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."...
****
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]"
****
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."
****
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.
****
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"...
****
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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Visitor comments are welcome.
Showing posts with label West African music. Show all posts
Showing posts with label West African music. Show all posts
Wednesday, May 18, 2016
Sunday, December 16, 2012
Tiécoro Sissoko (Mali Griots' Comments & Griot Song/Spoken Word)
Edited by Azizi Powell
This post showcases a video from Mali, West Africa entitled "Tiécoro Sissoko". That video features comments from a male Griot,Djeli N'goni of Adama Tounkara, and an unnamed female Griot about the legacy of Griots. That video also features a song/spoken word composition by the Griot Tiécoro Sissoko.
English subtitles for this song/spoken word composition were given in the video, and I've re-produced those sub-titles in this post.
The content of this post is presented for folkloric, historical, and aesthetic purposes.
All copyrights remain with their owner.
FEATURED VIDEO: Tiécoro Sissoko
ksksystemkrush, Published on Aug 1, 2012
Published on Aug 1, 2012
http://www.systemkrush.com
Keme Borama is an album recorded and produced by KSK Records. The 2012 release features Tiécoro Sissoko's classic Djeli singing and phenomenal solo guitar style. Tiécoro is accompanied by the skilled Djeli N'goni of Adama Tounkara musically conversing with Madouba Camara's melodic Kora. In stark comparison to "Afro Pop" this album is a testament to the raw musicality of the Djelis from the Kayes Region of Mali.
ENGLISH TRANSCRIPTION OF THE VIDEO
(This transcription is from the video's subtitles. These words are reproduced as they are written on the screen except for spacing, and a spelling correction for the word "reputation".)
COMMENTS:
Djeli N'goni of Adama Tounkara with background Kora playing by Madouba Camara:
No matter how you can be
You shouldn’t forget about your roots.
That is what is in this country.
We are the Griots.
The culture was created, put in a suitcase…
And given to us to protect.
If we weren’t here to save the past...
the lineage would be lost.
Here in Mali our kingdom will never disappear.
Female speaker seated next to Djeli N'goni of Adama Tounkara with background Kora playing by Madouba Camara:
Being a Griot belongs to us.
I have been a Griot since I was little.
Djeli N'goni of Adama Tounkara with background Kora playing by Madouba Camara:
The importances of being a Griot are endless.
Myself, I don’t what could be sweeter than being a Griot.
It doesn’t exist.
COMMENTS:
Tiécoro Sissoko:
Spoken (with Tiécoro humming and guitar playing in the background)
My name is Tiécoro
I was raised in our family and all my descendants are Griot.
I first moved here [Bamako] to learn guitar from my brother.
I came here in 1968.
That was the only reason I came here.
Three days after I arrived here, they bought me a guitar.
And I started learning on it.
SONG/SPOKEN WORD: "THE CHARMING GRIOT IS LIVING"* - Tiécoro Sissoko
[humming & guitar playing]
I’m part of it. I’m not part of it. **
I will agree to that, charming Griot.
If you miss him this year, you will not
see him until next year.
Everyone depends on their mother’s blessings.
Good afternoon, the greatest personality of the house.
Love someone who loves you.
Abandon someone who has no love for you.
Death can reach you anywhere you go.
Death can reach you anyplace you go in this world,
Allah is the highest.
Death can reach you while you are sick.
[humming & guitar playing]
You have to work for your name. You cannot force it.
Someone with a good reputation will never be equal to
someone with a bad one.
The deep darkness of Africa.
[humming & guitar playing]
Oh, that is true, life is a turn. ***
You have to enjoy life while you are living it...
because we will all die
one day like a light bulb going out.
and it doesn’t matter if you agree, it will
happen.
God forbid, God forbid, the day that He does it, who is going to ask Him why he did it?
If you are living you have to enjoy life until the end.
Before death reaches you.
If you agree or not, you cannot escape death.
[humming & guitar playing]
People who are doing good things, that’s what
will be said after you.
People who are doing bad things, that’s what
will be said after you.
People who are making the Griot happy, that’s what
will be said after you.
People who disrespect the Griot, that’s what
will be said after you.
Ignorance is darkness.
Don’t you see? Whatever you do,
after you are gone, it will be said.
Great personality of the house.
That is true. What you do, is what will be said
when you pass away.
This guy is good. This guy is bad.
Whatever you do in this life.
there is an importance to it.
If you cannot get a benefit from
anything, maybe you can get tired and quit.
Otherwise there is benefit in everything, good or bad.
[humming & guitar playing]
COMMENTS Tiécoro Sissoko [with Tiécoro humming and guitar playing in the background]
What my reflections give me is that...
the reason why music of
today’s youth is not progressing...
Is that they are not asking for guidance
from the elder musicians.
[song/spoken word continues]
I did not forget about the laughing girl.
I’ll see you in the morning and the charming Griot is living.
[End of song/spoken word]
COMMENTS - Tiécoro Sissoko
Ever since I started,
I have benefitted…
from being an artist.
Music is like any job, if you don’t learn it
you won’t do well.
end of comments
Video Producer's notes:
Tiécoro Sissoko died in May of 2012.
He was 66 years old.
For more information about Tiecoro and other KSK artists please visit http://www.systemkrush.com
-snip-
Editor's notes:
* No title was given to this song. I used the last words of this song/spoken word composition as its title. I have posted a comment on this video's viewer comment thread asking for the correct title. When I receive a response, I will change the title of this song/spoken word.
It seems to me that in the context of this song, the meaning of "charming" is probably "1. To attract or delight greatly" and not
2. To induce by using strong personal attractiveness" or
3. To cast or seem to cast a spell on; bewitch.
[http://www.thefreedictionary.com/charming]
-snip-
I think that the word "charming" as used in this song/spoken word may also mean "a person who has a way with words", a person who has a "smooth tongue". However, in the United States, a "charming" person may be viewed with suspicion. For instance, Americans may consider a man who is "turning on the charm" as doing so for some ulterior motive that benefits him and not anyone else. In the United States a smooth talker, or a charming man (or woman) might have elements of a "snake oil salesman"-"snake oil" being a general term for home made useless medicine. While Tiécoro Sissoko's use of the word "charming" probably carries the smooth talking description, it probably doesn't carry the negative "snake oil salesman" connotation.
-snip-
It seems to me that this song/spoken word is composed of reflections and/or proverbs/folk sayings such as "Love someone who loves you", conversational lines such as "Good afternoon, the greatest personality of the house" and other comments such as "I’m part of it. I’m not part of it./ I will agree to that, charming Griot."
-snip-
** My guess is that the line "I’m part of it. I’m not part of it" refers to Tiécoro Sissoko continuing the Griot traditions but accompanying himself with a guitar and not a kora.
-snip-
*** Another way to say "life is a turn" might be “life is like a wheel turning”.
ACKNOWLEDGEMENT AND THANKS
Thanks to Griots featured in this video. RIP Tiécoro Sissoko.
Thanks to the uploader of this video, ksksystemkrush.
Also, thank you for visiting pancocojams.
Viewer comments are welcome.
This post showcases a video from Mali, West Africa entitled "Tiécoro Sissoko". That video features comments from a male Griot,Djeli N'goni of Adama Tounkara, and an unnamed female Griot about the legacy of Griots. That video also features a song/spoken word composition by the Griot Tiécoro Sissoko.
English subtitles for this song/spoken word composition were given in the video, and I've re-produced those sub-titles in this post.
The content of this post is presented for folkloric, historical, and aesthetic purposes.
All copyrights remain with their owner.
