chapter 10. akan proverb: “the river and the path” the river crosses the path, the path crosses...

West African MusicsChapter 10

Akan Proverb: “The River and the Path”The river crosses the path,the path crosses the river, who is elder?

The river crosses the path,the path crosses the river, who is elder?

The path was cut to meet the river, the river is of old,

the river comes from “Odomankoma” the Creator.

Drum Speech CD 3-12 Akan Drum Proverb (“Talking Drum”)

Language: Twi – tonal language (a-kon-TA = brother-in-law, a-KON-ta = mathematics)

Drums: Atumpan – “talking drums” capable of drum speech (photo: p. 193) https://www.youtube.com/watch?v=ECy6ITYxiDc

Texture: call-and-response: voice - atumpanLiteral and metaphorical levels of meaning

Literal: cutting the path for access to river Metaphorical: path toward communal, ancestral, spiritual

communion Broadly—multidimensional musical flow – river-like polyvocality of

expression in much African music explored in this unitMain focus not drumming, but the kora, to which we shall

return

African Musics in ContextAncient and modern, incredible diversityPopular music stars: Angelique Kidjo, Salif Keita, Fela,

Miriam Makeba, Ladysmith Black Mambazo Leading isicathamiya group of South Africa

Paul Simon Graceland (1986), Lion King Part II, etc. https://www.youtube.com/watch?v=Fmf9ZJ_Yn0A (“Diamonds

on the Soles of Her Shoes”—Graceland Zimbabwe concert) Attention brought to South Africa contributed to anti-

Apartheid movement, eventual independence (1994 – Mandela)

LBM, Shaka Zulu (1987) – prod. P. Simon, Grammy “Unomothemba” CD 3-13 (call-and-response, vocal “clicks,”

beautiful harmonies – song about orphan child)

African Continent Saharan North Africa (Egypt, Libya, Tunisia,

Algeria, Morocco, etc.)Horn of Africa (Ethiopia, Somalia, etc.)

Sub-SaharanWest Africa (Ghana, Benin, Mali, Senegal,

Gambia, Guinea, Guinea-Bissau, Nigeria, Togo) South Africa, East Africa, Central Africa

Music, Culture, and HistoryPre-colonial kingdoms

Mande, Ghana, Songhay, Dahomey, Buganda 15th century – foreign intervention, eventual domination17th-19th centuries -- foreign slave trade

African diaspora -- U.S., Caribbean (Cuba, Jamaica, Trinidad, Puerto Rico), South America (Brazil)

Diasporic musics: ragtime, jazz, rock-n-roll, hip hop, samba, salsa, reggae, steel band, etc.

Post-WWII -- nationalism, independent nations (Ghana first in 1957), globalization -- new musical developments related

Religion: Traditional religions, Christianity, Islam, religious syncretism. Importance of paying homage key.

Drumming (and Not Drumming)Most African musics not drumming-based, though

drumming is prominent or central in many. African musics extraordinarily diverse:

C. African BaMbuti vocal polyphony (CD 2-4) Mbira dzavadzimu of Shona people, Zimbabwe (CD 2-2)Qwii nkokwane musical bow (CD 2-8)Ugandan endongo (CD 3-15 – Damascus Kafumbe)

https://www.youtube.com/watch?v=YXJt8Ew5KNc Endongo song performed by Kinobe)

Chopi timbila music (Mozambique) https://www.youtube.com/watch?v=8rue9XMPth4

…and more drummingAkan Fontomfrom royal drum ensemble

Musical Guided Tour (transcript: p. 199-200)CD 3-14, GLE pp. 198-202Chief dances to the drumming while

brandishing sword Stationary (photo, p. 199) and processional

(198)CD 3-14:

from lead drums (huge!), plus atumpan and eguankoba, and dawuro iron bell ( / - / - / - / / - / - / ) time-line

Polyrhythms, call-and-response passages (from, atumpan), layered ostinatos with variations

Musical Africanisms (p. 202-03) Complex polyphonic texturesLayered ostinatos with varied repetitionConversational elementImprovisation Timbral variety (incl. “buzzing” – e.g.,

endongo)Distinctive pitch systems and scales

The Kora and Its Musicultural World

Kora ConstructionSee labeled diagram, p. 20521-string spike harp chordophoneStraight wooden neck, calabash resonator, soundholeHigh bridgeTwo handgripsTwo parallel rows of nylon strings

