Edited by Azizi Powell
This post presents excerpts of online articles about West African (Mali, Ivory Coast, and Guinea) Wassoulou (Wasoulou, Wassolo)) music. Five video of Wasoulou music are also showcased in this post.
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 and all those who are featured in these videos. Thanks also to the publishers of these videos on YouTube.
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EXCERPTS OF ARTICLES ABOUT WASOULOU MUSIC
From http://downloads.bbc.co.uk/radio3/worldmusic/duran_sangare_radio_piece.pdf
..."The role of women in Mali as bearers of the tradition and as innovators of popular culture, especially though the medium of music, has been largely ignored in Mande studies though this is changing with recent scholarship by De Jorio, Grosz-Ngate, Brand, Hoffman, Durán, Maxwell, and Schulz amongst others (see bibliography). Hale reflects this in his overview of scholarship on the art of the griots, but does not mention other types of music in which women singers excel, such as wassoulou (Hale 1998). Charry, in his comprehensive study of Mande (Maninka and Mandinka) music, admits that “one major area I have barely broached is differences in musical training, performance, and reception between males and females… … Lucy Durán’s work
with women and music sets a high standard showing the significance of this area. One result of my neglect of women and music is the noticeable lack of discussion of vocal music, a major – some might say the major – aspect of Mande music making” (Charry 2000: 345-6).
Charry does make several references to Wasulu, its musical traditions and their influence on local styles, and acknowledges the popularity of the women singers, especially in relation to the jelimuso (female griots, the hereditary endogamous musicians):
“the praise singing associated with jelimusolu is going to have a tough time surviving, as the surge of popularity that Wasulu female singers have been enjoying in the 1990s has demonstrated” (Charry 2000: 350).
The music known as wassoulou (see Durán 1995 for a description of the history of the style), is named after the Wasulu region, which straddles three political borders (Ivory Coast, Guinea, and Mali). (These two spellings are used here to distinguish between the name of the style of music wassoulou, which reflects French colonial orthography, since this is how it is usually represented on locally produced cassettes, as opposed to the name of the geographicalregion Wasulu, which is spelt here according to modern Bamana orthography; see Durán 1995. These spellings however are not followed by Maxwell, who uses the term Wassolu for both music and region, and who indeed had not read this author’s publications when she was
writing her thesis; as stated in her introduction (Maxwell 2002).
Maxwell’s hitherto unpublished PhD study focuses on the recreation of regional Wasulu music in Bamako; her understanding of the overall development of this music and its sources and key artists agree with this author (Durán)’s account, and there is much important new and rich data and observation in her research. Her emphasis is on the way that singers of Wasulu draw on the concept of destiny as explanation for their musical performance in the public domain, in a country where griots dominate professional music; while this author
focused on the symbolism of the kono (songbird) as an expression of freedom.
One of the many distinctive features of this highly rhythmic, pentatonic, youth oriented music is that the singers describe themselves as kònò (songbird), a symbol of a beautiful voice, but also of freedom of expression, and of achieved rather than ascribed musical status, that is, they are not born into a griot lineage, but become musicians by choice.
Wasulu’s music has enjoyed enormous popularity in mali since the 1990s, and has engered many local stars, who draw in various ways on several regional styles from southern Mali.
This author (Durán 1995, 2000, 2003, 2006) has previously written about the adaptation and transformation by youth of the music of the ancient hunters’ societies (donsoton) music - probably the oldest form of music in Mali today (Charry 2000) (see music 6). As already argued by Durán, and further supported by Maxwell’s PhD thesis, this adaptation provides the main trademark sound of wassoulou, with its characteristic “youth harp”, the kamalengoni (see music 9), a smaller and higher-pitched, non-ritual version of the hunters’ harp (donsongoni)....
In this radio programme, [Malian vocalist Oumou] Sangaré, who has rarely visited Wasulu even though she evokes its styles, language and identity in her songs, highlights the importance of the kamalengoni as signifier of youth culture, and as the defining marker of her personal style.
Travelling through the countryside with Sangaré, talking to villagers about her music, and noting her interactions with them, suggested that her personal success and stardom has made her an important role model for women. She has also contributed to the enduring popularity of the kamalengoni in Wasulu, where it is now used in many different contexts, such as to accompany women’s work in the fields and collecting water at the well. Indeed the kamalengoni has now moved beyond the world of wassoulou music (see speech link 13), and
its playing technique has become virtuosic; some players have added up to four extra strings and the use of machine heads for tuning is now widely adopted.
Whilst the metaphor of the kònò (songbird) is ancient, it should not obscure the fact that some Wasulu musicians are from blacksmith families, and therefore belong to the nyamakala group of endogamous artisans. For example, Wasulu singers Nahawa Doumbia and Kokanko Sata Doumbia are blacksmiths, as signalled by their surname, Doumbia. The latter is one of the few women who also play the kamelengoni, an instrument that is otherwise only performed by males (even its name means “male-youth harp”), though in fact,
Kokanko’s mother is a jeli, a Kouyate. (Interview with Durán, Bamako, 2005).
