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In 1985, after several years of amateur drum playing, I took my first djembe workshop with Adama Drame. This encounter was decisive. I was immediately attracted to the instrument and the music, and have dedicated myself to them ever since. Given the growing interest in traditional African music, especially percussion, I wanted to makeavailable a book that both places the instrument in its African context and enablesthe reader to start to learn to play. It would be pretentious to try to produce an exhaustive work on so vast a subject. Since traditional music is usually passed on orally, the transcription of African rhythmics might be open to criticism and using Western notation to write down a type of music which is radically different might seemarbitrary. My goal is not to establish absolute or limiting rules, but rather to pass on in written form a synthesis of my personal research and experience to others interested in this extraordinary instrument. This book is not just a simple methodfor learning an instrument. It is for a wider audience: percussionists from all backgrounds, percussion teachers, instrument makers and music lovers will all find it instructive. The beginning percussionist cannot claim to "play like a pro " after reading this book. Regular practice is necessary, as well as a certain rigor and, above all, supervision by an experienced teacher who will help and guide him or her in this work. Several trips to WestAfrica will bring him into direct contact with the djembe's cultural milieu and give him the pleasure of playing with local musicians. Africa's unique atmosphere is indispensablefor learning to play really well. In the meantime,a compact disk has been included to enable the reader to better understand and interpret the written material. The repertory given here is not simply "African inspired". The rhythms presented are real traditional standard rhythms whoseauthenticity and accuracy have beenconfinned by such eminentmusiciansasAboubakar Bamba, Koumgbanan Conde, [.amine Soumah, Mamady Kei"ta, Noumoudy Kei"ta and Souleymane Dembele. I sincerely thank themfor their interest. In contributing to the making of this document, they have helped give a new dynamic to percussion and West African rhythmics in the world. I would also like to express my gratitude to Morton Potash, Franr;ois Kokelaere, Jean-Pierre Journet, Julien Andre, Modibo Bah, Ravy Magnifique and Youssouf Tata Cissefor their help and advice. The reader will find here a pedagogical aid, written with passion and all possible accuracy, allowing him or her to taste the pleasure of playing this instrument. I hope it will arouse a desire of one day attaining the musical excellence of the great masters. And now the
momenthas come to turn to the djembe and its music..,
SergeBlanc
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4 ~
~ oundjata, a thirteenth-century mythical and legen.> dary hero, had a great destiny. A great among the greatest,he is attributed a very important role in traditional Mandingo history. The main events of his life are recountedin chroniclesof the time andin numerousAfrican history books. His story is told in "Janjon" and "Soundjata Fasa", the Saga of Soundjata, the most famous Mandingo epic chant(l). The story goesthat SogolonKedjougou,one of the wives of Fara-Koro Makan Kegni, gave birth to a sick boy, who was paralyzed for seventeenyears. He was called Soundjata. Soundjatahad a stepmother,TassoumaBerete,who helped her son,DakaranTouma, Soundjata'shalf-brother, usurp the throne. Soundjata's astonishing strength and generosity had made Tassouma Berete jealous and fearful; she plotted against him. She and her son exiled Soundjata,the sole heir to the throne, along with his whole family. They went to Nema, where his mother died on the eve of his departureto reconquerhis native country. Soundjataprosperedon the way back, sealing alliances, sacking and submitting the different peoples, who then became his vassals.At the historic battle of Kirina, Soundjata and his Mandingo allies triumphed over SoumangourouKante, King of the Susu. Soundjatawas proclaimed Mansa, or Emperor, King of Kings. He then laid the foundations of the Mandingo Empire, the Empire of Mali. He developedagriculture, which becamethe main basis of the economy, and oriented trans-Saharancommerce towards gold trading, ruining the Maninka slave trade, which he later abolished. In the realm of social relations, there was real innovation. Caste differentiation becamemore systematic. Preexistinggroupswere divided into three impermeable strata: the horon (important people and nobles), the nyamakala(2) (caste members) and the jon (slaves). Each stratum's role was well defined by rules of centuries-old customs. The essential duty of the nobles, placed at the top of the hierarchy, was to oversee the group's safety. Caste members were to entertain and satisfy the material needs of the group. The slaves did the hardest and most unpleasant work. Soundjataalso codified the clan system.Tradesand professions becamehereditary: from that time on, the son had to follow in his father's footsteps.There are several 'versions of Soundjata's end. Like his life, his death is shroudedin mystery. The most widespreadversion says that he drowned in the Sankaranninriver.
The Empire of Mali reachedits height during the reign of Kankou Moussa, known as Mansa Moussa 1(13421360).The empire stretchedfrom the Atlantic Oceanto the west of Gao on the Niger River. Kankou Moussa won fame with his celebrated pilgrimage to Mecca, a pilgrimage that is still legendary. During his journey, he distributedso much gold (12 tons, it is said), that he causedthe Cairo precious metals market to crash,therebyearningan extraordinaryreputation. A pious sovereign, he had many mosques built in his colonies, contributing to the spreadof Mali's renown beyond the borders of Sudanand attracting many Arab travellers to his country. The most famous of thesewas the Moroccan Ibn Battuta, who came in 1352. At that time, MansaMoussareigned over a vast and prosperous empire. After his death, internal quarrels weakenedthe government.Vassalseverywhererose up and threw off the Malian yoke, among them the Wolof and Sereri peoples.The Mandingo Empire disintegrated. Many kings were born in the historical land of the Mandingo empire. They are the heroes and warriors whom the griots throughout West Africa continue to glorify as if they were still alive. After several years of French colonization under the name of French Sudan, Mali became an independent and sovereignrepublic on September22, 1960.During Modibo Kelta' s presidency,the first republic experienced severe economic difficulties, amplified by social crisis. Seriousconflicts arosewithin the national direction of the single political party, the USRDA, creating a political crisis. This led to a military takeover on November 19, 1968, under the direction of Lieutenant Moussa Traore, who ruled the country single-handedly for 23 years.He was overthrown by the tragic eventsof May 26, 1991, enabling the establishment of a multiparty, democratic system. Colonization considerablymodified the map of the Mandingo region and dispersedthe Maninka peoples.Their zone of influence currently includes parts of Burkina Faso, the Ivory Coast, Gambia, Guinea-Conakry and Guinea-Bissau,Liberia, Mali, Senegaland SierraLeone. The Maninka belong to a Mandingo family that includes many prestigious ethnic groups, including the Bamana, the Kaado, the lula, the Soninke, the Susu and the Syenara. Mandingo music today is conquering the world under the leadership of star musicians as well-known as they are talented, such as Ami Kolta, Salif Kelta, Mory Kante...