(traditionally antelope hide)Rawhide tuning collars Cowhide face Demonstration of kora (Toumani Diabate)

https://www.youtube.com/watch?v=8luhdxS2KuM

Mande History, Culture, MusicKora one of several instruments associated

with jeli and the musical arts of jeliyaOthers include the bala and koni (ngoni)

Jeliya repertoire – praise songs-based Jeli classified as a type of griot

Mande History, Culture, Music IIMande Empire (Mali Empire) – Sunjata Keita, 13th century

Keita = royal family surname Jeli and the jeliya tradition date back to time of SunjataMande

Maninka: Mali and GuineaMandenka: Senegal and Gambia (Senegambia)Mande languages (many languages, dialects)

Colonization/official languages: Senegal, Mali, Guinea (French); Gambia (British); Guinea-Bissau (Portuguese)

Herditary jeli families: Kouyate, Diabate, Sissoko (Cissokho)(Some musicians named Keita: Seckou Keita, Salif Keita –

How?)

Two Musical Keitas Seckou Keita Salif Keita

“Dounuya,” by Seckou KeitaCD 3-16Pages 209-11Solo voice and koraThree main types of textures:

Kumbengo (accompaniment) – 0:10-0:23Birimintingo (solo improvisation) – 1: 41-2: 14Sataro (declamatory vocalization) – 2:15-2:56

Word painting, e.g., hammerlike chords at 1:28 under “Why should we choose the bad”

Key moral message of song: improve our relationships (with each other, God, etc. – symbolized in text AND kora part)

“Atlanta Kaira”: Meeting of WorldsCD 3-17, pp. 211-15From Kulanjan -- collaboration of blues/world music

guitarist Taj Mahal and kora virtuoso Toumani Diabate, plus “all-star” band of jelilu including: Bassekou Kouyate (“bass” koni)Ballake Sissoko (kora)Kassemady Diabate (male vocalist)Lasan Diabate (bala)Ramatou Diakite (female vocalist)

Toumani DiabateSon of kora legend and Malian national hero Sidiki Diabate

(original “Kaira”; means “peace”) Leading kora player of his generation

Musical FeaturesSauta mode

One of four principal modes in Mande musicF G A B C D E (F) [note “Lydian” raised fourth] As with “Dounuya,”

complex polyphonic texture (layered ostinatos, varied repetition, improv)

Kumbengo, birimintingo, sataro “conversational” elements Rich timbral variety (of kora and, in “Atlanta Kaira,”

throughout ensemble

Musical FormSolo kora intro (sauta mode, kora virtuosity)Ensemble introduction (koras, bala, koni, guitar;

mainly kumbengo w. bala birimintingo)“Kaira” song (melodic ornamentation, kumbengo

accomp)First sataro section (homage to Sidiki K., speechlike)Improvised koni solo (w. some “collective improv” at

points)Second sataro section “Kaira” song, second statement

Read GLE and follow GLQS, 213-15

Taj and Toumani – “Catfish Blues”Also from Kulanjan album, but at the opposite

end of the jeliya/blues continuum from “Atlanta Kaira” https://

www.youtube.com/watch?v=gZE7zSlvGaM&index=7&list=PLcW9Au8gMJn8GJVJCnZn2DpbJN6CHpvYC

Angelique Kidjo

“The Diva from Benin”

Angelique Kidjo“The diva from Benin” who “has done more to

popularise African music than any other woman” (Rough Guide to World Music)

Winner of numerous awards, including the 2015 Grammy for World Music for Eve (2014), [beating out Omnimusica] https://www.youtube.com/watch?v=CTgj_myK3qk

(official EPK [electronic press kit] for Eve) Album was inspired partially by her

experiences as UNESCO goodwill ambassador

KidjoBenin—French official language, but sings most

of her songs in her native Fon languageB. 1960 in Ouidah, Benin, to artistic familyMoved to Paris – world beat star. Breakthrough

hit “Aye” (1994), and first big album Fifa (cameos by C. Santana, among others)

Album Trilogy: Oremi, Black Ivory Soul, Oyaya!Albums explored African diaspora syncretisms of

R&B, Brazilian, and Caribbean musics, respectively.

“Okan Bale,” Angelique KidjoCD 3-18Pages 217-220 From album Black Ivory SoulWorld beat/pop balladProduced by Jean Hebrail, French producer/husband“A Piece of My Heart”

I know where I come from. From you, my family. Let me take a moment to thank you because you bring me joy and strength. If my moves are full of blessings, it comes from you, my family.

Role and growing prominence through arrangement of the kora (Mamadou Diabate), interaction with Kidjo’s vocals. Symbolism?