FEATURED VIDEO: Tiécoro Sissoko
ksksystemkrush, Published on Aug 1, 2012
Published on Aug 1, 2012
http://www.systemkrush.com
Keme Borama is an album recorded and produced by KSK Records. The 2012 release features Tiécoro Sissoko's classic Djeli singing and phenomenal solo guitar style. Tiécoro is accompanied by the skilled Djeli N'goni of Adama Tounkara musically conversing with Madouba Camara's melodic Kora. In stark comparison to "Afro Pop" this album is a testament to the raw musicality of the Djelis from the Kayes Region of Mali.
ENGLISH TRANSCRIPTION OF THE VIDEO
(This transcription is from the video's subtitles. These words are reproduced as they are written on the screen except for spacing, and a spelling correction for the word "reputation".)
COMMENTS:
Djeli N'goni of Adama Tounkara with background Kora playing by Madouba Camara:
No matter how you can be
You shouldn’t forget about your roots.
That is what is in this country.
We are the Griots.
The culture was created, put in a suitcase…
And given to us to protect.
If we weren’t here to save the past...
the lineage would be lost.
Here in Mali our kingdom will never disappear.
Female speaker seated next to Djeli N'goni of Adama Tounkara with background Kora playing by Madouba Camara:
Being a Griot belongs to us.
I have been a Griot since I was little.
Djeli N'goni of Adama Tounkara with background Kora playing by Madouba Camara:
The importances of being a Griot are endless.
Myself, I don’t what could be sweeter than being a Griot.
It doesn’t exist.
COMMENTS:
Tiécoro Sissoko:
Spoken (with Tiécoro humming and guitar playing in the background)
My name is Tiécoro
I was raised in our family and all my descendants are Griot.
I first moved here [Bamako] to learn guitar from my brother.
I came here in 1968.
That was the only reason I came here.
Three days after I arrived here, they bought me a guitar.
And I started learning on it.
SONG/SPOKEN WORD: "THE CHARMING GRIOT IS LIVING"* - Tiécoro Sissoko
[humming & guitar playing]
I’m part of it. I’m not part of it. **
I will agree to that, charming Griot.
If you miss him this year, you will not
see him until next year.
Everyone depends on their mother’s blessings.
Good afternoon, the greatest personality of the house.
Love someone who loves you.
Abandon someone who has no love for you.
Death can reach you anywhere you go.
Death can reach you anyplace you go in this world,
Allah is the highest.
Death can reach you while you are sick.
[humming & guitar playing]
You have to work for your name. You cannot force it.
Someone with a good reputation will never be equal to
someone with a bad one.
The deep darkness of Africa.
[humming & guitar playing]
Oh, that is true, life is a turn. ***
You have to enjoy life while you are living it...
because we will all die
one day like a light bulb going out.
and it doesn’t matter if you agree, it will
happen.
God forbid, God forbid, the day that He does it, who is going to ask Him why he did it?
If you are living you have to enjoy life until the end.
Before death reaches you.
If you agree or not, you cannot escape death.
[humming & guitar playing]
People who are doing good things, that’s what
will be said after you.
People who are doing bad things, that’s what
will be said after you.
People who are making the Griot happy, that’s what
will be said after you.
People who disrespect the Griot, that’s what
will be said after you.
Ignorance is darkness.
Don’t you see? Whatever you do,
after you are gone, it will be said.
Great personality of the house.
That is true. What you do, is what will be said
when you pass away.
This guy is good. This guy is bad.
Whatever you do in this life.
there is an importance to it.
If you cannot get a benefit from
anything, maybe you can get tired and quit.
Otherwise there is benefit in everything, good or bad.
[humming & guitar playing]
COMMENTS Tiécoro Sissoko [with Tiécoro humming and guitar playing in the background]
What my reflections give me is that...
the reason why music of
today’s youth is not progressing...
Is that they are not asking for guidance
from the elder musicians.
[song/spoken word continues]
I did not forget about the laughing girl.
I’ll see you in the morning and the charming Griot is living.
[End of song/spoken word]
COMMENTS - Tiécoro Sissoko
Ever since I started,
I have benefitted…
from being an artist.
Music is like any job, if you don’t learn it
you won’t do well.
end of comments
Video Producer's notes:
Tiécoro Sissoko died in May of 2012.
He was 66 years old.
For more information about Tiecoro and other KSK artists please visit http://www.systemkrush.com
-snip-
Editor's notes:
* No title was given to this song. I used the last words of this song/spoken word composition as its title. I have posted a comment on this video's viewer comment thread asking for the correct title. When I receive a response, I will change the title of this song/spoken word.
It seems to me that in the context of this song, the meaning of "charming" is probably "1. To attract or delight greatly" and not
2. To induce by using strong personal attractiveness" or
3. To cast or seem to cast a spell on; bewitch.
[http://www.thefreedictionary.com/charming]
-snip-
I think that the word "charming" as used in this song/spoken word may also mean "a person who has a way with words", a person who has a "smooth tongue". However, in the United States, a "charming" person may be viewed with suspicion. For instance, Americans may consider a man who is "turning on the charm" as doing so for some ulterior motive that benefits him and not anyone else. In the United States a smooth talker, or a charming man (or woman) might have elements of a "snake oil salesman"-"snake oil" being a general term for home made useless medicine. While Tiécoro Sissoko's use of the word "charming" probably carries the smooth talking description, it probably doesn't carry the negative "snake oil salesman" connotation.
-snip-
It seems to me that this song/spoken word is composed of reflections and/or proverbs/folk sayings such as "Love someone who loves you", conversational lines such as "Good afternoon, the greatest personality of the house" and other comments such as "I’m part of it. I’m not part of it./ I will agree to that, charming Griot."
-snip-
** My guess is that the line "I’m part of it. I’m not part of it" refers to Tiécoro Sissoko continuing the Griot traditions but accompanying himself with a guitar and not a kora.
-snip-
*** Another way to say "life is a turn" might be “life is like a wheel turning”.
ACKNOWLEDGEMENT AND THANKS
Thanks to Griots featured in this video. RIP Tiécoro Sissoko.
Thanks to the uploader of this video, ksksystemkrush.
Also, thank you for visiting pancocojams.
Viewer comments are welcome.
Saturday, December 1, 2012
West African Ewe Names & Ewe Songs By Sessime & By Godonu
Edited by Azizi Powell
This post presents general information about Ewe* naming traditions & showcases two songs by Sessimè (Benin, West Africa) and two songs by Godonu Kofi Srigboh [Egbeviwo](Ghana, West Africa) whose artists names & song titles reflect those traditions.**
The content of this post is presented for cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Update: December 2, 2012:
*"Ewe" is pronounced like "e-vhay" in English.
** I was informed by Godonu Kofi Srigboh [Egbeviwo] that the song title "Wazakoua" that is given as Example #1 in this post is an Ewe word and not a person's name.
Additions & corrections to this post are welcome.
GENERAL INFORMATION ABOUT EWE NAMING TRADITIONS
From http://en.wikipedia.org/wiki/Ewe_people
"The Ewe are divided geographically between western part of Benin (formerly Dahomey), Togo (southern), and south-eastern parts of the Volta Region in Ghana...
The Ewe (Eʋeawo) have names with significant meanings which either portray the spirituality of the parents or the circumstances in which the child was born. Generally, most of the names are unisex. For example:
Agbenyega = Life is great (If you have life you have everything)
Akpenε = Thank thee
Dzigbɔɖi = Patience
Dziɖuɖu = Victory
Mawuli = God exists
Mawuko = Except God (Only God)
Senyo = God is Good
Selɔm = Destiny loves me
Senyo = God is Good
Senanu = It is the destiny that gives
...Additionally the Ewe use a system of giving the first name of a child as the day of the week that the child was born. This arises from a belief that the real name of a child can only be determined after the child has shown its character. However, as a child is a person, not an object, the child must be referred to by some name in the interim, so a name is provided based on the day of birth. A final name is given at a naming ceremony, seven days after the date of birth."