1.Thissaga comprisesseveralhundred versesthat are played, sung, danced and discussedduring important ceremonies. 2. Theterm nyamakaladesignatesgroups within different clans composedof the - Jali: griots, - Garanke: cobblers or dyers, - Numu: smiths,specialistsin iron and other metals, - Fune:a kind of holy beggar.
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Faso Busa
Bwa or Bobo Dafin Dagari
Fulbe Gurumance Gurusi
Jula Lobi Mosi
Sarnogo Syenara or Senufo
Bete Birifu Bole Dan Ebiriye
Fulbe Gagu Gere Guroor Kweni Jula
Koyaga Maninka Syenara Turuka
Wob6 Yakuba
Coast
"
Aboron Ani Atiye Barnana Bawule
'-
Baga
Basari Fulanior Peul Gereze
Landuman Maninkaor Malinke Nalo Susuor Soso
Jalunke Jula Kisi Koniagi
Bamana or BambaraKaadoor Dogon Sarnogo Bela Kakolo Somono Bozo Kasonke Songolor SonraY Bwa Mamaraor Miyanka Soninke,Sarakoleor Maraka Fulbeor Peul Maninka Surakaor Moor Jula Mosi Syenara
Basari Fulbe Jula Lebu
and Gambia Maninka Sereri Soninke Suraka
ethnic class groups Fune Jali Garanke Maabo
-
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Temine
Tornaor Lorna Tuculeri
Tarnasheq or Touareg Tuculeri Wasulunke Wolof
Tuculeri Wolof
Numu
used for the namesof ethnic groups, instruments and rythms is that of the mandingo alphabet. The
"j" is pronounced like the "dy" in "Goodyear". The letter "u" is pronounced like the "00" in "boot". The ,
is pronounced like the "a" in "cape". The original spelling, derived from the French, is used for
names.
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, n WestAfrica, in the greatfeudal societieslike the Mali Empire, where many, codified castes defined the social hierarchy, the griots, or bards, becamean object of the highest esteem. As the society's heralds, they were respected,courted and feared. Within the highly structuredand hierarchical Mandingo society, the griots orjaliw were a caste apart, engaged in oratorical art and music. According to the renowned specialist Kele Monson Diabate, their origin goes back to the times of the prophet Mohammed. Legend has it that the Prophet gave his slave Bilali three coffers intended for his three grandsons who afterward went to Mandan and founded the village of Kikoronin. According to oral tradition, the Maninka came from Mecca. Griots may be men or women; they are surrounded by an aura of mystery. Called "belen tigui"(l) they are the keepers of the oral tradition. One is a griot by hereditary filiation. It is therefore possible to enjoy this status without practising any of its extremely difficult tasks and activities. Great griots are rare. In Manden, the oldest griots travel very little, remaining attached to tradition and the land where they were born. They are settled there, serving a king or a power on whom they in turn depend. Lower caste, they are both loved and despised. They do no manual labor and do not work the land, but are supported by the nobles. While still very young, their children learn the art of public speaking and develop their memory, which becomes their working tool. These genealogists, story-tellers and musicians generally have very common names, like Kouyate, Diabate or Cissoko. Some of them are also healers, for they are initiated in the secrets of nature and plants. The griot was therefore the depository of a dynasty's history, of a genealogy, the people's living memory, indispensable for perpetuating institutions. His skill was revealed during large public events glorifying his superiors, in the presence of other nobles accompanied by their own griots who knew the content of what would be said and chanted. He proved his competence by being clever enough not to cause the nobleman whose praises he sung to lower his head in shame. The griot was also bellicose. He was the one who goaded the kings to fight to the death in combats that were motivated by glory, power, acquisition of land and also of beautiful women (the kings in general had thirty wives). Some griots started wars, like the one who one day obstinately refused to sing for King Biton of Segou. "What's wrong?" the King finally asked. "It's in your
kingdom, sire, that nothing is right," replied the griot. "The prettiest girl of the Empire lives in the village of the neighboring kingdom and you haven't married her yet! How can I sing your praises?" Upon hearing these words, the king prepared his army and launched a war to abduct the girl, whom he then married. One does not say "no" to a griot. It is a matter of honor. Before the written word was used,the griots taught and exchangedknowledge orally. To learn from the source, the young griots left the family home and went to study with a great master. They did domestic work for him until they earnedhis trust. When hejudged them capable of learning, he began teaching them "buruju"(2) which enabled them, among other things, to realize that they were of good stock: there was always a hero amongtheir ancestorswho servedas a referencepoint. After their minds had beenopened,learning as much as they could absorb, they left the master and became in their turn keepersof the "tarik". Today, living mainly in cities, unableto claim to belong to a particular masterdue to changesin social and geopolitical structures(the royal courts have disappeared), the griots have become independent. True professionals of speech,show and music, they are mastersof ceremony for local festivities in their communities. It is difficult to imagine weddings, baptisms and funerals without them; the sowing seasonis punctuatedwith their chantsand music. Praising equally noblesand important people,they no longer needto tell the truth; instead,they say what pleases and prompts generous donations, rewards and gifts. It is therefore unusual today to find young people who know the "tarik", now a rarefied lore. They prefer the lure of quick money to volunteer work which no longer attractsanyone.All griots believe that the day they start working will unquestionably be the beginning of fame and fortune. They readily submit to the power of money.
But their function remainsimportantwhen mediators, intervening in inter-family problems disputes. And it is still the griot who arranges traditional marriages. In the Mandingo world there are many villages ning centerswhere young people interestedin oral traditions go. The novices learn the art ' . ~ especially in K6la (Kangaba society), in Kita dofo (a suburb of Kita) and in Krina "
cities wherethe traditionsarewell kept in Mali; __a. Hamadaor Famada(Kouroussa society) in Guinea.