Sangaré’s own discourse around wassoulou music (cf Durán 1995) typically focuses on the contrasting role of the Wasulu “songbird” to that of the hereditary griots; the Wasulu “songbirds” sing for the wellbeing of the community, unlike the songs of the griots that praise individuals (see Durán 1995). This kind of discourse was especially significant during the transitional years for Mali following the military coup in 1991, which ended a 23-year military dictatorship that had favoured the griot, ushering in Mali’s first democratically
elected government. Maxwell also reflects this binary opposition in her analysis of the role of wassoulou singers (Maxwell 2003: 52; 124). Oumou claims that she wanted fellow Malians “to be able to identify with something different. And now Mali has become very rich in its music, whereas before, it was only one voice, the voice of the griots, that could be heard. If you wanted something different, you were obliged to listen to foreign music. I think I changed that.” (interview with author, Bamako, June 2003).
Oumou Sangaré’s success as a very young, unmarried female singer working in a nonjeli regional idiom was unprecedented, and opened the door for other non-jeli artistes under the new democracy, which many Malians saw as a breath of fresh air."...
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From https://en.wikipedia.org/wiki/Wassoulou_music
"Wassoulou is a genre of West African popular music, named after the region of Wassoulou.[1] It is performed mostly by women, using lyrics that address women's issues regarding childbearing, fertility and polygamy. Instrumentation includes soku (a traditional fiddle sometimes replaced with modern imported instruments), djembe drum, kamalen n'goni (a six-stringed harp), karinyan (metal tube percussion) and bolon (a four-stringed harp). The vocals are typically passionate, emphatic and in a call-and-response format. Prominent artists include Oumou Sangaré, Coumba Sidibe, Dienaba Diakite, Kagbe Sidibe, Sali Sidibe, Jah Youssouf, and Fatoumata Diawara. Several of these prominent artists perform on an album called The Wassoulou Sound: Women of Mali.[1]"
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From http://bombmagazine.org/article/2031/oumou-sangare Oumou Sangare by Zoë AngleseyBOMB 58, Winter 1997 [Interview With Oumou Sangare]
..."Do you consider yourself a griotte?
OS I am not a griotte. Griots have nothing. They come to your home and ask for money before they sing. Me, I am Peul.
SDJ What does it mean to be Peul in Mali?
OS The Peuls are just about everywhere in Africa. It’s a group of shepherds who follow the cattle from land to land. Since ancient times, our great great great grandparents, the Peul people, have traversed all of Africa, from Chad, Cameroon, Ethiopia, to South Africa, Senegal, Guinea—we are everywhere, and we speak the Peul language.
SDJ But don’t you speak Bambara?
OS When our parents settled is Wassoulou, close to where they speak Malinke, we lost our native Peul language. They wanted to speak Malinke. Now, the language of Wassoulou is a mix of both—Bambara and Wassoulounké. It’s in this language that I sing.
From http://www.encyclopedia.com/topic/Oumou_Sangare.aspx
"Oumou Sangare is the voice of feminism in West Africa. In a region where polygamy is the norm, and women are often viewed as the property of their husbands, Sangare’s music has come to symbolize the struggle against gender imbalance. In addition to their social content, Sangare’s songs are full of the joy and spirit that the traditional rhythms of Mali have been communicating for generations. Over the last few years, Sangare has become one of Africa’s biggest pop stars, as well as a major force in the European and American world music scenes.
Wassoulou Sound
Since Mali gained its independence in the early 1960s, the Wassoulou region has produced a steady flow of wonderful female vocalists. These singers—a group that has included Coumba Sidibe, Sali Sidibe, and Flan Saran—collectively influenced the creation of a musical style based on the region’s traditional dances and rhythms. Those rhythms, combined with local instruments such as the djembe drum and the kamalengoni—a harp-like instrument invented by local youths during this period— eventually gave rise to a new popular musical style called wassoulou, named after the region in which it originated. The wassoulou style communicates a sense of youthful rebellion and freedom."
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SHOWCASE VIDEOS
Example #1: MALI: Oumou SANGARE - Diaraby Nene
Tyrus Maximus. Uploaded on Sep 23, 2009
Oumou SANGARE - Diaraby Nene - music from Mali, West Africa. Enjoy!
-snip-
The Oumou Sangare - Wassoulou Medley at African Night in Paris video that I had initially featured is no longer available.
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Example #2: Mamou Sidibe - Mary
dadiiabsilone, Uploaded on Jan 18, 2012
Son père est un balafoniste confirmé et sa mère une célèbre chanteuse. Elle apprendra donc à leurs côtés. Plus tard, elle se fait remarquer pendant les fêtes du village au clair de lune.
Adolescente, elle chante pour encourager les paysans dans les champs, mais bien décidée a faire carrière, Mamou abandonne son village pour s'installer à Bamako. Et c'est au tournant des années 80 qu'elle intègre le groupe d'Oumou Sangaré. Choriste, elle participe à la réalisation de son premier album qui fera un véritable tabac : "Avec Oumou Sangaré, j'ai appris beaucoup de choses. elle a renforcé ma passion", précise t'elle.
A travers les "Sumu", les cérémonies de baptême et de mariage, Mamou consolide ses acquis et quitte le groupe d'Oumou Sangaré, Caprice ? Plutôt désir d'entreprendre une carrière solo. Mais il faudra attendre pratiquement dix ans avant qu'elle puisse prouver son talent...
....
Her father is an experienced balafon player and her mother a famous singer. She forged her talent at their sides. Later, she is remarked during the feasts of the village at the moonlight.
Teenager, she sings to encourage the peasants in the fields.Well decided to make a career, Mamou leaves her village to settle in Bamako. And, in the Eighties she integrates the group of Oumou Sangaré. Chorus-singer, she takes part in the realization of her first album which had a huge success: "With Oumou Sangaré, I learned much, she reinforced my passion for the music", she specifies.
