Monday, 21 November 2011
Kassa Mady and Kandia kouyateh..Mandinkalu
http://www.youtube.com/watch?v=Mi2ESa1VYgs&feature=related
Moriba Diabate..Sunjata
http://www.youtube.com/watch?v=osZGMSB-EjQ&feature=related
An excellent voice to match the backing musicians.
An excellent voice to match the backing musicians.
Foday Suso and daughter
http://www.youtube.com/watch?v=45T1ADiSBf4&feature=related
A good combination. My Suso kunda people, great
A good combination. My Suso kunda people, great
Monday, 26 September 2011
Sunday, 4 September 2011
Great Kora players: Sidiki Jobarteh
http://chantshistoiremande.free.fr/Html/sidiki2.php
Sory Kandia and Sidiki Jobarteh
http://chantshistoiremande.free.fr/Html/skoucd2.php
Sory Kandia and Sidiki Jobarteh
http://chantshistoiremande.free.fr/Html/skoucd2.php
VOA's historic archieves on Kora players
http://www.voanews.com/MediaAssets2/projects/african_music_treasures_blog/Demba_Susso_Papa_Susso_Ceddo.Mp3
In late August of 1966, another of West Africa’s great korafolas-perhaps the greatest of his era, and definitely the most popular- came to the VOA studios in Monrovia. Soundioulou Cissoko was born in Ziguinchor, the capital of the Casamance region of Senegal, in 1923. His father was Baa Kimintang Cissoko who, when the French colonial authorities send him to the Colonial Exposition in Paris in 1931, became the first korafola to perform in Europe. In an interview he gave the VOA in 1966, Soundioulou says ‘although I have been listening to the kora since the day I was born, I didn’t start to play myself until 1944′.
In 1954, after ten years of study with his paternal uncle, Soundioulou moved to Dakar, where he quickly became the city’s most popular korafola. Ten years later, in 1964, he became one of the founding members of ‘l’Ensemble Lyrique Traditionnel’, the first Senegalese national traditional music ensemble. By 1966 Soundioulou was known throughout the region as ‘Le Roi de la Kora’ (the king of the kora), a title that he was given by the late Guinean president Ahmed Seku Toure (many sources give the date as 1967, but in our 1966 interview Soundioulou is already using the honorific ‘le Roi de la Kora’).
By the late 1970s Soundioulou had retired from the Senegalese national ensemble and for the next ten years performed almost exclusively with his second wife Mahawa Kouyate. Together they recorded at least four lps, and released one CD. All of these recordings are out of print. As far as I know, no solo recordings of Soundioulou Cissoko have ever been released (he recorded a set of eight solo reels for Senegalese national radio).
These VOA recordings of Soundioulou are some of the best he ever made. This next track is Soundioulou’s version of ‘Tiedo Dianké Waly’ (the same piece as ‘Ceddo’), and is a good example of his virtuosic playing.
Soundioulou Cissoko ‘Tiedo Dianké Waly’
Here is Soundioulou playing ‘Mali Sajo’. It is interesting to compare his interpretation to the recording of ‘Mali Sajo’ by Papa Susso and Tamba Suso. Soundioulou and Papa Susso have very different playing styles.
Soundioulou Cissoko ‘Mali Sajo’
This last Soundioulou recording is also one of his most famous. For many years this piece was used as the opening theme for Radio Senegal. Soundiolou sings, in Wolof (the other two tracks are in Malinké), ‘Boy dem yoobale ma’, or ‘take me with you’.
Soundioulou Cissoko ‘Sira Ba Bolo’
Throughout the late 1960s and 1970s, Soundioulou Cissoko and Mahawa Kouyate were known as the ‘Royal Family of Mandinka music’. Two years after Soundioulou first visited the VOA studios in Liberia, he returned to Monrovia with Mahawa. On October 23, 1968 they recorded five songs at the Voice of America’s Brewerville studios. Soundioulou’s voice is not as strong as it was two years earlier, but Mahawa sounds great, and Soundioulou’s kora playing is solid as ever. My favorite of the tracks they recorded that day is ‘Kelefa’ (a tribute to the warrior Kelefa Sane).
Soundioulou Cissoko & Mahawa Kouyate ‘Kelefa’
Soundioulou Cissoko passed away in 1994. He was 71 years old. His sons Djeor Cissoko and Nana Cissoko-who were both born to Soundioulou’s first wife Maimouna Kouyate-and his nephew Ali Boulo Santo are keeping the Cissoko kora tradition alive. All three of them were born in Dakar and are trying to expand the modern kora repertoire. Mahawa Kuyate lives in Dakar and is still performing, with both the ‘Ensemble Lyrique Traditionel’ of Senegal, and as a solo artist.
