In 1976 Yacouba Moumouni was a 10-year-old shepherd living on the fringe of the Sahara desert in Niger. Moumouni's father had died, leaving his older brother in charge of the family and the flock. The young Moumouni fought often with his brother, so he left home for the capital of Niamey, 125 miles away. On foot. alone. The rest is history, or at least it is in Niger. Moumouni spent two homeless years on Niamey's streets before taken in as the singer's Absatou Danté apprentice.
He learned the seyse, the flute of the Peul, and after seven years of training, joined the Ballet National du Niger. In 1990, he became one of the singers of Orchestre Takeda, the house orchestra of the newly opened musical academy Centre de formation et de promotion musicale in Niamey. At the CFPM, he met Abdoulaye Alassane,guitarist, and band leader of Super Kassey and Orchestre Takeda. They formed together in 1995 Mamar Kassey named after a legendary warrior who extended the Songhai Empire into the Sahara.. and soon became the most popular musical group to emerge from that dry west African country... .......
The Kaabu Empire (also spelt N’Gabu / Gabu) started as a westward extension of the Manding Empire. Its rulers were ordained into office by the king of Mali (Manding) but as Mali declined during the 15th century the Kaabu became autonomous. Among the western Mandinka who inhabit Senegambia, Kaabu was second only to Manding in importance and its ruling dynasty, who bore the title of Nyanchos, were better known, more respected and more jealous of their heritage than any other of the Western Mandinka dynasties. ......continue to an essential history lesson
This song speaks of the great men , the brave men who made useful things in
this world before they die.
We dedicate it to the fallen heroes who lie in front . Many brave men rest in Nyaréla .
Young girls, small children, the children who fought for the liberation of our homeland lie in Nyaréla .
The world is sick, it became a fresh onion without seeds.
We have to be united , this union ensures the smooth running of things.
Talking is difficult, not talking is difficult , keeping silent is not good , mouth is a source of trouble. . Speech is learned but it doesn't force you .In the past, there were kings able to plant a needle , to pray in its shadow or to steal the saddle of a horse. These kings always exist but their reign is over. The times of the generous kings are over.Today there are more enemies except the rogues.These rascals say that we, the djéli , disturb . In the name of Allah, when we disturb someone, he becomes famous.
The Stories of the sons of Bambara are becoming more and more rare.
less.and less ,those interested in them
Death is a reality and resurrection is a lie , however, it does not destroy hope.
* Niarela is a district with a well known cemetery in Bamako
Née en 1962, Ndèye Marie Ndiaye Gawlo qui fêtait donc ses 49 ans cette année, est griotte de par son
père et sa mère. Aussi, comme tous les Gawlo (Géwël), elle a commencé naturellement à chanter dès son plus jeune âge, il y a plus d’une trentaine d’années. Sa voix grave, profonde, avec un timbre et une intonation qu’elle maîtrisait parfaitement, était sa marque car, à travers elle, elle attirait l’attention. En effet, sa voix ne laissait personne indifférent, tout comme d’ailleurs ses chansons. Elle avait en effet une parfaite connaissance des textes traditionnels, et savait les inscrire dans leurs contextes, tout comme elle maîtrisait l’histoire. En somme, elle était une diva, une voix assurée de la musique sénégalaise, au sens propre du terme.
Ayant démarré sa carrière par la musique traditionnelle, comme le font les griots en chantant notamment dans les cérémonies familiales, elle a, au fur et à mesure, allié la modernité et la traditionnelle. Une modernité incarnée par ses prestations aux côtés de grands artistes sénégalais pour qui elle a assuré les chœurs. Parce que nombre d’entre eux la considéraient comme l’une des meilleures voix du pays.
Sa collaboration avec Youssou Ndour qu’elle a accompagné à travers ses tournées partout à travers le monde, à Bercy, à Londres, très remarquée par le public anglais que la «Gawlo» a conquis au point que les journalistes en étaient réduits à demander au lead vocal du Super Etoile qui était cette femme, en est la preuve la plus éloquente. Viviane Ndour, Salam Diallo dans «Goana», Fatou Geweul, Thione Seck, Coumba Gawlo Seck, entre autres, ont eu à recourir à ses services.