-snip-
Click the link given above for a chart of Ewe day names & for additional Ewe naming customs. These Ewe day names appear to me to be the same as the Akan day names. For example: "Kofi"-male born on Friday, and "Afi" - female born on Friday.
The short list of Ewe names given above demonstrates the heavy influence of religious beliefs on the formation of names.
Here are some comments about Ewe religious beliefs from that same Wikipedia page:
"Ewe religion is organized around a creator/creatress deity, Mawu and Lisa. Mawu and Lisa (Goddess and God) to the Ewe is the Supreme Being and is remote from daily affairs. In addition the Ewe believe in many secondary gods (trowo) that are worshipped in unique ways. They also believe in spirit ancestors and divination is practised. Se is a word for law, order and harmony; Se is the maker and keeper of human souls; in an abstract sense, Se is destiny. Ewe people can also be Christians or Muslim."
FEATURED EXAMPLES
Example #1: Sessimè - Wazakoua (What a World We Are Living In)
Sessimevideos, Uploaded on Feb 23, 2012
Sessimè: Afro pop rock de Bénin (West-Africa)...
-snip-
I reformatted the words "Afropoprock" that was given in the video summary.
SONG LYRICS (from English subtitles given on the screen)
I have seen!
Children crying,
Because they have not anything to eat!
I have seen!
Babies without cradle
devoured by mosquitoes!
I have seen newborns
abandoned,
thrown on a pile of garbage!
I have seen, Of* school children,
with total indifference. **
And I asked old wise men
who told me: this goes life! ***
GOD created a perfect world
and men have destroyed!
That’s why millions of children suffer.
[Instrumental]
I have seen!
Newborns, abandoned,
thrown on a pile of garbage!
I have seen, Of* school children,
with total indifference. **
And I asked old wise men
who told me: this goes life! ***
GOD created a perfect world
and men have destroyed!
That’s why millions of children suffer.
And I asked old wise men
who told me: this goes life!
GOD created a perfect world
and men have destroyed!
That’s why millions of children suffer
GOD created a perfect world
and men have destroyed!
That’s why millions of children suffer.
koyi!
Awo!
koyi!
Waoh oh oh yelei yeh ah oh
Waoh oh oh yelei yeh ah oh
Wazakoua koua ah ah
Wazakoua koua ah ah
Waoh oh oh yelei yeh ah oh
Waoh oh oh yelei yeh ah oh
Wazakoua koua ah ah
Wazakoua koua ah ah
Awo!
Wazakoua koua ah ah
Wazakoua koua ah ah
Wazakoua koua ah ah
Wazakoua koua ah ah
Awo!
koyi!
Awo!
koyi!
Awo!
koyi!
-snip-
* I think that the English translation of this line would be better without the word "Of".
**I think that this means "with total indifference to learning".
***On this video's viewer comment thread, Ghanaian Ewe performer Egbeviwo (Godonou Kofi Srigboh) translated this line as "life goes like this". Another way to say this in American English is "This is the way life is" or maybe also "Such is life."
Thanks to Godonu for responding to my emailed questions regarding the meaning of these Ewe words & phrases that are used in this song:
"Wazakoua" means "What a World We Are Living In".
In the Ewe language Se means Fate. Sessime is her name and it means "Fate", "Destiny" or "In Thee lie my fate, destiny." Another version is "Asiwome" – "In thy hands", which is the title of one of my songs on YouTube. Another version would be "Mawusi". ("Atasi" or "Tatasi")
These are emotional expressions of a sad situation:
"Waoh oh oh yelei yeh ah oh"
"Wazakoua koua ah ah"
"Awo!"
"koyi"
****
Example #2: MAYAVIO by Sessimè
Sessimevideos, Uploaded on Oct 21, 2011
Sessimè: Afro pop rock de Bénin (West-Africa)
-snip-
Here is a English translation of the meaning of this song title and the French summary for this video (My thanks to Godonu for this translation!)
"Mayavio" means "Don't Give Up". It’s an incentive not to give up when things goes wrong. It’s more about finding within you the path of success, because the decision depends on oneself and one’s willingness to succeed. We’re alone, the only real
masters of our destiny and we are the only one that can change it either positively or negatively.
-snip-
The lyrics in French are provided with this video summary at http://www.youtube.com/watch?v=yALWFgn1em4&playnext=1&list=PLP2mRSTjJv_0ONE9jw_QPNBaaVxzgfkv-&feature=results_video
****
Example #3: Godonu - Asiwome (In Thy Hands)
Egbeviwo, Uploaded on Jul 1, 2009
Godonu is a composer, singer and producer. Godonu's music is a blend of the varied rhythms of Ewe traditional drumming such as Agbadza, Akpalu, Akpese, Bɔbɔbɔ, Gahu, Kantata, Kinka to name a few.
Visit my website at http://www.egbeviwo.com
-snip-
My thanks to Godonu for sharing with me via email that another way of saying "Asiwome" is "Sessime" and that "Sessime" means "Fate", "Destiny" or "In Thee lie my fate, destiny".
I gather from this information that "Asiwome" (In Thy Hands") is a shortened form of "My fate/destiny is in God's hands".
Here's information about the name "Godonu" that I received via email from that Ghanaian vocalist/musician:
"Godonu" has 3 meanings depending on its tonal pronunciation because Ewe is a tonal language. The meanings are:
1. This world is a round place and all you have to do is your best and leave the rest.
2. Whatever cloth you have, will be what you wear.
3. What you see is what you get.
****
Example #3: Godonu Kofi Srigboh [Egbeviwo] - DZIGBƆÐI (PATIENCE)
Egbeviwo, Uploaded on Aug 22, 2010
Godonu is a composer, singer and producer. Godonu's music is a blend of the varied rhythms of Ewe traditional drumming such as Agbadza, Akpalu, Akpese, Bɔbɔbɔ, Gahu, Kantata, Kinka to name a few.
Visit my website at http://www.egbeviwo.com
-snip-
Here's information that I received via email from Gondonu regarding the meaning of the word "Egbeviwo"- "Egbeviwo" means "The new generation".
****
RELATED LINK
http://www.mamiwata.com/names.html Bestowing Of Names In Ewe Culture
****
ACKNOWLEDGEMENT AND THANKS
Thanks to these performers for these creative & inspirational compositions. Thanks also to the authors of the information about Ewe culture which is included in this post.
Finally, thank you for visiting pancocojams.
Viewer comments are welcome.
This post presents general information about Ewe* naming traditions & showcases two songs by Sessimè (Benin, West Africa) and two songs by Godonu Kofi Srigboh [Egbeviwo](Ghana, West Africa) whose artists names & song titles reflect those traditions.**
The content of this post is presented for cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Update: December 2, 2012:
*"Ewe" is pronounced like "e-vhay" in English.
** I was informed by Godonu Kofi Srigboh [Egbeviwo] that the song title "Wazakoua" that is given as Example #1 in this post is an Ewe word and not a person's name.
Additions & corrections to this post are welcome.
GENERAL INFORMATION ABOUT EWE NAMING TRADITIONS
From http://en.wikipedia.org/wiki/Ewe_people
"The Ewe are divided geographically between western part of Benin (formerly Dahomey), Togo (southern), and south-eastern parts of the Volta Region in Ghana...