1. Thisexpression is formed from "belen" , meaning "rod" and "tigui", meaning "master of". 2. "Buruju": the origins of institutions and family genealogies, also called "tarik", from the Arab word for "chronicle". - 8 -
plack Africa has an infinite number of musical :P instruments. It is difficult to itemize them all, given the size of the regions and the great variety of populations and ethnic groups, as well as the multiple and variable terminologies. Here are the instruments most representative of Mandingo music, ones that have a more or less direct relation with the djembe and its music. They are played during initiation ceremonies, games, songs and dances and popular festivities. They are also used by the national dance companies.
The Gambian kora, for example, which "speaks Mandengo"(l) is not tuned the same way as the Malian kora, which "speaks Mandenka"(2).Likewise, the Guinea bala does not have the same "scale" as the Burkina Fasobala, and the Maninka flute resemblesthe flute from Fouta only in tone, not in language. Modern materials are used more and more and often produce instruments with a wide rhythmic and melodic range. When played outside their traditional framework they enable musicians to integrate quite naturally into instrumental groups and modern combos throughout the world.
As on integralpart of African social life, evidence of the liveliness of traditional music, they are playedto this day at eachstageof agricultural work (tilling, sowing, harvesting), hunting and fishing. They accompany birth, childhood, puberty, funerals andinheritances,expressingrefinement, solemnityand piety in the rituals. They let 'joi~ devivre" andgaietyburstout andgive expressionto ardor in work. There are sacredinstruments, whosereso-
The instruments listed here are classified according to the four large categoriesof traditional organology establishedby C. Sachsand E. yon Hornbostel. I;
Membranophones:
These are instruments with a membrane stretchedover a hollow support.The sound is obtainedby striking the membranewith the handsor a stick:
-
nancechambersandorifices sometimeshave a shape that lend themselves to symbolic or mythological djembe, dunun, bara, ntama, siko. interpretations;and there are popular instruments. The latter, while keepingtheir fundamentalelements, tI Idiophones: are more or less victims of the general technical evolution of wood and metals. In this category, the sound is produced by the vibration of the material itself, using no strings or membranes:
Their constructioncan be very careful, but also slipshod and even rudimentary. But they all have one thing in common: they are never mass-produced. Using all sorts of resonantmatter, madeessentially from natural or found materials (wood, bamboo, horns, animal skins, gourds,iron, etc.), their quality residesabove all in the richness of the timbre; the instrument must be able to produce unusual tones, more or less strangeand often complex. There are no real instrumentmakers,except for the djembe and certain instrumentslike the kirin or the nkoni. The musician designs them himself, communicatingto them the languageof his ethnic group and endowing them, using various artifices, with a personality of their own. Instruments are thus invented that produce nasal, vibrating, strident or soft sounds which reproduce as closely as possible the sounds and music of nature. Each drum, then, is unique, with its own beauty, its own assetsand flaws.
kirin, kele, kesekese, yabara, filendunun, gita, kariyan, wasamba, bala. Chordophones:
Their soundis madeby causingthe string or strings, stretchedbetweentwo fixed points on a support,to vibrate: bolon, nkoni, kora.
. Aerophones: This category includes all instruments whose sound is produced by vibrating the air contained in a tube. They are also called air or wind instruments. The human voice must be added to this category. In Africa, it is a very substantial source of music. Hand clapping is the only accompaniment.
1. A spoken language of Gambia. 2. A spoken language of Mali and Guinea.
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HEHrSPHEREDRLJHS THE BARA
, in the Bamanamilieu. This kettledrum, around 60 cm in diameter, sometimes larger, is made of wood and covered with a skin, generally calfskin, which is sewn and held in place by a system of hide strip laces. It either hangshorizontally by a belt from the musician's waist or is placed on the ground. It is struck with both palms. The barais usedin all popularfestiveevents, especially in the Bondialan region. accompanied
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The bara(l)is from theSegouregionof Mali. It is used
shapeand the way it is assembledmake this drum a closerelative of the djembe.However, its resonance chamberis higher and it is played differently: one hand strikes directly while the other hand plays with a stick.
HOURGLASS DRUHS THE NTAMA
,
n Mali, both the Bwa and the Kaado are said to have invented this instrument. The ntama is a double-skin drum with variable tension made of a hollowed-out hourglass-shaped wooden barrel. The ends are covered by two goatskins stretched over a stiff circle and tied togetherby flexible leatherlaces. With its narrow center placed under his arm-hence the designation "armpit drum"- the drummer varies the pressure on the lacing, thereby modifying the pitch and creating sliding and altered tones. The skin is struck with a thin curved stick. For the ntamani(2), this technique is supplemented by playing with the fingers on the sameskin. All social classesare familiar with this age-old " instrument, used by criers to announce meetings on the public gathering areato hear urgent information. The ntama can also beat dance rhythms when played with the djembe. This drum is also called the" talking drum ". Indeed, its sliding tones recall some spokenAfrican languages. 1. Also called CU or KUNANFAN. 2. The NTAMANI is smaller.
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riginating in the Faranah region of Upper Guinea, the kesekese is the favorite instrument of the Mamara ethnic group in the Sikasso area of Mali. These internal percussion rattles are closed containers containing small pebbles or seeds and come in a variety of shapes. Generally cone-shaped, made of woven plant fibers, they are always played in pairs, using alternating movements. The player holds one in each hand by a small handle. The kesekese accompany chanting and certain very rapid dances. They are often accompanied by another instrument, the koro, a small piece of hollowed wood held in the palm of one hand and struck by a small stick held in the other.
THE Y ABARA
The yabara is from the Guinea forest region inhabited r by the Kisi, Toma and Gereze ethnic groups. It is an external percussion rattle made from a whole, jugshaped gourd, whose stem serves as a handle. The gourd is emptied and wrapped in a fairly loose string bag studded with real snake vertebrae, cowries(l) or rounds of wood (and sometimes "gombele" beans). The gourd is held by its "handle" and swung back and forth while the other hand pulls the end of the string bag downwards. This produces a clear, dry sound. The musician creates a rhythmic accompaniment for singing and other percussion instruments. In Mali, the yabara used to be played to accompany the bolon during great ritual ceremonies honoring titular genii or the manes, village ancestors. In the Sikasso region, the Bamana use the yabara (also called tchitchakara) by itself for their festivities.
1. Cowries are small shells that were used as money throughout the Mandingo world from earliest times Today they are only used as ornaments and in magic.