Special thanks to Alhaji Papa Susso and Roderic Knight for their generous help with the research that went into this post. If you are interested in the history of kora you should also check out the publications of Eric Charry and Ousmane Sow Huchard; both of their books are essential resources
In late August of 1966, another of West Africa’s great korafolas-perhaps the greatest of his era, and definitely the most popular- came to the VOA studios in Monrovia. Soundioulou Cissoko was born in Ziguinchor, the capital of the Casamance region of Senegal, in 1923. His father was Baa Kimintang Cissoko who, when the French colonial authorities send him to the Colonial Exposition in Paris in 1931, became the first korafola to perform in Europe. In an interview he gave the VOA in 1966, Soundioulou says ‘although I have been listening to the kora since the day I was born, I didn’t start to play myself until 1944′.
In 1954, after ten years of study with his paternal uncle, Soundioulou moved to Dakar, where he quickly became the city’s most popular korafola. Ten years later, in 1964, he became one of the founding members of ‘l’Ensemble Lyrique Traditionnel’, the first Senegalese national traditional music ensemble. By 1966 Soundioulou was known throughout the region as ‘Le Roi de la Kora’ (the king of the kora), a title that he was given by the late Guinean president Ahmed Seku Toure (many sources give the date as 1967, but in our 1966 interview Soundioulou is already using the honorific ‘le Roi de la Kora’).
By the late 1970s Soundioulou had retired from the Senegalese national ensemble and for the next ten years performed almost exclusively with his second wife Mahawa Kouyate. Together they recorded at least four lps, and released one CD. All of these recordings are out of print. As far as I know, no solo recordings of Soundioulou Cissoko have ever been released (he recorded a set of eight solo reels for Senegalese national radio).
These VOA recordings of Soundioulou are some of the best he ever made. This next track is Soundioulou’s version of ‘Tiedo Dianké Waly’ (the same piece as ‘Ceddo’), and is a good example of his virtuosic playing.
Soundioulou Cissoko ‘Tiedo Dianké Waly’
Here is Soundioulou playing ‘Mali Sajo’. It is interesting to compare his interpretation to the recording of ‘Mali Sajo’ by Papa Susso and Tamba Suso. Soundioulou and Papa Susso have very different playing styles.
Soundioulou Cissoko ‘Mali Sajo’
This last Soundioulou recording is also one of his most famous. For many years this piece was used as the opening theme for Radio Senegal. Soundiolou sings, in Wolof (the other two tracks are in Malinké), ‘Boy dem yoobale ma’, or ‘take me with you’.
Soundioulou Cissoko ‘Sira Ba Bolo’
Throughout the late 1960s and 1970s, Soundioulou Cissoko and Mahawa Kouyate were known as the ‘Royal Family of Mandinka music’. Two years after Soundioulou first visited the VOA studios in Liberia, he returned to Monrovia with Mahawa. On October 23, 1968 they recorded five songs at the Voice of America’s Brewerville studios. Soundioulou’s voice is not as strong as it was two years earlier, but Mahawa sounds great, and Soundioulou’s kora playing is solid as ever. My favorite of the tracks they recorded that day is ‘Kelefa’ (a tribute to the warrior Kelefa Sane).
Soundioulou Cissoko & Mahawa Kouyate ‘Kelefa’
Soundioulou Cissoko passed away in 1994. He was 71 years old. His sons Djeor Cissoko and Nana Cissoko-who were both born to Soundioulou’s first wife Maimouna Kouyate-and his nephew Ali Boulo Santo are keeping the Cissoko kora tradition alive. All three of them were born in Dakar and are trying to expand the modern kora repertoire. Mahawa Kuyate lives in Dakar and is still performing, with both the ‘Ensemble Lyrique Traditionel’ of Senegal, and as a solo artist.
Special thanks to Alhaji Papa Susso and Roderic Knight for their generous help with the research that went into this post. If you are interested in the history of kora you should also check out the publications of Eric Charry and Ousmane Sow Huchard; both of their books are essential resources
Famous Kora players: Yankuba Saho
The late Yankuba Saho, Gambian traditional Kora master.
http://www.youtube.com/watch?v=T-D25ZLD0aE
http://www.youtube.com/watch?v=LiWjOHZfcLg&feature=related
http://www.youtube.com/watch?v=T-D25ZLD0aE
http://www.youtube.com/watch?v=LiWjOHZfcLg&feature=related
Friday, 2 September 2011
The Mandingo meaning of Dawla and Sawta
In Jaliyaa terms, Dawla means someone accepted, famous, acclaimed, ground breaking and appealing, whilst Sawta means brillaint but not able to break grounds, neither gaining popular appeal. We can say, Tata Dindin is good Kora player but could not break grounds, Tumani Jebateh is good but mainly known in Europe..