The Ewe (Eʋeawo) have names with significant meanings which either portray the spirituality of the parents or the circumstances in which the child was born. Generally, most of the names are unisex. For example:
Agbenyega = Life is great (If you have life you have everything)
Akpenε = Thank thee
Dzigbɔɖi = Patience
Dziɖuɖu = Victory
Mawuli = God exists
Mawuko = Except God (Only God)
Senyo = God is Good
Selɔm = Destiny loves me
Senyo = God is Good
Senanu = It is the destiny that gives
...Additionally the Ewe use a system of giving the first name of a child as the day of the week that the child was born. This arises from a belief that the real name of a child can only be determined after the child has shown its character. However, as a child is a person, not an object, the child must be referred to by some name in the interim, so a name is provided based on the day of birth. A final name is given at a naming ceremony, seven days after the date of birth."
-snip-
Click the link given above for a chart of Ewe day names & for additional Ewe naming customs. These Ewe day names appear to me to be the same as the Akan day names. For example: "Kofi"-male born on Friday, and "Afi" - female born on Friday.
The short list of Ewe names given above demonstrates the heavy influence of religious beliefs on the formation of names.
Here are some comments about Ewe religious beliefs from that same Wikipedia page:
"Ewe religion is organized around a creator/creatress deity, Mawu and Lisa. Mawu and Lisa (Goddess and God) to the Ewe is the Supreme Being and is remote from daily affairs. In addition the Ewe believe in many secondary gods (trowo) that are worshipped in unique ways. They also believe in spirit ancestors and divination is practised. Se is a word for law, order and harmony; Se is the maker and keeper of human souls; in an abstract sense, Se is destiny. Ewe people can also be Christians or Muslim."
FEATURED EXAMPLES
Example #1: Sessimè - Wazakoua (What a World We Are Living In)
Sessimevideos, Uploaded on Feb 23, 2012
Sessimè: Afro pop rock de Bénin (West-Africa)...
-snip-
I reformatted the words "Afropoprock" that was given in the video summary.
SONG LYRICS (from English subtitles given on the screen)
I have seen!
Children crying,
Because they have not anything to eat!
I have seen!
Babies without cradle
devoured by mosquitoes!
I have seen newborns
abandoned,
thrown on a pile of garbage!
I have seen, Of* school children,
with total indifference. **
And I asked old wise men
who told me: this goes life! ***
GOD created a perfect world
and men have destroyed!
That’s why millions of children suffer.
[Instrumental]
I have seen!
Newborns, abandoned,
thrown on a pile of garbage!
I have seen, Of* school children,
with total indifference. **
And I asked old wise men
who told me: this goes life! ***
GOD created a perfect world
and men have destroyed!
That’s why millions of children suffer.
And I asked old wise men
who told me: this goes life!
GOD created a perfect world
and men have destroyed!
That’s why millions of children suffer
GOD created a perfect world
and men have destroyed!
That’s why millions of children suffer.
koyi!
Awo!
koyi!
Waoh oh oh yelei yeh ah oh
Waoh oh oh yelei yeh ah oh
Wazakoua koua ah ah
Wazakoua koua ah ah
Waoh oh oh yelei yeh ah oh
Waoh oh oh yelei yeh ah oh
Wazakoua koua ah ah
Wazakoua koua ah ah
Awo!
Wazakoua koua ah ah
Wazakoua koua ah ah
Wazakoua koua ah ah
Wazakoua koua ah ah
Awo!
koyi!
Awo!
koyi!
Awo!
koyi!
-snip-
* I think that the English translation of this line would be better without the word "Of".
**I think that this means "with total indifference to learning".
***On this video's viewer comment thread, Ghanaian Ewe performer Egbeviwo (Godonou Kofi Srigboh) translated this line as "life goes like this". Another way to say this in American English is "This is the way life is" or maybe also "Such is life."
Thanks to Godonu for responding to my emailed questions regarding the meaning of these Ewe words & phrases that are used in this song:
"Wazakoua" means "What a World We Are Living In".
In the Ewe language Se means Fate. Sessime is her name and it means "Fate", "Destiny" or "In Thee lie my fate, destiny." Another version is "Asiwome" – "In thy hands", which is the title of one of my songs on YouTube. Another version would be "Mawusi". ("Atasi" or "Tatasi")
These are emotional expressions of a sad situation:
"Waoh oh oh yelei yeh ah oh"
"Wazakoua koua ah ah"
"Awo!"
"koyi"
****
Example #2: MAYAVIO by Sessimè
Sessimevideos, Uploaded on Oct 21, 2011
Sessimè: Afro pop rock de Bénin (West-Africa)
-snip-
Here is a English translation of the meaning of this song title and the French summary for this video (My thanks to Godonu for this translation!)
"Mayavio" means "Don't Give Up". It’s an incentive not to give up when things goes wrong. It’s more about finding within you the path of success, because the decision depends on oneself and one’s willingness to succeed. We’re alone, the only real
masters of our destiny and we are the only one that can change it either positively or negatively.
-snip-
The lyrics in French are provided with this video summary at http://www.youtube.com/watch?v=yALWFgn1em4&playnext=1&list=PLP2mRSTjJv_0ONE9jw_QPNBaaVxzgfkv-&feature=results_video
****
Example #3: Godonu - Asiwome (In Thy Hands)
Egbeviwo, Uploaded on Jul 1, 2009
Godonu is a composer, singer and producer. Godonu's music is a blend of the varied rhythms of Ewe traditional drumming such as Agbadza, Akpalu, Akpese, Bɔbɔbɔ, Gahu, Kantata, Kinka to name a few.
Visit my website at http://www.egbeviwo.com
-snip-
My thanks to Godonu for sharing with me via email that another way of saying "Asiwome" is "Sessime" and that "Sessime" means "Fate", "Destiny" or "In Thee lie my fate, destiny".
I gather from this information that "Asiwome" (In Thy Hands") is a shortened form of "My fate/destiny is in God's hands".
Here's information about the name "Godonu" that I received via email from that Ghanaian vocalist/musician:
"Godonu" has 3 meanings depending on its tonal pronunciation because Ewe is a tonal language. The meanings are:
1. This world is a round place and all you have to do is your best and leave the rest.
2. Whatever cloth you have, will be what you wear.
3. What you see is what you get.
****
Example #3: Godonu Kofi Srigboh [Egbeviwo] - DZIGBƆÐI (PATIENCE)
Egbeviwo, Uploaded on Aug 22, 2010
Godonu is a composer, singer and producer. Godonu's music is a blend of the varied rhythms of Ewe traditional drumming such as Agbadza, Akpalu, Akpese, Bɔbɔbɔ, Gahu, Kantata, Kinka to name a few.
Visit my website at http://www.egbeviwo.com
-snip-
Here's information that I received via email from Gondonu regarding the meaning of the word "Egbeviwo"- "Egbeviwo" means "The new generation".
****
RELATED LINK
http://www.mamiwata.com/names.html Bestowing Of Names In Ewe Culture
****
ACKNOWLEDGEMENT AND THANKS
Thanks to these performers for these creative & inspirational compositions. Thanks also to the authors of the information about Ewe culture which is included in this post.
Finally, thank you for visiting pancocojams.
Viewer comments are welcome.
Friday, May 18, 2012
Drums Verses From R.S. Rattray's book "Ashanti" - Part II
Edited by Azizi Powell
This is Part II of a two part post which presents the English translation of several Ashanti talking drum verses found in R.S. Rattray's 1923 book Ashanti.
For Part I of this post, click http://pancocojams.blogspot.com/2012/05/akan-talking-drums-verses-from-rs.html Akan Talking Drums Verses From R.S. Rattray's book "Ashanti" - Part I.
The content of this post is presented for historical, educational, folkloric, and aesthetic purposes. The copyrights remain with their owners. My hope is that reposting the book excerpt helps to raise positive awareness about Ghanaian culture & prompts viewers to learn more about that culture.