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it is held in the palm of the hand,a finger slipped througha ring attachedto thetube. Grooveson eachsideof a lengthwiseslit canal are scrapedwith a small metal rod. A rocking wrist movementmarkstherhythm. This instrumentis playedprimarily by initiation society musiciansand minstrels affiliated with hunting brotherhoods. It is also played by women griots during and after singing,andaccompanies the rhythmssetby the hand clapping of groupsof other women.
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name "arching sistrums"), on which several disks of diminishing diameter, cut out of gourd and pierced in the middle, are threaded. The number of discs, between 15 and 20, corresponds to the age of each initiate. The playing technique varies according to the instrument's ethnic origin. When they are played in pairs, they , are shaken up and down and rubbed against each other. The sliding disks hit one another and make a crisp, clacking sound. Wasamba are used mainly during circumcision ceremonies,to ward .. '-" off evil spirits and accompany singing during the retreat period following the operation. Newly circumcised boys are not to be approachedby just anyone;the wasambaannounce their presenceto passers-byand strangers. This instrumentis saidto datefrom theMiddle Ages.
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WASAKUMBA (Susu ethnic group) and LALA (Fulbe ethnic group) (photo on the right).
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CURVEDHARPS THE BOLON
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The bolon is a curved harp comprised of a large r calabash, a curved wooden pole and three strings. At the end of the pole is a resonator(l). The musician most often plays seated,with the instrument placed facing him betweenhis legs. He holds it by the pole, his wrists resting on the calabash,and pinches the strings with his thumbs. The bolon is the double bass in Mandingo music. It is mainly played for hunting ceremonies. Originally called soron, this instrument was man-sized and was played standing. It exalted courage,exhorting warriors to enduranceand valor. When a city was taken, the soronplayer alwaysprecededthe military leader~ the conqueredvillage. The Bamanahave anothercurved harp with two :..-.. three strings, called dozonkoni(2). The dozonkoni is mainly found in Mali's Wasoulou Belidougou regions, where young people play i evening gatherings.
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LUTES THE NKONI
The nkoni is a Sahelianlute found among the Fulbe, , SoninkeandMoors, a sort of small guitar with a boatshapedbox andthree strings.It is also now found among the Bamana,who have addeda fourth string. A sheepskin is stretched and nailed over a wooden resonance chamber. Oncemadeof horsehair,the stringsare now nylon. They are stretched on the round wooden, notched neck and held by sliding leather rings (like on the kora). The nkoni is above all the griot's instrument, a perfect support for the kora. The Mandingo Empire's history can be discovered through the nkoni' s music. It accompaniesthe historian or the chronicler and is used to illustrate narratives of brave deeds. It is also found in traditional Maninka orchestras. 1. A thin metal sheet, decorated with rings, acts as a resonator. 2. Dozo = hunter; nkoni = string instrument.
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The djembe belongs to the membranophone family. r Its goblet shape resembles the mortar used for pounding millet. Made of a single hollowed out and sculpted piece of tree trunk, it comprises a flattened cone "foot" whose cavity opensinto a larger resonance chamber or "body". The connecting part in the middle of the djembe is the "collar". The size generally varies from 55 to 60 cm high and 30 to 38 cm in diameter(somedjembefrom the Ivory Coast and Burkina Faso are wider). The woods used are chosenfor their density,tone and toughness.The worojiri(l),
lenke, dogora, gueni and calcedrat are the woods most frequently used. The drumheadof the djembe is made from goatskin. The tension system is of braided nylon cords. The skin is held with threemetal hoops(cf: Assemblinga djembe). Originally, the djembe skin was sewn and assembled with thin strips of braided leather or cow gut. If the tension slackenedduring playing, the musician restretched the skin by heating it over a small wood or cardboard fire (this technique is still used by some drummers in Africa).
1. Jiri = tree; woro = kolo. The edible kolo nut is red or white in color. Traditionolly, it also plays an important role on certain occasions, and is given as a sign of agreement, respect or to obtain the cromise of a betrothal.
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FUNCTION
, n West Africa, instrumental music is generally the domain of men, vocal music that of women. The djembe is therefore essentially played by men. With its bright rhythms, it is above all the instrument of dance. Traditional dances handed down from generation to generation make up the greatest part of each ethnic group's surviving artistic and cultural heritage. The dancesreflect aspectsof a past epoch and life, as well as mores and activities. The dancescan be classified in three very distinct categories:
composed by superimposing different intertwining rhythmic units. The interweaving produces a rich and varied polyrhythm. In the Maninka tradition, songs introduce the drum music. The songs vary according to the ethnic group and the event. They can be divided into three categories:
- songsof praise,with instrumentalaccompaniment (stringsor percussion); - dancingsongs,with drumssettingtherhythm; - narrative or epic songs, accompanied above all
Ritual dances The main characteristicof thesedancesis their religious or magic element.They determinethe synthesisof knowledge to be assimilated by those seekingto be initiated, thereby acquiring the highest social and spiritual values. The also include mask and puppet dances.Thesedances are reservedfor the initiated.
Castedances During popularfestivities, thesedanceshelp identify the dancer'scaste:ie, griots,.smithsor cobblers. Secular dances Thesedancesillustrate all the eventsof community life. They can be performed by all members of the society, each sex having its own dance steps.They convey different moods,like joy and sadness,and expresspopular communal delight and the ardor of group work. The djembe is used at the various social events that make up traditional festivities: baptisms, circumcisions, betrothals, weddings and some funerals, as well as ceremoniessuch as assembliesand mask festivals. It is also usedby all West African dancecompaniesand national troupes. The djembe is played in a group of several percussionists comprised of a soloist, djembe accompaniment players and dunun players. The rhythm is generally
by strings. Family membersare responsiblefor the organisationof celebrations and women gnots are generally in charge of the festivities. They lead the different songs,whose words relate directly to the event: ie, honoring the grooms, their families, or the parents of a child being baptized.The other women participateeither by forming a synchronizeddancecircle, or by clapping their hands, creating a rhythmic link between the singing and the instruments. When the singing startsthe djembefola soloist gives his group of accompanists the rhythmic support and the speed for the intoned chant (the same rhythm can be found in different chants).The soloist beatsthe various rhythmic formulas correspondingto the dancers' different movements. His coherent, coded instructions enable them to express themselves, to move with the group and the assembly, they produce a perfect simultaneity between the music and the dance. This generally concludes with a fast finale. The drummers follow the dance, not vice versa. The soloist can give starting signals to change the dancers' steps, and stopping signals to end or temporarily stop the dance.This techniquewas elaboratedby dancecompany drummers,and is also usedfor teaching in danceclasses.