Mais en marge de cette carrière de choriste, Marie Ndiaye Gawlo poursuivait une carrière solo. Cette grande cantatrice a d’ailleurs connu quelques succès avec son premier tube «Teranga» dans les années 90. Un album produit par Youssou Ndour qui était aussi présent dans le clip qui a été très apprécié par le public.
«Goudi amna borom», une autre de ces chansons, traditionnelle celle-là, a aussi été un titre à succès dans les années 90, bien que le clip vidéo soit resté pratiquement inconnu du public. Le dernier et non moins célèbre titre de la diva, «Alal», sorti il y a moins de 5 ans, où elle éveille les populations sur le danger qu’est l’argent, a également fait un carton. Très attachée à la famille de Youssou Ndour, elle chantait tout le temps leurs louanges. La musique sénégalaise a donc perdu une voix irremplaçable.
In the 60's Black Star Musical Club took taarab along a different path by taking the rhythms from the dansi groups of the era,and also added the electric guitar, bass,
and ultimately the keyboard, and replaced the older taarab instruments like the oud,
the string double bass, and the harmonium.Black Star Musical Club developed a rivalry with a group
that broke off from it called Lucky Star Musical Club, also known as Nyota Njema, which means Lucky Star in Swahili. Throughout the 1970s and into the 1980s, these two bands warred with each other by singing songs
about each other, but always through the employ of metaphor.They would have very rarely sung
direct insults toward each other. Taarab, the poetic form, is well-known for its use of innuendo and metaphor
and multiple layers of meaning to talk about social life, and comment on social life.
In the seventies and eighties, Black Star and Lucky Star,became famous not only in Tanga.
It went far beyond that, because they were also recorded by studios not too far away in Mombasa,
just across the border in Kenya. Their recordings were played on Radio Tanzania, and also in Kenya,
on KBC, and the popularity of Black Star and Lucky Star spread throughout what is now Tanzania.
Mohamed Gubara is considered one of Sudan's finest players of the tambur,or lyre, an instrument which has changed little for over 5000 years.He sings songs of social commentary, political protest and love, in a voice that is completely original. Mohamed Gubara was born into a small village in the Northern Province of Sudan in October 1947. Music and dance are an important part of everyday life to Gubara's Shaigiyya people and he began to play the tambur at the age of ten, quickly mastering the basics of the ancient instrument. He decided to leave his village at the age of fourteen and travelled to Atbara, the railway capital of Sudan, in the southern part of Northern Province where he found work as a messenger. He joined a club (Al-Ahli) where he could develop his skills on the tambur as an amateur. It was at this club where he was first encouraged to sing. His natural way of singing showed little influence of traditional Sudanese styles and his spine tingling high pitched delivery won him great favour with local audiences. This local fame led to his composing the music for the first Sudanese film Hopes and Dreams. In 1970 Gubara left Atbara for Khartoum, a perfect singer but an unknown one. In Khartoum he joined the Armys Musical Corps where he was given a chance on the air in the Armed Forces programme aired weekly by Sudan Broadcasting Service (Radio Omdurman).
The first song to usher him into the world of fame was Umma (Mother) which narrates the deep sorrow of a loving son who has travelled far away from his mother. Most of Gubaras songs are given to him by poets from his Shaigiyya tribe, who also compose the melody. These poets find Gubaras voice the perfect vehicle to express their songs. Many of the top Sudanese singers have songs written for them by poets who record their work onto cassette,often accompanying themselves on oud to suggest the melody. The poems are then re-arranged by the singer, Gubaras songs and melodies are specially written with the singer in mind and he does not re-arrange them, just puts his little touches to them. Most of Gubaras songs are written by Elsir Osman, with whom the singer shares a great affinity.
this rare flower (rare,for its beauty )
is sending fine scents of Indian Ocean rich cultural dialogues and cosmopolitan Swahili auras
from 1988 till today and on
-it can also act as a medicine for the consequences of any kind of (old or ) new barbarism -
surrender to its magic
With 10 female and 13 male artists, Kariakoo Sanaa developed out of the Zanzibar National Ballet in 1979. Due to cultural exchange programmes between Zanzibar and Guinea Conakry, the latter sent tutors to help establish the group. Performing a variety of traditional ngoma from around Zanzibar and mainland Tanzania, Kariakoo Sanaa is also the mother ensemble of most groups of
traditional music styles in Zanzibar.