His father was also excellent but was also accepted in the upper class circle of Guinea and Mali...Dawla came from the root word Dawlo to be prosperous and famous. Some deeper Mandingo speakers can have a different explanation. In western terms, Bob Mali was a renown Reggae musicians, whilst others of his time fall short of his acclaimed.
Sunday, 21 August 2011
The Doctrines of masquerades in Mandingo Culture
By Suntou Touray
Now coming to the doctrines of masquerades in past Gambian societies, their importance surpasses the limited roles in Circumcisions and entertainment. In fact, unexplained ailments of children usually involves the agency of Ifanbondes.. For instance if child get suddenly sick and all traditional medicament proof futile, usually, the suspicions swaggers to Witches..
And the common term such as (Kun Fanunteh) someone with seven sense or extra ordinary visions are invoke to help fight the all-powerful, night travellers (Witchs). Ifanbondis plays a part in helping restore calmness in such situations because they are the antidotes of Wicthes...They can fight them spirit to spirits...
You rightly noted that, superstitions exist in every society, including the industrial West and human nature tend to create solutions to unexplained scenarios.. The forefathers design their communities such that, strange happenings are explain to make sense to the common people. Ifanbondis identity are known to elders who arrange for its appearances, however, not every lose Tongue elder is made aware of the personality and Identity of Ifanbondis, because the whole narrative of (Kewulo) Male affairs determine what makes a man. Some men can reveal any cardinal secret with the slightest excitement with a Lady.. They will mouth off as soon they intend to boast a bit. Hence, Kankuran Yaa, Ifanbondi culture is also a source of inculcating a habit of patriotic secrecy symbolic of real men.
However, my assertions that, Human being cannot turn into anything neither can they fly is a reality. The idea that, Witches fly from country to country or village to village is a myth. I will explain:
Today, some people venerate certain Marabous even classifying them Walew or Wale (friend of God) because of certain strange things they are able to do. Those strange behaviour of telling people intimatee secrets, being the source of people's problem solving, etc are all embedded in the past traditional Chief Priest abilities. And Witch Craft is also an art. Just like the Ifanbondi is alleged to involves the agency of spirits meaning Jinns, the Witch Craft also involve this same agency, the Marabou today involve this agency, the Voodoo expert involves similar agencies..
What is the difference here then? According to those experts in the field, there are good spirits and evil ones. Those who intend to harm people involve the evil demons to act as agents of destruction, ie socking the blood of living person, causing mental illness, marital disharmony, lose of job, impotency etc etc.
Whilst the good Jinn helps in fighting evil jinns, hence the human element is that of the invoker of good or evil. The proof here is, test any so-called grand Marabous with wanting a job or wish to make someone lose his job. With the right payment he will tell you he can do either of the two. What will he use? Evidently, not the word of God.
Ifanbondis therefore use a well kept plan of coordinating with trusted helpers to scare evil advocates at Night, but sometimes, he appears in broad day light. This is to ward off the plans of the Wicthes and bad people.
Esaleen, this is a wide topic with regional variation. Kankurans are the people friendly, they can dance well, sing well and sometimes expose their face a bit, but Infanbondi cannot do any such under no circumstances. There roles are many.
Our ancestors utilised what they thought was appropriate in maintaining peace and harmony in their societies, although the written laws of Islam and Christianity motivated them to change some of the practises, however, Islam did not change everything, neither was that necessary. Since Islam regulates the spiritual but leave the material aspect to local customs except in trade dealings involving usury. Thanks
Suntou
Thursday, 16 June 2011
Niamina Kudang Cultural Festival By OneGambia.com
http://www.onegambia.com/demo.php
One Gambia has done it again. Capturing prestine cultural events for Gambians all over the world. Pa Modou Njie (Gainde) and his team always elavate our choosan or ado.The Kankurans and their partners performance is quiet good.
Sunday, 24 April 2011
Old Gambian Mandinka Folklure by Gamble Fatty
http://www.smcm.edu/gambia/david_gamble.html
The work is deposited at the St Mary's University Canada. The stories are typical Mandingo narrations, although some of them are incomplete, they wet the appitite for more wise words.