CONSTRUCTION
and finish that areof major importancein making a good instrument. frequently a sculptor, specializing in woodwork(l) and The djembe'spitch (cf: Assemblinga djembe-The skin) in fabricating everyday objects such as mortars, chairs dependson the balance and harmony of its forms. The etc. Very occasionally, the musician is also the sculp- nature and thickness of the wood determine its weight. tor. His assorted tools, including gouges, crowbars, Certain proportions, which the craftsman knows, must machetesand adzes,allow him to achievea construction be respectedbetweenthe "body" and the "foot". The djembe is not mass produced. Each djembe is r handmade and therefore unique. The craftsman is
1. Called
"smiths".
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PLAYING POSITIONS
Usually the djembe is played standing. This position, more suitablewhen playing for dancers,gives greaterfreedom of movementand allows one to move about while playing. It also amplifies the volume of the djembe and facilitates better collaboration and a more harmonious dynamic between the drummers and dancers. When moving around, it is better to shift the djembe's foot to the side of your leg.
The djembemaybe carriedin two differentways: The most common method is using a long shoulder strap (4 meters long maximum). To prevent the drum from sliding, the strap is crossedin back. The djembe restsbetween the drummer's legs. It is important to choosea sturdy strapwide enoughnot to dig into the shoulders.A judo belt works well. For a good position, the strap should be precisely adjusted.If it is too short, the djembe will be too high. If it is too long, you will stoop. The djembe's collar should be mid-thigh level.
has direct
repercussions
on the spine.
-26-
beating This
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ORAL
SOURCES
in rhythm and simplifies the task of "keeping the tune in one's head". enables them to separate the music from its context. For this reason,eachsoundcorrespondsto a syllable. In Africa the reverse is true: oral tradition remains the It is advisableto keep this in mind as a complement to Western notation when singing all of the parts most important and most frequently used source. African drummers traditionally use the "drumming played. language", a literal translation of the spoken language. It is also very important to develop your ear W
estern musicians musical tradition,
have inherited an important
a long written memory aid. It
The drum's music is therefore always based on spoken phrases, on meaningful series of words. The drummer plays them, varies and ornaments them, or combines them as he chooses and according to precise dance phrases. Songs in onomatopoetic form are reworked on the drum. Precise ways of beating the drum are used, corresponding to distinct sounds. The phonetic method undeniably facilitates singing
- by listening
to recordings (cf: Selected Re-
cordings). - by listening to yourself and the musicians you play with, in order to respect what happens in a group, ie, the harmony. The ear, hands, feet, the voice - the whole body is called upon and stimulated by this comprehensive instrument.
,}J PUL~~J'ON
better cohesion among the players. A metronomeor a drum machine(less:
mightbehelpfulto ensureevenness in the1..-
,
exercisesthat follow. Tempo has a major role in djembe music. Once ~
tempos. it
assimilated,
and
mastered
are
be possible to play them at different exercises
.I'"'J ontrary to Western musicians, the traditional '-.; African musicianfeelsno needfor anexternalized temporal guide. The beat designates evenly spaced reference points in time. Learning or "having" the beat is indispensable for learning and mastering the following exercisesand rhythms, in which several instruments play. Marking time with the foot requires the upper and lower limbs to be independent of each other. This is difficult to master at first, but it is indispensable. This action allows you to keep a steadyrhythm. The musician relies on it during a piece and it creates
Do not try to acceleratetoo quickly at first, as will lose precision and maybe the sound gether. Going beyond a certain speed additional difficulties, such as: keeping rhythm while striking with precision, .. fatigue, bad posture, or lack of stamina, and energy.
-32-
THE DJEMBE'S DIFFERENT SOUNDS
pefore
you start to learn the rhythms, here are
l> some simple exercisesto loosen up the hands and practice the different strikes described above. To really feel the length of the notes and the different soundsproduced on the drum, begin by practising slowly with the voice. Use the onomatopoeiae given or make up your own. Holding both hands in the correct position helps you find the skin's optimal tones with flexibility and ease. Be careful to balance the two hands perfectly (neither should strike harder than the other). Next try playing the exercises, first with the right hand, then with the left.
A good percussionist is not content to play the same rhythmic formulas repeatedly but knows how to vary them. He alsotries to get the richest and most varied soundsfrom his instrument.By playing with the different pitches, you can also give the rhythm a melody. After you have executed and assimilated the following exercises perfectly, invent your own. Change the sound, use muffled and "touched" strikes... And discover the pleasure of sharing with other musiciansclear, airy playing andrhythmscomposed of distinct and precise notes.
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The following rhythms have r been chosen from among thosemost frequently used.The versions presented are neither rigid nor immutable. They are interpreted differently according to the country or region of origin, the soloist and the event: wedding feast, recording, danceperformance, dance class, etc. In Guinea, the kesereni and sangba can be supplemented with the dununba, and in Mali there can be a seconddunun. It is not necessaryto limit the djembe accompaniments to two per rhythm. The ones below are the most representative, the most common. A soloist with Ii particular way of playing might prefer a single accompaniment, or he might add three or four instruments. A soloist will have as many different accompaniments as there are accompanists. To interpret and understand the repertory well, it is indispensable to master each of the rhythms and all of the djembe and different dunun motifs alone, before playing with a group. The Diembe
- Keeping a steady tempo, repeat the starting signal slowly several times. - Do the same thing for the first djembe accompaniment. - Then play the seconddjembe accompaniment. - After the starting signal, go back to the first accompaniment, then do a stopping signal. - Repeat this with the second accompaniment. - After the starting signal, play the first djembe accompaniment, then, without stopping or repeating the starting signal, play the second
djembe accompaniment. Repeat, alternating these accompaniments several times, in 8-measure cycles, for example, adding signal to stop. The Dunun
- Work gradually in the same way as for the djembe,but this time one instrumentplays after the other, starting with the first dunun,then the second alone, then with the bell, and finally the dununba alone and then with its bell. To start each combination correctly, sing the djembe starting signal. Only when these stages are accomplished and when each percussionist is perfectly at easewith all of the rhythmic formulas can the group work start. Eachmotif may appeareasyto drum by itself, but combining the different rhythms is difficult, becauseof the interweaving. - At first, begin with one other musician and practice the two djembe accompaniments. The two can switch parts during playing, working together without a starting or stopping signal. - Next you can practice the different dunun accompaniments with one or two other musicians, one after the other, being careful to respect
the cycle: 8-measures,for example.