Through the "Sumu", the ceremonies of baptism and marriage, Mamou consolidates her assets and leaves the group of Oumou Sangaré, Caprice? Rather desire to undertake a career solo. But ten years will have to pass before she can prove her talent"...
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Example #3: Aminata kamissoko : sakokè
Mamesi Labelle, Published on Oct 15, 2012
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Example #4: Fatoumata Kamissoko wassolon
Bakary Kaba, Published on Jan 31, 2015
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Example #5: Wassolo Mama1
Moussa Niangaly, Published on Nov 9, 2015
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Showing posts with label Oumou Sangare. Show all posts
Showing posts with label Oumou Sangare. Show all posts
Wednesday, May 18, 2016
"Moussolou" - by Malian Singers Salif Keita & Oumou Sangare (with lyrics)
Edited by Azizi Powell
This post showcases two examples of the song "Moussolou" by Malian singer Salif Keita and by Malian singer Oumou Sangare.
Information about Salif Keita and Oumou Sangare is included in this post. The lyrics to this song in French and in English are also included in this post along with selected comments from these examples' YouTube discussion threads.
The content of this post is presented for cultural, entertainment, and aesthetic purposes.
All copyrights are included in this post.
Thanks to Salif Keita and Oumou Sangare for their musical legacy. Thanks also to all those who are included in this post. Special thanks to commenter Samuel Jacob for sharing the lyrics to this song. Thanks also to the publishers of these examples in YouTube.
I'm not sure whether Oumou Sangare or Salif Keita wrote this song or even if these Malian songs entitled "Moussoolou" are the same. More information about this song will be greatly appreciated.
* In a 1997 interview Oumou Sangara indicated that "OS When our parents settled is Wassoulou, close to where they speak Malinke, we lost our native Peul language. They wanted to speak Malinke. Now, the language of Wassoulou is a mix of both—Bambara and Wassoulounké. It’s in this language that I sing." http://bombmagazine.org/article/2031/oumou-sangare Oumou Sangare by Zoë AngleseyBOMB 58, Winter 1997
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INFORMATION ABOUT SALIF KEITA
From https://en.wikipedia.org/wiki/Salif_Keita
"Salif Keïta (born August 25, 1949) is an afro-pop singer-songwriter from Mali. He is unique not only because of his reputation as the "Golden Voice of Africa" but because he has albinism...
Keita was born in the village of Djoliba.[1] He was cast out by his family and ostracized by the community because of his albinism, a sign of bad luck in Mandinka culture.[2] He left Djoliba for Bamako in 1967, where he joined the government sponsored Super Rail Band de Bamako. In 1973 Keita joined the group, Les Ambassadeurs. Keita and Les Ambassadeurs fled political unrest in Mali during the mid-1970s for Abidjan, Ivory Coast, and subsequently changed the group's name to "Les Ambassadeurs Internationaux". The reputation of Les Ambassadeurs Internationaux rose to the international level in the 1970s, and in 1977 Keita received a National Order award from the president of Guinea, Sékou Touré....
Career
Keita moved to Paris in 1984 to reach a larger audience. His music combines traditional West African music styles with influences from both Europe and the Americas. Musical instruments that are commonly featured in Keita's work include balafons, djembes, guitars, koras, organs, saxophones, and synthesizers....
Keita found success in Europe as one of the African stars of world music...
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INFORMATION ABOUT OUMOU SANGARE
From http://www.encyclopedia.com/topic/Oumou_Sangare.aspx
"Oumou Sangare is the voice of feminism in West Africa. In a region where polygamy is the norm, and women are often viewed as the property of their husbands, Sangare’s music has come to symbolize the struggle against gender imbalance. In addition to their social content, Sangare’s songs are full of the joy and spirit that the traditional rhythms of Mali have been communicating for generations. Over the last few years, Sangare has become one of Africa’s biggest pop stars, as well as a major force in the European and American world music scenes.
Sangare was born in Bamako, the capital of Mali, in 1968. Her parents had migrated to the city from the rural Wassoulou region south of the Niger River. Her mother, Aminata Diakhite, was also a talented singer, and she encouraged her daughter to follow in her footsteps. Sangare made her public performing debut at the age of six, singing for a huge crowd at Bamako’s main sports arena, the Stade des Omnisports. Before the show began, her mother counseled her, according to her Nonesuch Records bio, to “sing like you’re at home in the kitchen.”
Wassoulou Sound
Since Mali gained its independence in the early 1960s, the Wassoulou region has produced a steady flow of wonderful female vocalists. These singers—a group that has included Coumba Sidibe, Sali Sidibe, and Flan Saran—collectively influenced the creation of a musical style based on the region’s traditional dances and rhythms. Those rhythms, combined with local instruments such as the djembe drum and the kamalengoni—a harp-like instrument invented by local youths during this period— eventually gave rise to a new popular musical style called wassoulou, named after the region in which it originated. The wassoulou style communicates a sense of youthful rebellion and freedom.
Her mother’s advice apparently paid off, for Sangare’s talent soon earned her membership in The National Ensemble of Mali, which serves as a training ground for the best musicians in that country. In 1986 Sangare was invited by Bamba Dambele, known for his work with the African pop ensemble Super Djata Band, to tour Europe with his traditional percussion troupe Djobila. The European tour opened Sangare’s eyes to the possibility of an international career of her own. Upon her return to Mali, she immediately went to work forming her own band and developing a songwriting style and sound that effectively blended Wassoulou tradition with a modern pop sensibility.