My thanks to the composers of these drum verses, and thanks to R.S. Rattray for documenting these verses.
****
EXCERPT FROM ASHANTI by R.S. Rattray* [Continued from Part I of this series; The author's words are given here in italics to better distinguish them from the drum verses]
THE DRUMS [continued]
"He then called upon the spirit of the tree from which the fibre is made that holds down the tympanum of elephant hide.
I lay down, but I did not feel sleepy,
I lay down but my eyes did not close,
For three watches of the night.
I think about my friends who have left me and are asleep,
Amoafo-Awuku-the cock-the old bird whose bones have grown strong.
Fowl, good morning, good morning.
The fowl has crowed &c., &c.[etc., etc.]
The sky is wide, wide, wide,
The earth is wide, wide, wide,
The one was lifted up,
The other was set down,
In ancient times, long, long ago.
Supreme Sky God, upon whom men lean and fall not,
We serve you.
When the Sky God shows you anything
May you profit by it.
If we wish 'white' we get it,
If we wish 'red' we get it.
Him upon whom we lean and do not fall,
God, good morning.
You whom we serve upon a Saturday,
Good morning.
The fowl has crowed &c., &c.[etc., etc.]
He then discoursed about the herald 'with the black monkey-skin cap' who 'carries his own stool'. He continued in praise of the great god Tano, to be described later.
The stream crosses the path,
The path crosses the stream;
Which of them is the elder?
Did we not cut a path to go and meet this stream?
The stream had its origin long, long ago,
Th stream had its origin in the Creator.
He created things,
Pure, pure Tano [the great god of the Ashanti].*
Come here, Tano;
He devours rams,
Ta, the great one, the powerful one
Whom we serve upon a Monday.
And again.
He is coming, he is coming,
Little by little, slowly, slowly.
Be careful not to stumble,
Little by little, slowly, slowly.
You will come and sit down,
Chief, you will come and sit down.
Kon! Kon! Kon!**
The great man, Osai's son, has sat down.
The King has sat down
He who destroys towns has sat down,
He who never forgives,
He has taken a stool and sat down.
And so on, ending with:
The King is going to rise.
The destroyer of towns is about to rise.
Rise!
Rise!
Rise!
Little by little!
Carefully! Carefully!
Take care you do not stumble (1)
King let us forward.
(1)In olden times it was considered extremely unlucky for the King if Ashanti to stumble, should he do so, a slave was immediately killed on that spot. On great occasion an attendant lifted and set down his feet for the King, lest he should stumble and fall down."
[end of quote]
*This is a direct quote from that book.
** This was given in italics in that book to denote non-English words.
Source - R. S. Rattray: London, Oxford, Clarendon Press, 1959, Chapter V, "A Wednesday Adae Ceremony", pps 101-103; originally published in 1923
Click http://en.wikipedia.org/wiki/Robert_Sutherland_Rattray for information about Robert Sutherland Rattray (1881– 1938).
****
http://pancocojams.blogspot.com/2012/05/videos-of-west-african-talking-drums.html West African Talking Drums
****
Thanks for visiting pancocojams.
Visitors comments are welcome.
This is Part II of a two part post which presents the English translation of several Ashanti talking drum verses found in R.S. Rattray's 1923 book Ashanti.
For Part I of this post, click http://pancocojams.blogspot.com/2012/05/akan-talking-drums-verses-from-rs.html Akan Talking Drums Verses From R.S. Rattray's book "Ashanti" - Part I.
The content of this post is presented for historical, educational, folkloric, and aesthetic purposes. The copyrights remain with their owners. My hope is that reposting the book excerpt helps to raise positive awareness about Ghanaian culture & prompts viewers to learn more about that culture.
My thanks to the composers of these drum verses, and thanks to R.S. Rattray for documenting these verses.
****
EXCERPT FROM ASHANTI by R.S. Rattray* [Continued from Part I of this series; The author's words are given here in italics to better distinguish them from the drum verses]
THE DRUMS [continued]
"He then called upon the spirit of the tree from which the fibre is made that holds down the tympanum of elephant hide.
I lay down, but I did not feel sleepy,
I lay down but my eyes did not close,
For three watches of the night.
I think about my friends who have left me and are asleep,
Amoafo-Awuku-the cock-the old bird whose bones have grown strong.
Fowl, good morning, good morning.
The fowl has crowed &c., &c.[etc., etc.]
The sky is wide, wide, wide,
The earth is wide, wide, wide,
The one was lifted up,
The other was set down,
In ancient times, long, long ago.
Supreme Sky God, upon whom men lean and fall not,
We serve you.
When the Sky God shows you anything
May you profit by it.
If we wish 'white' we get it,
If we wish 'red' we get it.
Him upon whom we lean and do not fall,
God, good morning.
You whom we serve upon a Saturday,
Good morning.
The fowl has crowed &c., &c.[etc., etc.]
He then discoursed about the herald 'with the black monkey-skin cap' who 'carries his own stool'. He continued in praise of the great god Tano, to be described later.
The stream crosses the path,
The path crosses the stream;
Which of them is the elder?
Did we not cut a path to go and meet this stream?
The stream had its origin long, long ago,
Th stream had its origin in the Creator.
He created things,
Pure, pure Tano [the great god of the Ashanti].*
Come here, Tano;
He devours rams,
Ta, the great one, the powerful one
Whom we serve upon a Monday.
And again.
He is coming, he is coming,
Little by little, slowly, slowly.
Be careful not to stumble,
Little by little, slowly, slowly.
You will come and sit down,
Chief, you will come and sit down.
Kon! Kon! Kon!**
The great man, Osai's son, has sat down.
The King has sat down
He who destroys towns has sat down,
He who never forgives,
He has taken a stool and sat down.
And so on, ending with:
The King is going to rise.
The destroyer of towns is about to rise.
Rise!
Rise!
Rise!
Little by little!
Carefully! Carefully!
Take care you do not stumble (1)
King let us forward.
(1)In olden times it was considered extremely unlucky for the King if Ashanti to stumble, should he do so, a slave was immediately killed on that spot. On great occasion an attendant lifted and set down his feet for the King, lest he should stumble and fall down."
[end of quote]
*This is a direct quote from that book.
** This was given in italics in that book to denote non-English words.
Source - R. S. Rattray: London, Oxford, Clarendon Press, 1959, Chapter V, "A Wednesday Adae Ceremony", pps 101-103; originally published in 1923
Click http://en.wikipedia.org/wiki/Robert_Sutherland_Rattray for information about Robert Sutherland Rattray (1881– 1938).
****
http://pancocojams.blogspot.com/2012/05/videos-of-west-african-talking-drums.html West African Talking Drums
****
Thanks for visiting pancocojams.
Visitors comments are welcome.
Videos Of West African Talking Drums
Edited by Azizi Powell
This post showcases five selected videos of traditional West African talking drums.
The content of this post is presented for historical, educational, folkloric, and aesthetic purposes. The copyrights remain with their owners.
My thanks to the musicians & dancers shown in these videos. My thanks also to the producers, and uploaders of those videos.
FEATURED VIDEOS
(These videos are presented in no particular order).
Video #1: The talking drum-Donno.mpg-Kwame Ansah-Brew @ Frostburg State Univ. [Ghana]
Video #2: African Talking Drum- Live Drum Experience [The Gambia]
Uploaded by joelsamuel on Sep 15, 2009
West African Talking_drum performed so masterfully and captured by my camera while taping a documentary on Musa Mboob a well known African drummer who has gone on to make a name now on the world stage...