~
Once these different stagesare accomplished,the group can play the whole rhythm together. In order to keep perfect stability and :. harmony, it is essentialto use the different as reference points: they are the "heart of .. rhythm".
The startingsignalsetsthe tempoandrhythm,--
follow. It is given by the first djembe player. To stop the rhythm, the samesignal is . into a "signal to stop". To do this, one extra beat added,which canbe playedasa slapand
For "Jansa", for example: Signal to stop
Starting Signal
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In some cases- "Dununba", for example - the stop signal is different from the start signal:
Signal to stop
Starting Signal
42-
JANSA
F
rom the Kasonke ethnic group, originating the Kayes and Kita region of Mali.
in
The jansa is undoubtedly the most popular entertainment dance in Khasso. It takes place in the evening or at night, in the public square. It is for all people and all occasions: the full moon, the end of
.
winter and good harvests. It starts slowly, picking up speed when a talented dancer goes into the middle of the circle. Great dancers sometimes manipulate a rifle or pestle while dancing. The following version is the most popular in the cities.
CD Track 16 Starting signal and
2nd djembe
1st dunun
2nd dunun
KL/RL/Ef F
rom the Jula ethnic group, originating in Ivory Coast and Burkina Faso (Bobo Dioulasso). This rhythm is played during festivities towards the end of Ramadan, the 27th night. It is the last big fling for the young girls who will be married the following year. CD Track 17
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D(DAD( F ro~ the Bamana ethnic group, originating in the Bougouni circle, of Mali's Sikasso regIon. The didadi is organized during the end-of-the-year holidays or to celebratethe arrival of an important person. It is an easyrhythm to danceto, and everyonecan interpret it as they like. In the Sikassoregion, the dunun called didadidunun is the instrument played for the didadi. The hand plays the drum on the skin opposite the one hit by the wooden drumstick, complementing the stick's playing. CD Track 24
.
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HAND
HAND
KASA Co rom the Maninka ethnic group, originating in the Kouroussa region of Upper Guinea. r The kasais played at all eventslinked to the harvest.This rhythm is played to encourage farmers during sowing and harvesting. There are severalkasa.Konkoba, soro and dub on are other rhythms played along with the kasa. CD Track 25
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F
rom the Wolof ethnic group, the Dakar region of Senegal.
in
In this country, the most common instrument is the sabar,a skin drum played with one hand and a thin wooden stick. It is set on the ground or strapped to the side of the body. The rhythm and dance stepswere named for this drum. There are several styles of
sabar dancing. The best known are the "air conditioner", consisting of unveiling the pentelu(l) to the musicians and the audience, and the "fan", where hip rolls provoke a circular movement of the buttocks. This rhythm is very popular in Senegaland in the rest of West Africa, where several variations have been transposed for the djembe.
CD Track 28
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F
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Traditionally,
rom the Bozo ethnic group, in the Mopti region of Mali. at the end of the fishing season. Currently, the sogolon is played with the djembe i~ the" three
-
SAgAR
and festivities.
CD Track 29
1. Pente/uare underskirts worn only by married women. They are of different colors and can be embroidered with provocative phrases.
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KUKU
F rom the Koniagi ethnic group of the Beyla and Kerouaneregions
,
in the Guinea forest area. This rhythm is played for the end of the harvest festivities and during celebration festivities. It is playedonly on the djembe,asthe dunundoesnot
exist in this region.Two small drumsareaddedto the sidesof the soloist's djembe. The whole is called a three-headeddrum. Another drummer keepsup an accompanimenton a small djembe. The kuku hasbeenmodified and adaptedwith dunun and djembe solos for the National Ballet Company. CD Track 32
5ANJA instruments accompanythe sanja, played to men and women griots. On these occasions, This piece traditionally openedthe ceremoniesfor griots sing each other's praises and execute the death of a king or a very important man. very graceful dancewith circular movements, Recountingthe Mandingo epic, this predominantly arms spreadout. Today, someassociations vocal rhythm was interwoven with "Fasa"(l). zing "Ambianci Foli"(3) ask the djembefola Traditionally, the real sanja is not played on the the sanja.He canonly do so in djembe, which is not a griot instrument like the circumstances.This rhythm is bala, the ntama and the jalidunun(2). Only these In Guinea, it is called lamban. F
rom the Maninka the Kayes region
ethnic group, of Mali.
in
CD Track 33
1. Songsof praise. 2. Griot dunun. 3. Neighborhood festivities. 4. Danceof the griots.
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rom th,e Maninka ethnic group, originating. in the Far~nah region o.f Upper Gu~n.ea. Kawa IS above aillhe rhythm of the medecme man. It IS played durIng CIrCUmCISIon periods to contain evil spirits and protect the young initiates from them. For this rhythm, the djembe is accompanied by the bala, the ntama and the file.
CD Track 36
HENJANf
F
rom the Maninka Maninka country.