... first recording, Moussolou, 1989; Moussolou released internationally, 1991...
Awards : European World Music Album of the Year, for Ko Sira, 1993."
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FEATURED EXAMPLES
These examples are given in chronological order based on their publishing date on YouTube with the oldest dated example given first.
Example #1: Mali - Salif Keita – Moussoolou
AfricaNDC, Uploaded on Nov 1, 2008
-snip-
UPDATE: April 15, 2019
Lyrics for "Moussolou" [in Bambara] as found online*
Allah nôlé
Allah nôlé woyi
Allah lé fama allah lé dalimassan, allah sa menfou
Allah nôlé
Allah nôlé oooh
Allah lé fama allah lé dalimassan, allah makoté
Ngo allah makotala
Komatessi yé fini mi danla kokan fêrobô, Seydou toro karala
Bogolan djama yé fini mi dan na lo wo lof o kadi bèyé, Seydou toro karala
Guéssé dan na lou guéssé mi dan na lo o lo no kadi bèyé Seydou toro karala
An bè sapé lé, djama bè sapé lé ko, an bè ko an nou farafimoussolou sapélé ko
An bè sapé lé, djama bè sapé lé ko, an bè ko an nou farafitchèlou sapélé ko
Seydou djolimandi, Seydou Seydou koussa woyi
Chris Seydou Seydou koussatala
An bè sapé lé, djama bè sapé lé ko, an bè ko an nou farafimoussolou sapélé ko
An bè sapé lé, djama bè sapé lé ko, an bè ko an nou farafitchèlou sapélé ko
Seydou djolimandi, Seydou Seydou koussa woyi
Chris Seydou Seydou koussatala
Awa kignèrô den ni djon kakan?
Alphadi yarabini mo mankan!
Assa kignèrô dan ni djon kakan?
Mangara filani gnon ni mo makan
Alé lé, alé lo karala, Seydou lé, Seydou lé gogolan jupou lou karala djama yé
Alé lé, alé lo karala, ngo Seydou lé, Seydou lé robou youman lou karala djama yé
Iyan fêro to, Seydou yan ferôto to, iyan to iyé djéliden missènou fero to to
An gnadji to, djama bè gnadji to ko fo, an bè ko anou farafidenou gnadji to ko
Seydou djolimandi, Seydou Seydou dogora
Chris Seydou Seydou dogora man
Chris Seydou Seydou dogora
Chris Seydou Seydou dogora man
*Source: https://lyricstranslate.com/en/salif-keita-moussolou-lyrics.html
Submitted by marian.grebaniermarian.grebanier on Sun, 15/03/2015 - 19:10
Last edited by ScieraSciera on Fri, 10/04/2015 - 09:35
-snip-
Thanks to Yoyo April 15, 2019 for requesting these lyrics on April 15, 2019. My apologies for just adding them to this post.
-end of update-
Lyrics given in this video's discussion thread:
samuel Jacob, 2015
Bonjour, Mon ami Aguibou Oumar Traoré et moi même vous proposons une traduction de cette chanson. Bien sûr, c'est une interprétation à partir du sens littéral.
Cette chanson est dédiée aux femmes et particulièrement aux mamans, dévouées à leurs familles.
L’auteur Salif Keita chante le mérite des femmes, qui ne ménagent aucun effort pour le bien-être de leur foyer. Elles accomplissent volontairement des taches ardues et cela avec cœur, courage et humilité.
Choristes :
Nos reconnaissances aux grandes personnalités,
Nos reconnaissances aux habitants du pays,
Et nos grandes reconnaissances aux femmes.
Nos reconnaissances aux grandes personnalités,
Nos reconnaissances aux habitants du pays,
Et nos grandes reconnaissances aux femmes.
Quand on y pense, on voit que les femmes sont fatiguées,
Ah les femmes sont épuisées,
Oh les ménagères !
Quand on y pense, on voit que les femmes sont fatiguées,
Ah les femmes sont épuisées,
Oh les ménagères !
Au lieu de te vanter d’être riche, rappelle-toi que tu es issu de quelque chose,
Oh quelle bonne chose (Sabou) !
Avant que tu ne sois très riche, tu es née d’une femme,
Oh maman, Oh maman !
( Inako Sagodona ?...)
Oh mères-ménagères.
Ne te vante pas d’être riche, rappelle-toi que tu es issu de quelque chose
Oh quelle bonne chose (Sabou) !
Avant que tu ne sois très riche, tu es née d’une femme,
Oh maman, Oh maman !
( Inako Sagodona ?...)
(Ena niomabo ?...)
Vous les femmes, votre travail est juste,
Dans votre sagesse,
Vous les femmes qui respectez vos époux,
Dès que le chef de famille rentre du champ, la marmite d’eau est déjà bouillante,
Après son bain, il trouvera la table mise (diner).
Elles vont dans la brousse pour chercher du bois, trouvent des moyens de subsistance,
Et avec les revenus, elles font bouillir la marmite, achètent des vêtements et font tourner la maison,
Et cela encore et toujours, (Avec joie, dévouement et humilité)
Choristes : Oh maman qui fait plaisir aux enfants,
Et cela encore et toujours,
Choristes : Oh maman qui fait plaisir aux enfants.
