre ce fleur
Paix pour une Afrique unie
Venez cher africains
Nous jeunes, unissons-nou!-
Et nous nations se developperont
L’avenir nous appartient
(chorus Balele)
(instrumental and singing)
****
ENGLISH (FROM GOOGLE TRANSLATE (GT), including in brackets my "translations" of some of the Google Translation results into Standard American English
(chorus-Balele)
I appeal to all citizens:
Ill es time we unite [It's time we unite]
Le'union is only source of [Unity is the only way]
developpment of all our nations [our nation will flourish]
It is against the war [Otherwise is war]
Our motto is la'amour, joy, unity [Our motto is love, joy, and unity]
Such is the way of the development of all our nations [That is the way all our nations will flourish
(chorus –Balele)
(a portion of rapping whose words aren’t given in subtitles)
(chorus –Balele)
All the African duinvent take good example [All Africans who (are alert and aware)? take heed to all the good examples (that you can easily think of]
Know that the war destroyed people [Know that wars destroy people]
Why all Africans dout unite to fight this flower [Why don’t all Africans unite to fight this virus? (unhealthy growth (of hatred)
Peace for a united Africa
Come dear African We young, Unite new! - [Come young Africans- Unite anew!
Nations and we shall develop [to strengthen our nations]
The future is ours
(chorus Balele)
(instrumental and singing)
-snip-
Note that I'm not sure if the group is talking about African nations (plural) or nation(singular, meaning "Nigeria".)
Corrections and additions are welcome.
****
Thanks for visiting pancocojams.
Visitors comments are welcome.
This post showcases a YouTube video of a song by the Nigerian (Fulani) Hip-Hop Group "For My People" that encourages African peace and unity.
This video includes sub-titles in French for most of the song. I used Google translate to convert those lines to English, and sometimes added my corrections of that translation into Standard American English.
Unfortunately, there are no comments on this video's viewer comment thread to date, except my comment about this post. I'd love to know more about this group. Additions and corrections to my correction of the Google Translate lines are very welcome.
The content of this post is posted for folkloric, cultural, entertainment, motivational, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to the featured rappers, dancers, and musicians. Thanks also to this video's publisher.
****
SHOWCASE VIDEO: Balele (For my people)
)
qwxcf, Published on Jul 13, 2012
For my people est un groupe de RAP nigérien de la ville de Maradi qui s'est reconvertit en moderno-traditionnel. Ils chantent ici la paix en Afrique en langue fulbe (peulh)
Google translate from French to English* : For my people is a group of Nigerian RAP city of Maradi which converts into moderno-traditional. They sing here peace in Africa Fulani language (Fulani)
[Converted to Standard American English:
"For My People" is a Nigerian Hip-Hop (Rap) group from the city of Maradi. The group's style is modern-traditional. In this video they rap and sing in the African Fulani (Fulbe, Peul) language.
-snip-
*The publisher's summary says that the song [rap and singing] is in Fulani, but the words in the sub-titles are French.
I'm not sure if "Balele" means "For My People" in Fulani, or if that is the name of the group and the title of this song. From its use in this song, I think that "Balele" (given in this post without accent marks) means "For My People". However, I'm not sure about that: in f
****
LYRICS FROM THE VIDEO'S SUB-TITLES
FRENCH [words given without accent marks)
(chorus- Balele)
Je lance un appel a tous les citoyens:
Ill es temps qu’on s’unisse
Seule le’union est source du
developpment de toutes nos nations
On est contre la guerre
Notre devise est la’amour, la joie, l’unite
Telle est la voie du development de toutes nos nations
(chorus – Balele)
(a portion of rapping whose words aren’t given in subtitles)
(chorus – Balele)
Tous le africains duinvent prendre le bon example
Sachez que la guerre detruit un people
Raison pour laquelle toute l’Africains
dout s’unir pour combattre ce fleur
Paix pour une Afrique unie
Venez cher africains
Nous jeunes, unissons-nou!-
Et nous nations se developperont
L’avenir nous appartient
(chorus Balele)
(instrumental and singing)
****
ENGLISH (FROM GOOGLE TRANSLATE (GT), including in brackets my "translations" of some of the Google Translation results into Standard American English
(chorus-Balele)
I appeal to all citizens:
Ill es time we unite [It's time we unite]
Le'union is only source of [Unity is the only way]
developpment of all our nations [our nation will flourish]
It is against the war [Otherwise is war]
Our motto is la'amour, joy, unity [Our motto is love, joy, and unity]
Such is the way of the development of all our nations [That is the way all our nations will flourish
(chorus –Balele)
(a portion of rapping whose words aren’t given in subtitles)
(chorus –Balele)
All the African duinvent take good example [All Africans who (are alert and aware)? take heed to all the good examples (that you can easily think of]
Know that the war destroyed people [Know that wars destroy people]
Why all Africans dout unite to fight this flower [Why don’t all Africans unite to fight this virus? (unhealthy growth (of hatred)
Peace for a united Africa
Come dear African We young, Unite new! - [Come young Africans- Unite anew!
Nations and we shall develop [to strengthen our nations]
The future is ours
(chorus Balele)
(instrumental and singing)
-snip-
Note that I'm not sure if the group is talking about African nations (plural) or nation(singular, meaning "Nigeria".)
Corrections and additions are welcome.
****
Thanks for visiting pancocojams.
Visitors comments are welcome.
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