ethnic
group,
played
throughout
the
This rhythm is mainly played by young pubescentgirls to celebrate good harvests. In Guinea, this rhythm is also called denadon. CD Track 37
NOUMOUDY KElT A
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UPPERGUINEA (continued)
FARANAH
SIGUIRI
Denadon Ja Jagbe Fankani Koso Koma Konde lamban
Kala Kankamba
Mamaya Menjani Soboninku Sofa Soli Soliwule We'ima
Kawa Konjan Konkoba Sac Soko Soli Toro
GUINEA FORESTREGION
MIDDLEGUINEA
NZEREKORE
LABE
Kuku 5 headed drums
Fulani Rhythms
LOWER GUINEA
CONAKRY, KINDIA, BaKE In this region, we find mostly Susu rhythms such as: Kakilembe Sorsone Tiriba Yole
Makuru Yokui
Yencadi Guinefare Mane Sintie
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l1NrSON'DRl1HSrGNAL U ere is one of many "drum signals" - n composed by the "Ballets Koteba de Cote-d'Ivoire"(l), a company created and directed by Souleymane Koly. Many great drummers, including Fofana Georges Kemoko, Mamady "Kargus" Kelta and Mamady "N'Toman" Kelta, have belonged to the troupe. This starting signal is presentedmainly becauseit is played in unison by a troupe of djembeand dunun ~
drums.To interpretit well, it is necessaryto work on the group's orchestration and homogeneity. Memory also is important, as are the song and the different sounds. - The first drummer plays the first starting signal measure, and the troupe immediately joins in. - The djembe group plays the first staff; the dunun group plays the secondstaff. CD Track 40 2
Djembe
Dunun
1. Thisversion is by Fofana Georges Kemoko and Mamady "N'Toman" Ke"ita
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, n Africa, it is customary for a percussionist to result. You don't get a good soundthe first time you change the skin of his drum himself, just as a play your drum. Likewise, the first djembe you guitarist changesthe stringsof his or her guitar. The redo won't be your best. operation is in fact long and difficult. Get help the first time from someonewho alreadyhas The procedure advised here, which I learned someexperienceto avoid getting discouraged.The through repeated experience, will facilitate your task will seemeasier. work, and you will learn other little tricks as you go And it is so satisfying to play an instrument along. It will take three or four tries to get a good assembled with your own hands!
The instrument
O
nce the skin is off, verify that there are no cracks in the wood. If there are, round them down completely, and fill them in using a dense mixture of wood glue and fine sawdust (more efficient than ready made wood putty.) Check that the wood is not pock-marked with little holes. If you see a fine wooddust in the drum, an anti-termite treatment is imperative. If necessary, even out the upper edge of
the djembe. To do this use a wood rasp; then sand it down to get a perfect finish. It is important to eliminate all irregularities on the perimeter: they can cause cuts in the skin when you shave it. Also, a rounded edge will hurt your hands less. To protect, preserve and nourish the wood, grease the entire drum inside and out with sheabutter (or linseed oil, which is easier to find.)
The djembe has three iron hoops (generally r made of cement rods), 6 or 8 mm in diameter (depending on the djembe's diameter). They are wrappedaroundthe drum barrel and then soldered. Two are tension hoops, a larger and a smaller one. It is on thesetwo tensionhoopsthat the knotsaretied to hold the lacing which tightens the skin. The third hoop is the support hoop. It goes inside the skin, which will be pulled up over it during the assembly.This supporthoop is the largestof the three, being slightly larger than the tension hoop which it supports. The two larger hoops are placed on the upper perimeter of the drum body. The small hoop goes on the collar.
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1/ To takeoff the old skin, undothe lacing. Startwith the horizontal lacing and then undo the vertical lacing. If the skin doesnot comefree easily, tap the upper hoops with a hammer. To remove the inner hoop, you can let the skin soak in water for an hour. This avoids tearing. It will then be possibleto use the skin to make a dunun. 2/ Determine the best placement for the upper hoops (neither djembe nor hoops are perfectly round!). Mark the drum body with the felt-tip pen at the place where the hoops are soldered so that you can find this placement easily once the skin is in place.
3/ Tie an identical numberof "lark's headknots" (as shown below) on the two tension hoops. Spacethe knots evenly, about two fingers apart on the larger hoop (closer together on the smaller hoop.) For example, a hoop 35 cm in diameter should have no more than 30 knots.
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Finish this step by tying a squareknot to join the ends of the cord (on each of the two tension hoops).
- 68-
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III. ASSEMBLY 9/ Preparethe 16 meter long vertical tension cord by burning its ends so they won't unravel. Begin lacing by locating the middle of the cord, thereby ensuringthat it will have the samelength at both ends.Lace to either side by weaving the ends of the cord around each of the knots successively.
Be careful not to missany knots or you will haveto start over!
101Once you have laced and knotted all around the djembe, graspthe ends of the skin. Holding the lower part of the instrument with your feet, pull the skin upward strongly to stretch it. This part is essential.It keepsthe skin from being too low on the drum body when you finish assemblingand tautensthe skin. 11/ Now check one last time that the skin has no holes in it. Look through it towards a bright light from the foot side. If you seea flaw, you may be ableto shift the skin, placing the flaw on the edge.Otherwise,you will need to use anotherskin.
IV. TENSION 12/ Removethe three metersof string used to hold the hoops in place (cf.8). 13/ Do a preliminary tightening of the cord. Place it correctly on the knots, bringing the skin down 1 cm all around the djembe. At the same time, be sure that the two hoops stay parallel to each other. Eliminate any wrinkles that might form in the skin between the two top hoops. Pull gradually, without forcing at first, or the skin will drop too quickly and too low on one side. 14/ Once the cord's slack has been taken up, attach the two ends with a knot as shown below.
~ -70-
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VI. DRYING
AND FINISHING
19/ Lay the djembe on its side to keep the wood from splitting during drying. Let the skin dry for at least three days in the sun or in a dry, well-aired place. 201Verify that the skin is perfectly dry. To get rid of any slack in the vertical tension cord causedby drying, pull it firmly one last time and redo the overhandloop. 21/ Now do the crosswiseweaving which doesthe final stretching. Pulling this cord is very hard on the hands(and also on the back), so wrap it around a thick wooden stick which gives you leverageto make the pulling easier. It is often necessary to weave two turns to get the most out of the skin. Shown below are a few ways of weaving which produce various tensions and designs.
1
2
3
4
- 72-
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dunun can be assembledwith metal hoops, like the djembe, but it can also be sewn. The djembe was originally madethis waJ]as well. The readercan practice either the hoop or cord method on either instrument. The secondmethod, trickier and less common, is more traditional. In the sewing method describedbelow, the metal hoops are replacedwith nylon cord. The skins are attachedto the cord by meansof nylon thread rather than by knots. Then more cord weavesthe skins to each other. You can employ two used djembe skins to make a dunun. This savesmoney and also makes sewing easier,as the skins are already shavenand therefore thinner.