Choristes :
Quand je pense à ma mère et aux femmes, j’en déduis qu’on est tous issu des femmes.
Quand je pense à ma mère et aux femmes, j’en déduis qu’on est tous issu des femmes.
Oh mère adorée !
Quand je pense à ma mère et aux femmes, j’en déduis qu’on est tous issu des femmes.
Quand je pense à ma mère et aux femmes, j’en déduis qu’on est tous issu des femmes.
Oh mère adorée !
Mabassira (Prénom), l’Homme doit vraiment remercier sa mère,
Celle qui lui fait plaisir, celle qui depuis son enfance nettoie ses couches,
Celle qui a veillé sur lui durant sa croissance, Celle qui a rendu sa vie comme il l'a souhaite,
Et aujourd’hui, il est devenu une personnalité (célébrité).
Oh les ménagères !
Mabassira (Prénom), l’Homme doit vraiment remercier sa mère,
Celle qui lui fait plaisir, celle qui depuis son enfance nettoie ses couches,
Celle qui a veillé sur lui durant sa croissance, Celle qui a rendu sa vie comme il l'a souhaite,
Et aujourd’hui, il est devenu une personnalité (célébrité).
Oh les ménagères !
Elle est de retour, Maba, la ménagère est de retour,
Avant que tu ne deviennes riche, tu es issu d’une femme,
Choristes : Ah c’est bien vrai ! Les femmes sont le fondement de tout.
Avant que tu ne deviennes une grande personnalité, tu es issu d’une femme,
Choristes : Ah c’est bien vrai ! Les femmes sont le fondement de tout.
Elle est de retour, Maba, la ménagère est de retour,
Choristes : Han Mabassira, celle qui fait plaisir aux enfants.
Enfant issu de Silmoulé, Maba est de retour
Choristes : Han Mabassira, celle qui fait plaisir aux enfants.
L’enfant issu de Silmoulé, Maba est de retour
Choristes : Han Mabassira, celle qui fait plaisir aux enfants.
Oh femmes, Oh femmes, Oh femmes.
Silmaoulé (Prénom et ascendant de Mabassira)
-snip-
Google translate from French to English
Hello, My friend Aguibou Oumar Traoré and I even offer a translation of this song. Of course, this is an interpretation from the literal sense.
This song is dedicated to women and particularly mothers, devoted to their families.
The writer Salif Keita sings of women merit, which every effort for the welfare of their homes. They willingly perform difficult tasks and that too with heart, courage and humility.
Choristes:
Our recognition to the great personalities,
Our acknowledgments to the inhabitants of the country,
And our great recognition to women.
Our recognition to the great personalities,
Our acknowledgments to the inhabitants of the country,
And our great recognition to women.
When you think about it, we see that women are tired,
Ah, women are exhausted,
Oh housewives!
When you think about it, we see that women are tired,
Ah, women are exhausted,
Oh housewives!
Instead boast of being rich, remember that you're coming from something,
Oh what a good thing (Sabu)!
Before you be rich, you were born of a woman,
Oh Mom, oh Mom!
(Inako Sagodona? ...)
Oh parent household.
Boast not thyself to be rich, remember that you're coming from something
Oh what a good thing (Sabu)!
Before you be rich, you were born of a woman,
Oh Mom, oh Mom!
(Inako Sagodona? ...)
(Ena niomabo? ...)
You women, your job is just,
In your wisdom,
You women who respect your husband,
As soon as the family head home from the field, the water pot is already boiling,
After his bath, he will find the setting (dinner) table.
They go into the bush to collect firewood, finding livelihoods,
And income, they boil the pot, buy clothes and rotate home,
And this again and again (with joy, dedication and humility)
Choristes: Oh mom makes the children happy,
And this again and again,
Choristes: Oh Mom makes children happy.
Choristes:
When I think of my mother and the women, I conclude that we are all born of women.
When I think of my mother and the women, I conclude that we are all born of women.
Oh beloved mother!
When I think of my mother and the women, I conclude that we are all born of women.
When I think of my mother and the women, I conclude that we are all born of women.
Oh beloved mother!
Mabassira (First Name) Man must really thank her mother,
One that makes her happy, which since childhood cleans its layers,
She who watched over him during his growth, one that made his life as he wishes,
And today he has become a personality (celebrity).
Oh housewives!
Mabassira (First Name) Man must really thank her mother,
One that makes her happy, which since childhood cleans its layers,
She who watched over him during his growth, one that made his life as he wishes,
And today he has become a personality (celebrity).
Oh housewives!
She's back, Maba, the housewife is back,
Before you become not rich, you're from a woman,
Choristes: Oh it's true! Women are the foundation of everything.
Before thou become a great personality, you're from a woman,
Choristes: Oh it's true! Women are the foundation of everything.
She's back, Maba, the housewife is back,
Choristes: Han Mabassira, one that children enjoy.
Child of Silmoulé, Maba is back
Choristes: Han Mabassira, one that children enjoy.
The child of Silmoulé, Maba is back
Choristes: Han Mabassira, one that children enjoy.
Oh, women, women Oh, oh women.
Silmaoulé (First ascendancy Mabassira)
****
Example #2: Oumou Sangare ~ Moussolou
groovemonzter, Uploaded on Feb 15, 2009
song: Moussolou
artist: Oumou Sangare
album: Moussolou
year: 1989
-snip-
selected comments from this sound file's discussion thread
Julius Kariuki, 2015
"Heavenly!!!! Pure magic, even though I know not the language. Can someone out there post an English translation?"