****
Video #3: Fontomfrom - Royal Music of the Akan People - Otumfuo Opuku Ware II - Ayie [Ghana]
Uploaded by africanbushdoctor on Feb 7, 2011
Excerpts from the Traditional Funeral of Otumfuo Opuku Ware II (Late Asantehene). Sunday, March 21, 1999 to Thursday, March 25, 1999. This is an excerpt from inside the Royal Palace of the Asante "Manhyia". The music and dance is called Fontomfrom. Fontomfrom are "State Drums" of the Asante people and they recite very ancient and deep proverbs. The dance is also a language which is also known to be extremely deep.
Filmed in Kumasi, Ghana By Nana Kimati Dinizulu.
****
Video #4: Kete - Dance & Music of the Akan People of Ghana [Ghana]
Uploaded by africanbushdoctor on Feb 14, 2011
This is an example of Kete. Kete is dance and music of the Akan people of West Africa. The following was taken from Kwabena Nketia's, Drumming in Akan Communities of Ghana.
****
Video #5: Talking Drum Safari [Nigeria]
Uploaded by headfullofrhythm on Feb 22, 2009
In Spring of 2008 I travelled to Ife, Nigeria where I stayed with a family of drummers and the studied talking drum. This movie gives an introduction to talking drums and details their use and application.
****
Video #6: Kofo The Wonderman Talking Drum Solo [Nigeria]
Uploaded by martincongahead on Apr 16, 2011
Nigerian bandleader and master percussionist performs solo on talking drum at the Zinc Bar in NYC.
****
Video #7: YORUBA DUNDUN TALKING DRUM ENSEMBLE (FROM LAGBAJA.COM)
Uploaded by richardolatunde on Oct 26, 2010
The Yoruba DUNDUN Talking drum ensemble, as seen on Lagbaja's site lagbaja.com. The smaller drum at the end of the line is the Gudugudu.
****
RELATED LINKS
http://pancocojams.blogspot.com/2012/05/akan-talking-drums-verses-from-rs.html Akan Talking Drums Verses From R.S. Rattray's book "Ashanti" - Part I
**
http://www.jambalayah.com/node/1148 VIDEOS OF TRADITIONAL MUSICAL INSTRUMENTS (D-N)
****
Thanks for visiting this page.
Viewer comments are welcome.
This post showcases five selected videos of traditional West African talking drums.
The content of this post is presented for historical, educational, folkloric, and aesthetic purposes. The copyrights remain with their owners.
My thanks to the musicians & dancers shown in these videos. My thanks also to the producers, and uploaders of those videos.
FEATURED VIDEOS
(These videos are presented in no particular order).
Video #1: The talking drum-Donno.mpg-Kwame Ansah-Brew @ Frostburg State Univ. [Ghana]
Video #2: African Talking Drum- Live Drum Experience [The Gambia]
Uploaded by joelsamuel on Sep 15, 2009
West African Talking_drum performed so masterfully and captured by my camera while taping a documentary on Musa Mboob a well known African drummer who has gone on to make a name now on the world stage...
****
Video #3: Fontomfrom - Royal Music of the Akan People - Otumfuo Opuku Ware II - Ayie [Ghana]
Uploaded by africanbushdoctor on Feb 7, 2011
Excerpts from the Traditional Funeral of Otumfuo Opuku Ware II (Late Asantehene). Sunday, March 21, 1999 to Thursday, March 25, 1999. This is an excerpt from inside the Royal Palace of the Asante "Manhyia". The music and dance is called Fontomfrom. Fontomfrom are "State Drums" of the Asante people and they recite very ancient and deep proverbs. The dance is also a language which is also known to be extremely deep.
Filmed in Kumasi, Ghana By Nana Kimati Dinizulu.
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Video #4: Kete - Dance & Music of the Akan People of Ghana [Ghana]
Uploaded by africanbushdoctor on Feb 14, 2011
This is an example of Kete. Kete is dance and music of the Akan people of West Africa. The following was taken from Kwabena Nketia's, Drumming in Akan Communities of Ghana.
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Video #5: Talking Drum Safari [Nigeria]
Uploaded by headfullofrhythm on Feb 22, 2009
In Spring of 2008 I travelled to Ife, Nigeria where I stayed with a family of drummers and the studied talking drum. This movie gives an introduction to talking drums and details their use and application.
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Video #6: Kofo The Wonderman Talking Drum Solo [Nigeria]
Uploaded by martincongahead on Apr 16, 2011
Nigerian bandleader and master percussionist performs solo on talking drum at the Zinc Bar in NYC.
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Video #7: YORUBA DUNDUN TALKING DRUM ENSEMBLE (FROM LAGBAJA.COM)
Uploaded by richardolatunde on Oct 26, 2010
The Yoruba DUNDUN Talking drum ensemble, as seen on Lagbaja's site lagbaja.com. The smaller drum at the end of the line is the Gudugudu.
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RELATED LINKS
http://pancocojams.blogspot.com/2012/05/akan-talking-drums-verses-from-rs.html Akan Talking Drums Verses From R.S. Rattray's book "Ashanti" - Part I
**
http://www.jambalayah.com/node/1148 VIDEOS OF TRADITIONAL MUSICAL INSTRUMENTS (D-N)
****
Thanks for visiting this page.
Viewer comments are welcome.
Akan Talking Drums Verses From R.S. Rattray's book "Ashanti" - Part I
Edited by Azizi Powell
This is Part I of a two part post which presents the English translation of several Ashanti talking drum verses found in R.S. Rattray's 1923 book Ashanti.
Part II of this post provides additional verses from that book. For Part II, click http://pancocojams.blogspot.com/2012/05/drums-verses-from-rs-rattrays-book.html.
The content of this post is presented for historical, educational, folkloric, and aesthetic purposes. The copyrights remain with their owners. My hope is that reposting the book excerpt helps to raise positive awareness about Ghanaian culture & prompts viewers to learn more about that culture.
My thanks to the composers of these drum verses, and to R.S. Rattray for documenting these verses.
****
EXCERPT FROM ASHANTI by R.S. Rattray*
[The author's words are given here in italics to better distinguish them from the drum verses. The title of these verses is given here in capital letters but is written in italics in the book.]
"The chief took about forty-five minutes to dress and change into his rope of state, and this interval was filled by the old drummr, Osai Kojo, talking on his two ntumpane drums, and telling all who could understand their language the history of that particular division.
I have given elsewhere in this volume an account of the talking drums and of the drum language, and I shall here quote only a few verses of what the drums were saying on this occasion at B___. It must, of course, be understood that I did not follow at the time one-tenth of what they were recounting. I later spent many weeks with the old drummer, working out syllable by syllable and tone by tone, what is here given in an English translation only.
THE DRUMS
Oh, Divine Drummer, I am scarcely awake and have risen up.
I, the Ashanti porcupine chief's drummer,
I am scarcely awake,"
I have made myself to rise up,
I am about to sound the drum.
If you have gone elsewhere and I call you,
Come;
The fowl has crowed in the morning,
The fowl has awakened and crowed,
Very early,
They are addressing me and I shall understand.
He then called upon the spirit of the cedar-tree and of the elephant, part of which had gone towards the making of the composite drum. The following verse is a variation of that used at Mampon.
There are swamps, swamps, swamps,
Which can swallow up the elephant.
A river may lie small in the valley
Between great hills.
But it flows on for ever and ever.
If you (spirit of the elephant) have gone elsewhere and I call upon you
Come.
The fowl has crowed in the morning, &c.[etc.]"
[Continued in Part II of this post.]
*Source - R. S. Rattray: London, Oxford, Clarendon Press, 1959, Chapter V "A Wednesday Adae Ceremony", pps 100-101; originally published in 1923
Click http://en.wikipedia.org/wiki/Robert_Sutherland_Rattray for information about Robert Sutherland Rattray (1881– 1938).