I. PREPARATION Materials
- a 30 or 56 litre oil barrel - two goatskins - solvent,rags - two sheetsof sandpaper - 1/2 litre of oil paint - 20 metersof nylon cord, 4 mm in diameter - 4 metersnylon thread,3 mm in diameter,for sewing - 3 metersof string
Tools
- a pair of metal shearsor ajigsaw - a long, sturdyneedlefor leather - a largepair of scissors - two rectangular,double-edgedrazorblades - a screwdriver - a hammer - a lighter - pliers andleatherstitchingpalm - a flat paintbrush 25/ Drill a hole in the top and bottom of the barrel. Then, using the jigsaw or the pliers, cut out the two ends.Be sure not to use a barrel that has held toxic or inflammable products. Using the hammer, flatten the cut edge against the inside. Carefully remove any metal shavings. With abundantamountsof solvent, wash the inside to eliminate any grease.Sandthe outside, removing old paint or advertising. Make it look like new with two coatsof oil paint, decorating it as you like.
-74-
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32/ Sew the next stitch at a distanceof threefmgers from the first. (Use your hand as a measureto make the spacing even).What's difficult is to keep the skin from slipping off the barrelbeforehaving sewnall the way around. When you have finished, tighten the thread and tie a squareknot with the 10 cm part you left at the fIrst stitch. 33/ When the first skin has been fitted, turn the barrel over, setting the skin on the ground. This skin can also be pulled off gently, and then repositioned after the second skin is sewn.
34/ Fit the other skin on the other end, following the sameprocedure.Be sureto makethe samenumberof stitcheson both skins.
!Y.:.J::A£!Jig 351When the second skin is sewn, place the barrel on its side. To hold the two skins in place and prepare for the cord lacing, cross the 3 meters of string tightly between the two skins (cf. 8).
36/ Weavethe 15 metervertical tensioncord between the two skinsby passingback andforth undereachof the stitchesfrom oneskin to the other(cf. 9).
V. TENSION 37/ Pull the skins gently, eliminating the cord's slack. This will move them down to about 2 cm below the edge. Pull them evenly, turning the drum two or three times to get the desired result. 38/ When you have finished tightening the cord, attach the two ends with an overhand loop. The tension is much looser than for the djembe. VI. FINISHING
39/ Turn up the ends of the skin and cut the excess with the scissors (cf. 16). 401Shavethe skins if necessary(cf. 17).
41/ Finish the edges of the skins by folding upward, using the first method (cf. 18). 42/ The drying and finishing are the same as for djembe (cf. 19 & 20). 43/ Weave the horizontal tension cord (cf. 21). - 76-
Here is a list of WestAfrica's major musicians.Someare listed with their nicknames. Theyare eminent musicians,whosework truly embodiestraditional Mandingo percussion. Aboubakar
"Abou Batteur" Ke"ita Guinean Former soloist,"Grands Ballets d' Afrique Noire de Paris"; lives in France. Adama Drame Burkinabi Lives in Ivory Coast, founded the "Ensemble Instrumental Foliba" in 1990. Alhusseini "Solo" Cherid Guinean
Lead soloist of 'Wassa";
lives in Guinea.
Amara Kante Former 18t soloist, "Sabougniouman"
Malian Troupe of Bamako, foun-
ded in 1972; lives in Mali.
Arafan Toure
Guinean
Former lead drummer, "Ensemble National de Guinee"; lives in Holland.
des Ballets Africains
"Ex EnsembleNational desPercussionsde Guinee" Koumgbanan Conde Guinean Former lead drummer, "Ballet National Djoliba de Guinee", sangba specialist; lives in Guinea. Noumoudy Ke"ita Guinean Former lead drummer, "EnsembleNational desBallets Africains de Guinee"; deceased.
ADAMADRAME
18t soloists: Aboubakar "Fatou Abou" Camara Guinean Former1st soloist, "Ballet National Djoliba de Guinee"; lives in Guinea. Lamine "Lopez" Soumah Guinean Former soloist, "Ensemble National des Ballets Africains de Guinee"; lives in Guinea. Lance".. Kante Guinean Dunun specialist; lives in Guinea. pd soloists: Aly "Kanya" Sylla Mamadou "Mohamed" Camara Also 1st soloist of "Wassa"; lives in Guinea.
Guinean Guinean
Fadouba Oulare
Guinean Former 1st lead drummer, "Ensemble National des Ballets Africains de Guinee", founded in 1958; lives in Guinea. Famoudou Konate Guinean Former lead drummer, "EnsembleNational desBallets Africains de Guinee"; lives in Guinea, where he founded his own group in 1988. Fode "Fade Marseille" Youla Guinean Former soloist, "GrandsBallets d' Afrique Noire de Paris", lives in Guinea. -78-
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SELECTEDRECORD(NQS
This selectionof Mandingo music is not exhaustive. The recordingslisted here are among the most representative.
Adama Drame
Rythms of the Manding Tambour djembe Foliba Percussions mandingues Djeli Great Masters of Percussions 30 ans de Djembe
(LP) Philips 6586042 (LP) Auvidis 4510 (CD) Playa Sounds 65122 (CD) Playa Sounds 65085 (LP) Auvidis 4519 (CD) Auvidis 6126 (CD) Playa Sounds 65177
Africa Soli
Sali
(CD) Sango Music 007 (Netherlands)
Bamba Dembele et Ie groupe Djoliba Percussions
Vol 1 Vol2
(K7) Syliphone 8350 (K7) Syliphone 8351
:::isse
Sima Farev
(LP) Nubia SA 300021
Famoudou Konate
Rythmen der Malinke Guinea
(CD) Museum collection 18 Staatliche Museen. Preubische Kulturbesitz. Stauffenbergstrabe 41 1000 Berlin 30 (Germany)
Percussions Music from Africa
(LP) SAJ 19 (LP) SAJ 26 (LP) SAJ 48 (LP) SAJ 50 (LP) SAJ 54 Free Music Behaimstrasse 4 1000 Berlin (Germany)
Fode Youla
Kaloum Basikolo Ne Ne Yancadi
.
Kassoum Diarra
Kassama percussions
(CD) Playa Sounds 65170
Ladji Camara
Africa, New-York
(LP) Lyrichord LLST 7345
Les Ballets Africains de la Republique de Guinee
Vol1 Silo
(CD) Buda Records 82513 (CD) Buda Records 92579
Louis Cesar Ewande
Cano
(CD) Bleu Citron OMD 545
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