**
Reply
busquets da silva, 2016
"she talks about woman (moussolou in malian language) and wedding(fourou)"
**
Reply
Yankuba Ousman Camara, 2016
"The text is our the Malian women, talking about the importance of marriage, the African women in general, attaching of marriage."
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Thanks for visiting pancocojams.
Visitor comments are welcome.
This post showcases two examples of the song "Moussolou" by Malian singer Salif Keita and by Malian singer Oumou Sangare.
Information about Salif Keita and Oumou Sangare is included in this post. The lyrics to this song in French and in English are also included in this post along with selected comments from these examples' YouTube discussion threads.
The content of this post is presented for cultural, entertainment, and aesthetic purposes.
All copyrights are included in this post.
Thanks to Salif Keita and Oumou Sangare for their musical legacy. Thanks also to all those who are included in this post. Special thanks to commenter Samuel Jacob for sharing the lyrics to this song. Thanks also to the publishers of these examples in YouTube.
I'm not sure whether Oumou Sangare or Salif Keita wrote this song or even if these Malian songs entitled "Moussoolou" are the same. More information about this song will be greatly appreciated.
* In a 1997 interview Oumou Sangara indicated that "OS When our parents settled is Wassoulou, close to where they speak Malinke, we lost our native Peul language. They wanted to speak Malinke. Now, the language of Wassoulou is a mix of both—Bambara and Wassoulounké. It’s in this language that I sing." http://bombmagazine.org/article/2031/oumou-sangare Oumou Sangare by Zoë AngleseyBOMB 58, Winter 1997
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INFORMATION ABOUT SALIF KEITA
From https://en.wikipedia.org/wiki/Salif_Keita
"Salif Keïta (born August 25, 1949) is an afro-pop singer-songwriter from Mali. He is unique not only because of his reputation as the "Golden Voice of Africa" but because he has albinism...
Keita was born in the village of Djoliba.[1] He was cast out by his family and ostracized by the community because of his albinism, a sign of bad luck in Mandinka culture.[2] He left Djoliba for Bamako in 1967, where he joined the government sponsored Super Rail Band de Bamako. In 1973 Keita joined the group, Les Ambassadeurs. Keita and Les Ambassadeurs fled political unrest in Mali during the mid-1970s for Abidjan, Ivory Coast, and subsequently changed the group's name to "Les Ambassadeurs Internationaux". The reputation of Les Ambassadeurs Internationaux rose to the international level in the 1970s, and in 1977 Keita received a National Order award from the president of Guinea, Sékou Touré....
Career
Keita moved to Paris in 1984 to reach a larger audience. His music combines traditional West African music styles with influences from both Europe and the Americas. Musical instruments that are commonly featured in Keita's work include balafons, djembes, guitars, koras, organs, saxophones, and synthesizers....
Keita found success in Europe as one of the African stars of world music...
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INFORMATION ABOUT OUMOU SANGARE
From http://www.encyclopedia.com/topic/Oumou_Sangare.aspx
"Oumou Sangare is the voice of feminism in West Africa. In a region where polygamy is the norm, and women are often viewed as the property of their husbands, Sangare’s music has come to symbolize the struggle against gender imbalance. In addition to their social content, Sangare’s songs are full of the joy and spirit that the traditional rhythms of Mali have been communicating for generations. Over the last few years, Sangare has become one of Africa’s biggest pop stars, as well as a major force in the European and American world music scenes.
Sangare was born in Bamako, the capital of Mali, in 1968. Her parents had migrated to the city from the rural Wassoulou region south of the Niger River. Her mother, Aminata Diakhite, was also a talented singer, and she encouraged her daughter to follow in her footsteps. Sangare made her public performing debut at the age of six, singing for a huge crowd at Bamako’s main sports arena, the Stade des Omnisports. Before the show began, her mother counseled her, according to her Nonesuch Records bio, to “sing like you’re at home in the kitchen.”
Wassoulou Sound
Since Mali gained its independence in the early 1960s, the Wassoulou region has produced a steady flow of wonderful female vocalists. These singers—a group that has included Coumba Sidibe, Sali Sidibe, and Flan Saran—collectively influenced the creation of a musical style based on the region’s traditional dances and rhythms. Those rhythms, combined with local instruments such as the djembe drum and the kamalengoni—a harp-like instrument invented by local youths during this period— eventually gave rise to a new popular musical style called wassoulou, named after the region in which it originated. The wassoulou style communicates a sense of youthful rebellion and freedom.
Her mother’s advice apparently paid off, for Sangare’s talent soon earned her membership in The National Ensemble of Mali, which serves as a training ground for the best musicians in that country. In 1986 Sangare was invited by Bamba Dambele, known for his work with the African pop ensemble Super Djata Band, to tour Europe with his traditional percussion troupe Djobila. The European tour opened Sangare’s eyes to the possibility of an international career of her own. Upon her return to Mali, she immediately went to work forming her own band and developing a songwriting style and sound that effectively blended Wassoulou tradition with a modern pop sensibility.
... first recording, Moussolou, 1989; Moussolou released internationally, 1991...
Awards : European World Music Album of the Year, for Ko Sira, 1993."
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FEATURED EXAMPLES
These examples are given in chronological order based on their publishing date on YouTube with the oldest dated example given first.