Apart from performing ngoma, they produce different Swahili plays for stage, radio and tv . Most artists in the group have extensive knowledge of different ngoma styles, including obscure ones like the all women ndege and bomu. They are proud to feature Mzee Kheri, Zanzibar's leading ngoma drummer, and Asha Khatib, group leader and veteran dancer and many more excellent artists.
Instruments used during their sets include zumari (a wind instrument played by circular breathing), marimba, drums, shakers and ankle bells (njuga).
Saida Karoli was born on the 4th of April 1976 in the Northern part of Tanzania within a small region called Bukoba. As a child, Saida lived in the small village of Rwongwe in Bukoba. Her culture did not permit girls to sing or play drums but her mother, who was also a musical figure in the village, encouraged her and taught her the essentials of music.
At the age of 20, following the death of her mother, Saida continued doing what she knew to do best - make music. Her humility, patience and good sense of humor make her a great and vibrant personality.
As a singer, composer, dancer and drummer, and within a short period of time, Saida has become a much sought after female artist all over East and Central Africa.
She has staged live shows in almost all parts of Tanzania, and has been on several successful tours in Rwanda, Burundi, DRC, Uganda, Kenya and Zanzibar. Her artistic musical talent, which is filled with tradition, has captivated the diverse cultural audiences and her mellow singing voice continues to earn her a place the hearts of people of all ages and cultural backgrounds.
She sings predominantly in Haya (the language of the Haya ) as well as Swahili. However, even those who do not understand this language have been touched by her unique voice and the crisp quality of her music. Her sources of inspiration are social values, the rural culture of Tanzania and that of its neighboring countries, as well as the condition of human society. in various sites
and learn French posthaste,to ease the burden of French employers …"
In Maloya,the rhythms,the instruments, and the roles,are descended directly from the slavery times.
This “dance of the Blacks” always impressed the old time listeners with its unsettling blend of “melancholy,lasciviousness and the anguish of the lost homeland”.
Initially, maloya was performed within a ritual framework called servis malgas or servis kabaré.
In these ceremonies animals were sacrificed as offerings to the Malagasy or African ancestors
who were being thus honoured. The songs were used to initiate communication with the ancestors and to lead some of the participants in a state of possession.
Maloya had back then also an aspect of social regulation within the communities of sugar plantation workers. Historically performed in the family circle and the close neighbourhood,
some of the servis became with time increasingly public or semi-public.
The Maloya was sung,carried and transmitted by the majority of the poor uprooted Malagasy,
African, Indians and was also popular among the poor Whites .
Until the 1960s, maloya was also performed during festive evenings (maloya balls)
with dancing and the songs improvisations were well aimed social criticisms and commentary.
This form of emanation through the centuries of the darkness, was always forbidden, suppressed and oppressed by the French rulers of the island.
On December 25, 1975, on the waterfront of St. Pierre, at the initiative of the Southern Cultural Front, the first public concert of maloya was held.
Firmin Viry,the man who has worked relentlessly to preserve the maloya heritage,was there,with his band.
A Wassoulou songbird from the 90's, Djénéba Diakité is hailing from the region of Sikasso.Her village Kanibougoulaye is close to the borders with Côte d'Ivoire. She spent her childhood between Wassoulou and Bamako and after school she began studying theater in Koutiala.
After her courses she became interested in music despite the will of her parents, who over time accepted her decision by attributing it to fate. Thus Djénéba was driven on the road to music by her husband Madou Bah Traore.Together they formed their group "Farafina Lolo' with the highly talented Madou Bah as the guitarist and arranger . Equipped with a beautiful voice Djénéba was soon on the national level.
Djénéba was one of the Malian music stars who turned out in the early 90s with the release of her first cassette "dougou dassiri ",a big success in Mali and soon with Farafina Lolo they performed throughout Mali and the whole sub-region.
Djénéba Diakité became known in Abidjan appealing to the Malian expatriate community there but also in Burkina Faso, Niger and Benin where was known as a reference wassoulou star from Mali.European tours followed closely ..
A second cassette named Liberia confirmed her class,but the album was widely pirated .Still Djénéba was not discouraged and she recorded a third album that was also pirated before its official release....