****
ANOTHER RELATED LINK
http://pancocojams.blogspot.com/2012/05/videos-of-west-african-talking-drums.html West African Talking Drums
****
Thanks for visiting this page.
Viewer comments are welcome.
This is Part I of a two part post which presents the English translation of several Ashanti talking drum verses found in R.S. Rattray's 1923 book Ashanti.
Part II of this post provides additional verses from that book. For Part II, click http://pancocojams.blogspot.com/2012/05/drums-verses-from-rs-rattrays-book.html.
The content of this post is presented for historical, educational, folkloric, and aesthetic purposes. The copyrights remain with their owners. My hope is that reposting the book excerpt helps to raise positive awareness about Ghanaian culture & prompts viewers to learn more about that culture.
My thanks to the composers of these drum verses, and to R.S. Rattray for documenting these verses.
****
EXCERPT FROM ASHANTI by R.S. Rattray*
[The author's words are given here in italics to better distinguish them from the drum verses. The title of these verses is given here in capital letters but is written in italics in the book.]
"The chief took about forty-five minutes to dress and change into his rope of state, and this interval was filled by the old drummr, Osai Kojo, talking on his two ntumpane drums, and telling all who could understand their language the history of that particular division.
I have given elsewhere in this volume an account of the talking drums and of the drum language, and I shall here quote only a few verses of what the drums were saying on this occasion at B___. It must, of course, be understood that I did not follow at the time one-tenth of what they were recounting. I later spent many weeks with the old drummer, working out syllable by syllable and tone by tone, what is here given in an English translation only.
THE DRUMS
Oh, Divine Drummer, I am scarcely awake and have risen up.
I, the Ashanti porcupine chief's drummer,
I am scarcely awake,"
I have made myself to rise up,
I am about to sound the drum.
If you have gone elsewhere and I call you,
Come;
The fowl has crowed in the morning,
The fowl has awakened and crowed,
Very early,
They are addressing me and I shall understand.
He then called upon the spirit of the cedar-tree and of the elephant, part of which had gone towards the making of the composite drum. The following verse is a variation of that used at Mampon.
There are swamps, swamps, swamps,
Which can swallow up the elephant.
A river may lie small in the valley
Between great hills.
But it flows on for ever and ever.
If you (spirit of the elephant) have gone elsewhere and I call upon you
Come.
The fowl has crowed in the morning, &c.[etc.]"
[Continued in Part II of this post.]
*Source - R. S. Rattray: London, Oxford, Clarendon Press, 1959, Chapter V "A Wednesday Adae Ceremony", pps 100-101; originally published in 1923
Click http://en.wikipedia.org/wiki/Robert_Sutherland_Rattray for information about Robert Sutherland Rattray (1881– 1938).
****
ANOTHER RELATED LINK
http://pancocojams.blogspot.com/2012/05/videos-of-west-african-talking-drums.html West African Talking Drums
****
Thanks for visiting this page.
Viewer comments are welcome.
Friday, November 18, 2011
Videos Of Four West African Female Singers
Edited by Azizi Powell
This post showcases videos of & information about four female song traditions or female vocalists from various West African nations. This post is not meant to a comprehensive review of West African female vocalists.
These videos & comments are presented for their aesthetic, educational, historical, folkloric, sociological, and entertainment values. Videos are presented in random order with the nation of the singer/s' given in parenthesis after the video title.
The content of this post is given for folkloric, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
FEATURED VIDEOS
Video #1: Nnwonkoro - A Female Song Tradition of the Akan of Ghana - Part 1 (Ghana)
Uploaded by africanbushdoctor on Feb 16, 2011
Here's an excerpt of the uploader's comment http://www.youtube.com/watch?v=avVX_Xfb0Ok:
"Nnwonkoro is a female song tradition of the Akan of Ghana. "Abre" which is the beginning where the lead singer recites a long text without instrumental accompaniment or hand claps, sets the stage in this excerpt of Nnwonkoro performed by Onyame Akwan Nnwonkoro. According to the research and many conversations that I have conducted over the years, Nnwonkoro is an important music on the highest of levels with a poetic depth that some say are unparalleled. Only females sing these songs with men playing the accompanying musical instruments. Both male and female may dance to it's music.
Now, a very brief background:
There are several female song traditions of the Akan.
Mmobomme songs were sang to Nyame (the supreme being) and the Abosum (deities)during war time, asking thus praying [asking their prayers] for the safe return from war of their men. Ose songs were sang when the men returned victorious from their battles. There are many other occasions in which women sing ose songs as they are songs of jubilation.
Nsaa Dwom songs of praise, were sang usually in the evening after a hard days work when some of the women gathered together. In the 1920's Mmobomme declined due to the fact that hostilities between the British and the Asante had reached an end (in 1905 Yaa Asantewaa was captured). Nnwonkoro was still primarily a recreational music with occasional use at funerals with Adowa at that time period being a primary music and dance form for funerary celebrations of Akan. Today it is one of the primary forms of music expression found in funerary celebrations and in other festivals in various Akan communities...
The primary instruments used in Nnwonkoro vary from group to group, some of the instruments used are; Apreprensua (a large finger piano that is sat on while being played), Afirikyewa (a finger bell), Dawuruta (a double bell - idiophone), Adawura (a boat shaped bell) Notorowa (gourd rattles), Atumpan (male and female principal talking drums of the Akan) Apentema drum, and Kwadum drum which was added by Manhyia Tete Nnwonkoro at the request of the Asantehene."
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Video #2: Oumou Sangaré - Seya (Mali)
uploaded by maliwood223 on Feb 11, 2009
Editor: Here's a viewer comment about this song:
"Oluwaluvlee She is basically talking about how she make herself beautiful for her man, in her African dress..."
-konepkone; 2011
Here's some information about this vocalist:
From http://www.myspace.com/oumousangare:
"Oumou Sangare was born in Bamako, Mali in 1969... Oumou's mother was a singer and her main source of income was the ‘sumu’ (wedding and baptism celebrations organised by women) or 'street parties' as Oumou calls them...
Oumou's mother is from Wassoulou, the remote forest region in the south of Mali which boasts a rich and distinctive culture. For hundreds of years, until the beginning of the 20th century with French colonial rule, it was Mali’s Wassoulou hunters who were the protectors of the villages, the providers of food, and the healers. Still today they occupy a special place deep in the Malian psyche. Their music, played on a special six string harp, is believed to have magic powers that can protect hunters and tame even the most dangerous of animals. Wassoulou hunters’ music was very different from the prevailing griot-based music of the dance bands. It had strong, hypnotic dance rhythms and in contrast to the Mandé griots, whose lyrics focus more on the wealthy and the powerful, Wassoulou the lyrics talk about more general aspects of life. Oumou’s vision from the outset was to bring the power and charm of this music into her own songs...
In 1989, after some persuasion – wary of the pitfalls that could await her if the album was not successful -, she recorded her first album Moussoulou (‘Women’). It was recorded in Abidjan with arrangements by Ahmadou Ba Guindo and released on the 4th of January 1990, and it took West Africa by storm. She was 21 years old. Her songs talked openly about subjects that no one had dared express before in public in this fundamentally conservative society and caused endless debate amongst the Malian population. The album's messages were powerful - encouraging women to seek personal freedom to be themselves and have dignity, warning against the wrongs of polygamy and forced marriage and even covered the taboo subject of female sensuality, such as in her stunning hit song “Diaraby Nene” (the Shivers of Passion).