Example #1: Mali - Salif Keita – Moussoolou
AfricaNDC, Uploaded on Nov 1, 2008
-snip-
UPDATE: April 15, 2019
Lyrics for "Moussolou" [in Bambara] as found online*
Allah nôlé
Allah nôlé woyi
Allah lé fama allah lé dalimassan, allah sa menfou
Allah nôlé
Allah nôlé oooh
Allah lé fama allah lé dalimassan, allah makoté
Ngo allah makotala
Komatessi yé fini mi danla kokan fêrobô, Seydou toro karala
Bogolan djama yé fini mi dan na lo wo lof o kadi bèyé, Seydou toro karala
Guéssé dan na lou guéssé mi dan na lo o lo no kadi bèyé Seydou toro karala
An bè sapé lé, djama bè sapé lé ko, an bè ko an nou farafimoussolou sapélé ko
An bè sapé lé, djama bè sapé lé ko, an bè ko an nou farafitchèlou sapélé ko
Seydou djolimandi, Seydou Seydou koussa woyi
Chris Seydou Seydou koussatala
An bè sapé lé, djama bè sapé lé ko, an bè ko an nou farafimoussolou sapélé ko
An bè sapé lé, djama bè sapé lé ko, an bè ko an nou farafitchèlou sapélé ko
Seydou djolimandi, Seydou Seydou koussa woyi
Chris Seydou Seydou koussatala
Awa kignèrô den ni djon kakan?
Alphadi yarabini mo mankan!
Assa kignèrô dan ni djon kakan?
Mangara filani gnon ni mo makan
Alé lé, alé lo karala, Seydou lé, Seydou lé gogolan jupou lou karala djama yé
Alé lé, alé lo karala, ngo Seydou lé, Seydou lé robou youman lou karala djama yé
Iyan fêro to, Seydou yan ferôto to, iyan to iyé djéliden missènou fero to to
An gnadji to, djama bè gnadji to ko fo, an bè ko anou farafidenou gnadji to ko
Seydou djolimandi, Seydou Seydou dogora
Chris Seydou Seydou dogora man
Chris Seydou Seydou dogora
Chris Seydou Seydou dogora man
*Source: https://lyricstranslate.com/en/salif-keita-moussolou-lyrics.html
Submitted by marian.grebaniermarian.grebanier on Sun, 15/03/2015 - 19:10
Last edited by ScieraSciera on Fri, 10/04/2015 - 09:35
-snip-
Thanks to Yoyo April 15, 2019 for requesting these lyrics on April 15, 2019. My apologies for just adding them to this post.
-end of update-
Lyrics given in this video's discussion thread:
samuel Jacob, 2015
Bonjour, Mon ami Aguibou Oumar Traoré et moi même vous proposons une traduction de cette chanson. Bien sûr, c'est une interprétation à partir du sens littéral.
Cette chanson est dédiée aux femmes et particulièrement aux mamans, dévouées à leurs familles.
L’auteur Salif Keita chante le mérite des femmes, qui ne ménagent aucun effort pour le bien-être de leur foyer. Elles accomplissent volontairement des taches ardues et cela avec cœur, courage et humilité.
Choristes :
Nos reconnaissances aux grandes personnalités,
Nos reconnaissances aux habitants du pays,
Et nos grandes reconnaissances aux femmes.
Nos reconnaissances aux grandes personnalités,
Nos reconnaissances aux habitants du pays,
Et nos grandes reconnaissances aux femmes.
Quand on y pense, on voit que les femmes sont fatiguées,
Ah les femmes sont épuisées,
Oh les ménagères !
Quand on y pense, on voit que les femmes sont fatiguées,
Ah les femmes sont épuisées,
Oh les ménagères !
Au lieu de te vanter d’être riche, rappelle-toi que tu es issu de quelque chose,
Oh quelle bonne chose (Sabou) !
Avant que tu ne sois très riche, tu es née d’une femme,
Oh maman, Oh maman !
( Inako Sagodona ?...)
Oh mères-ménagères.
Ne te vante pas d’être riche, rappelle-toi que tu es issu de quelque chose
Oh quelle bonne chose (Sabou) !
Avant que tu ne sois très riche, tu es née d’une femme,
Oh maman, Oh maman !
( Inako Sagodona ?...)
(Ena niomabo ?...)
Vous les femmes, votre travail est juste,
Dans votre sagesse,
Vous les femmes qui respectez vos époux,
Dès que le chef de famille rentre du champ, la marmite d’eau est déjà bouillante,
Après son bain, il trouvera la table mise (diner).
Elles vont dans la brousse pour chercher du bois, trouvent des moyens de subsistance,
Et avec les revenus, elles font bouillir la marmite, achètent des vêtements et font tourner la maison,
Et cela encore et toujours, (Avec joie, dévouement et humilité)
Choristes : Oh maman qui fait plaisir aux enfants,
Et cela encore et toujours,
Choristes : Oh maman qui fait plaisir aux enfants.
Choristes :
Quand je pense à ma mère et aux femmes, j’en déduis qu’on est tous issu des femmes.
Quand je pense à ma mère et aux femmes, j’en déduis qu’on est tous issu des femmes.
Oh mère adorée !
Quand je pense à ma mère et aux femmes, j’en déduis qu’on est tous issu des femmes.
Quand je pense à ma mère et aux femmes, j’en déduis qu’on est tous issu des femmes.