This was all the more remarkable because of her chosen idiom - a slightly modernized version of the traditional, rural music of the enigmatic and and mysterious Wassoulou hunters, delivered with a funk-driven pulse. The true impact of ‘Moussoulou’ is still hard to gauge."
****
Video #3: Sayon Camara - Asmaou* (Guinea)
Uploaded by liberte58 on Dec 24, 2007
-snip-
I couldn't find any information online about Sayon Camara.
Asmaou is the first name of the woman in white in this video who is the vocalist sings to. I googled the name "Asmaou Conte" which was found in a comment in this video's viewer comment thread. As a result I found information for "Asmaou Bah Conte". She is the wife of (deceased) second President of Guinea, Lasana Conte. Unfortunately, that infornation was located on an anti-fraud website for scam emails. It's a shame that there's no other information about her, not even on Lasana Conte's Wikipedia page.
****
Video #4: Angelique Kidjo - AGOLO
Sergey Altay, Uploaded on Oct 27, 2010
From "Later...With Jools Holland (2005)"
From http://en.wikipedia.org/wiki/Ang%C3%A9lique_Kidjo
"Angélique Kidjo is a Grammy Award–winning Beninoise singer-songwriter and activist, noted for her diverse musical influences and creative music videos...
Her musical influences include the Afropop, Caribbean zouk, Congolese rumba, jazz, gospel, and Latin styles...
Kidjo is fluent in Fon, French, Yorùbá, and English and sings in all four languages; she also has her own personal language which includes words that serve as song titles such as "Batonga". Malaika is a song sung in Swahili language. She often utilizes Benin's traditional Zilin vocal technique and jazz vocalese. She now resides in New York City, New York, United States."
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This post showcases videos of & information about four female song traditions or female vocalists from various West African nations. This post is not meant to a comprehensive review of West African female vocalists.
These videos & comments are presented for their aesthetic, educational, historical, folkloric, sociological, and entertainment values. Videos are presented in random order with the nation of the singer/s' given in parenthesis after the video title.
The content of this post is given for folkloric, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
FEATURED VIDEOS
Video #1: Nnwonkoro - A Female Song Tradition of the Akan of Ghana - Part 1 (Ghana)
Uploaded by africanbushdoctor on Feb 16, 2011
Here's an excerpt of the uploader's comment http://www.youtube.com/watch?v=avVX_Xfb0Ok:
"Nnwonkoro is a female song tradition of the Akan of Ghana. "Abre" which is the beginning where the lead singer recites a long text without instrumental accompaniment or hand claps, sets the stage in this excerpt of Nnwonkoro performed by Onyame Akwan Nnwonkoro. According to the research and many conversations that I have conducted over the years, Nnwonkoro is an important music on the highest of levels with a poetic depth that some say are unparalleled. Only females sing these songs with men playing the accompanying musical instruments. Both male and female may dance to it's music.
Now, a very brief background:
There are several female song traditions of the Akan.
Mmobomme songs were sang to Nyame (the supreme being) and the Abosum (deities)during war time, asking thus praying [asking their prayers] for the safe return from war of their men. Ose songs were sang when the men returned victorious from their battles. There are many other occasions in which women sing ose songs as they are songs of jubilation.
Nsaa Dwom songs of praise, were sang usually in the evening after a hard days work when some of the women gathered together. In the 1920's Mmobomme declined due to the fact that hostilities between the British and the Asante had reached an end (in 1905 Yaa Asantewaa was captured). Nnwonkoro was still primarily a recreational music with occasional use at funerals with Adowa at that time period being a primary music and dance form for funerary celebrations of Akan. Today it is one of the primary forms of music expression found in funerary celebrations and in other festivals in various Akan communities...
The primary instruments used in Nnwonkoro vary from group to group, some of the instruments used are; Apreprensua (a large finger piano that is sat on while being played), Afirikyewa (a finger bell), Dawuruta (a double bell - idiophone), Adawura (a boat shaped bell) Notorowa (gourd rattles), Atumpan (male and female principal talking drums of the Akan) Apentema drum, and Kwadum drum which was added by Manhyia Tete Nnwonkoro at the request of the Asantehene."
****
Video #2: Oumou Sangaré - Seya (Mali)
uploaded by maliwood223 on Feb 11, 2009
Editor: Here's a viewer comment about this song:
"Oluwaluvlee She is basically talking about how she make herself beautiful for her man, in her African dress..."
-konepkone; 2011
Here's some information about this vocalist:
From http://www.myspace.com/oumousangare:
"Oumou Sangare was born in Bamako, Mali in 1969... Oumou's mother was a singer and her main source of income was the ‘sumu’ (wedding and baptism celebrations organised by women) or 'street parties' as Oumou calls them...
Oumou's mother is from Wassoulou, the remote forest region in the south of Mali which boasts a rich and distinctive culture. For hundreds of years, until the beginning of the 20th century with French colonial rule, it was Mali’s Wassoulou hunters who were the protectors of the villages, the providers of food, and the healers. Still today they occupy a special place deep in the Malian psyche. Their music, played on a special six string harp, is believed to have magic powers that can protect hunters and tame even the most dangerous of animals. Wassoulou hunters’ music was very different from the prevailing griot-based music of the dance bands. It had strong, hypnotic dance rhythms and in contrast to the Mandé griots, whose lyrics focus more on the wealthy and the powerful, Wassoulou the lyrics talk about more general aspects of life. Oumou’s vision from the outset was to bring the power and charm of this music into her own songs...
In 1989, after some persuasion – wary of the pitfalls that could await her if the album was not successful -, she recorded her first album Moussoulou (‘Women’). It was recorded in Abidjan with arrangements by Ahmadou Ba Guindo and released on the 4th of January 1990, and it took West Africa by storm. She was 21 years old. Her songs talked openly about subjects that no one had dared express before in public in this fundamentally conservative society and caused endless debate amongst the Malian population. The album's messages were powerful - encouraging women to seek personal freedom to be themselves and have dignity, warning against the wrongs of polygamy and forced marriage and even covered the taboo subject of female sensuality, such as in her stunning hit song “Diaraby Nene” (the Shivers of Passion).
This was all the more remarkable because of her chosen idiom - a slightly modernized version of the traditional, rural music of the enigmatic and and mysterious Wassoulou hunters, delivered with a funk-driven pulse. The true impact of ‘Moussoulou’ is still hard to gauge."
****
Video #3: Sayon Camara - Asmaou* (Guinea)
Uploaded by liberte58 on Dec 24, 2007
-snip-
I couldn't find any information online about Sayon Camara.
Asmaou is the first name of the woman in white in this video who is the vocalist sings to. I googled the name "Asmaou Conte" which was found in a comment in this video's viewer comment thread. As a result I found information for "Asmaou Bah Conte". She is the wife of (deceased) second President of Guinea, Lasana Conte. Unfortunately, that infornation was located on an anti-fraud website for scam emails. It's a shame that there's no other information about her, not even on Lasana Conte's Wikipedia page.
****
Video #4: Angelique Kidjo - AGOLO
Sergey Altay, Uploaded on Oct 27, 2010
From "Later...With Jools Holland (2005)"
From http://en.wikipedia.org/wiki/Ang%C3%A9lique_Kidjo
"Angélique Kidjo is a Grammy Award–winning Beninoise singer-songwriter and activist, noted for her diverse musical influences and creative music videos...
Her musical influences include the Afropop, Caribbean zouk, Congolese rumba, jazz, gospel, and Latin styles...
Kidjo is fluent in Fon, French, Yorùbá, and English and sings in all four languages; she also has her own personal language which includes words that serve as song titles such as "Batonga". Malaika is a song sung in Swahili language. She often utilizes Benin's traditional Zilin vocal technique and jazz vocalese. She now resides in New York City, New York, United States."
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
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