Oh mère adorée !
Mabassira (Prénom), l’Homme doit vraiment remercier sa mère,
Celle qui lui fait plaisir, celle qui depuis son enfance nettoie ses couches,
Celle qui a veillé sur lui durant sa croissance, Celle qui a rendu sa vie comme il l'a souhaite,
Et aujourd’hui, il est devenu une personnalité (célébrité).
Oh les ménagères !
Mabassira (Prénom), l’Homme doit vraiment remercier sa mère,
Celle qui lui fait plaisir, celle qui depuis son enfance nettoie ses couches,
Celle qui a veillé sur lui durant sa croissance, Celle qui a rendu sa vie comme il l'a souhaite,
Et aujourd’hui, il est devenu une personnalité (célébrité).
Oh les ménagères !
Elle est de retour, Maba, la ménagère est de retour,
Avant que tu ne deviennes riche, tu es issu d’une femme,
Choristes : Ah c’est bien vrai ! Les femmes sont le fondement de tout.
Avant que tu ne deviennes une grande personnalité, tu es issu d’une femme,
Choristes : Ah c’est bien vrai ! Les femmes sont le fondement de tout.
Elle est de retour, Maba, la ménagère est de retour,
Choristes : Han Mabassira, celle qui fait plaisir aux enfants.
Enfant issu de Silmoulé, Maba est de retour
Choristes : Han Mabassira, celle qui fait plaisir aux enfants.
L’enfant issu de Silmoulé, Maba est de retour
Choristes : Han Mabassira, celle qui fait plaisir aux enfants.
Oh femmes, Oh femmes, Oh femmes.
Silmaoulé (Prénom et ascendant de Mabassira)
-snip-
Google translate from French to English
Hello, My friend Aguibou Oumar Traoré and I even offer a translation of this song. Of course, this is an interpretation from the literal sense.
This song is dedicated to women and particularly mothers, devoted to their families.
The writer Salif Keita sings of women merit, which every effort for the welfare of their homes. They willingly perform difficult tasks and that too with heart, courage and humility.
Choristes:
Our recognition to the great personalities,
Our acknowledgments to the inhabitants of the country,
And our great recognition to women.
Our recognition to the great personalities,
Our acknowledgments to the inhabitants of the country,
And our great recognition to women.
When you think about it, we see that women are tired,
Ah, women are exhausted,
Oh housewives!
When you think about it, we see that women are tired,
Ah, women are exhausted,
Oh housewives!
Instead boast of being rich, remember that you're coming from something,
Oh what a good thing (Sabu)!
Before you be rich, you were born of a woman,
Oh Mom, oh Mom!
(Inako Sagodona? ...)
Oh parent household.
Boast not thyself to be rich, remember that you're coming from something
Oh what a good thing (Sabu)!
Before you be rich, you were born of a woman,
Oh Mom, oh Mom!
(Inako Sagodona? ...)
(Ena niomabo? ...)
You women, your job is just,
In your wisdom,
You women who respect your husband,
As soon as the family head home from the field, the water pot is already boiling,
After his bath, he will find the setting (dinner) table.
They go into the bush to collect firewood, finding livelihoods,
And income, they boil the pot, buy clothes and rotate home,
And this again and again (with joy, dedication and humility)
Choristes: Oh mom makes the children happy,
And this again and again,
Choristes: Oh Mom makes children happy.
Choristes:
When I think of my mother and the women, I conclude that we are all born of women.
When I think of my mother and the women, I conclude that we are all born of women.
Oh beloved mother!
When I think of my mother and the women, I conclude that we are all born of women.
When I think of my mother and the women, I conclude that we are all born of women.
Oh beloved mother!
Mabassira (First Name) Man must really thank her mother,
One that makes her happy, which since childhood cleans its layers,
She who watched over him during his growth, one that made his life as he wishes,
And today he has become a personality (celebrity).
Oh housewives!
Mabassira (First Name) Man must really thank her mother,
One that makes her happy, which since childhood cleans its layers,
She who watched over him during his growth, one that made his life as he wishes,
And today he has become a personality (celebrity).
Oh housewives!
She's back, Maba, the housewife is back,
Before you become not rich, you're from a woman,
Choristes: Oh it's true! Women are the foundation of everything.
Before thou become a great personality, you're from a woman,
Choristes: Oh it's true! Women are the foundation of everything.
She's back, Maba, the housewife is back,
Choristes: Han Mabassira, one that children enjoy.
Child of Silmoulé, Maba is back
Choristes: Han Mabassira, one that children enjoy.
The child of Silmoulé, Maba is back
Choristes: Han Mabassira, one that children enjoy.
Oh, women, women Oh, oh women.
Silmaoulé (First ascendancy Mabassira)
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Example #2: Oumou Sangare ~ Moussolou
groovemonzter, Uploaded on Feb 15, 2009
song: Moussolou
artist: Oumou Sangare
album: Moussolou
year: 1989
-snip-
selected comments from this sound file's discussion thread
Julius Kariuki, 2015
"Heavenly!!!! Pure magic, even though I know not the language. Can someone out there post an English translation?"
**
Reply
busquets da silva, 2016
"she talks about woman (moussolou in malian language) and wedding(fourou)"
**
Reply
Yankuba Ousman Camara, 2016
"The text is our the Malian women, talking about the importance of marriage, the African women in general, attaching of marriage."
****
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