The work is deposited at the St Mary's University Canada. The stories are typical Mandingo narrations, although some of them are incomplete, they wet the appitite for more wise words.
Friday, 22 April 2011
Pre-Islamic Mandingo Name for God/Believes
The name of God in Mandingo society is no different to the ones use today. God (Ndamanso--Creator)) Mmariyo (our owner)...
The same concepts were found amongst the Arabs before Islam. They were using Allah, however, they knew that, Allah is beyond Idols or images they themselves carve. Allah cannot be made into plural like gods. This is why, they invented names like Al-Lat, Al-Uza, Al-Manat etc.
So in Mandingo pre-Islamic territories, each idols has a name, for instance, Talinding-Kunjan was an idol, Kan-Ten-Ten Suto was an Idol, Kabentu Sito was an Idol, Bere Kolon in Cassamance is still an Idol etc.
Idol (Jalang) is a deep root Mandingo word derive from Jan Lanfe (my personal breakdown of the word) meaning to avoid a place. Jalangs are usually places left untouched. Therefore, the superstitions have to be elevated to give more credence to the place were only the Custodian have the means to communicate with the spitits ie the Jinns.
However, pre-Islamic Mandingo society understands that, the Jalangs are part of the sophisticated means to reach out their ultimate Creator, (Idamanso or Imariyo). This is why, it wasn't too difficult for them to abandon Idolatry in practise when Islam came to them. Superstition is very tough stuff, everything is mystified, and the cumbersome rituals alone was the catalyst for its demised. The remnants of those old believes is what is still making ideas of witch craft exist, something close scrutiny reveals is impossible. It is not possible for any human being to change into a Lion, Hyena, Cat, Dog, Bird etc... You will also notice that, the same concepts are found in the Serre society, the Wollof reference for Doma and not forgetting my Uncles.
Hence, people use to fear Cobblers. The belief is they can turn into a Hyena. And the Sanyang Kunda people can turn into a Lion. The believes that, people can disappear is all unreal. Hence, God has always been understood as the Creator, but the approach to him became the sources of all the mediums. Does Jalangs have powers, can it affect people, can it be use to cause harm?
The reality is, whether ancient or modern contemporary society, the force of good and evil will always exist. Jalangs according to Mandingo history depends on the Jinn or Daafenw (something unidentified) that is the force of the Tree, the Rock, River, etc. The oracles will always tell the visitor to their place that, they will have to make contact with that Jinno or Daafenw. The rituals will begin and then, he/she will say the things to offer as rituals...So the metamorphoses of the old customs into some marabourism is very similar. Instead of spooky isolated places, a more approachable and acceptable form is invented.
Can you imagine seeing a Sanyang kunda man turning into a Lion? I will slap him. Lol
Thanks Sal
Suntou
The same concepts were found amongst the Arabs before Islam. They were using Allah, however, they knew that, Allah is beyond Idols or images they themselves carve. Allah cannot be made into plural like gods. This is why, they invented names like Al-Lat, Al-Uza, Al-Manat etc.
So in Mandingo pre-Islamic territories, each idols has a name, for instance, Talinding-Kunjan was an idol, Kan-Ten-Ten Suto was an Idol, Kabentu Sito was an Idol, Bere Kolon in Cassamance is still an Idol etc.
Idol (Jalang) is a deep root Mandingo word derive from Jan Lanfe (my personal breakdown of the word) meaning to avoid a place. Jalangs are usually places left untouched. Therefore, the superstitions have to be elevated to give more credence to the place were only the Custodian have the means to communicate with the spitits ie the Jinns.
However, pre-Islamic Mandingo society understands that, the Jalangs are part of the sophisticated means to reach out their ultimate Creator, (Idamanso or Imariyo). This is why, it wasn't too difficult for them to abandon Idolatry in practise when Islam came to them. Superstition is very tough stuff, everything is mystified, and the cumbersome rituals alone was the catalyst for its demised. The remnants of those old believes is what is still making ideas of witch craft exist, something close scrutiny reveals is impossible. It is not possible for any human being to change into a Lion, Hyena, Cat, Dog, Bird etc... You will also notice that, the same concepts are found in the Serre society, the Wollof reference for Doma and not forgetting my Uncles.
Hence, people use to fear Cobblers. The belief is they can turn into a Hyena. And the Sanyang Kunda people can turn into a Lion. The believes that, people can disappear is all unreal. Hence, God has always been understood as the Creator, but the approach to him became the sources of all the mediums. Does Jalangs have powers, can it affect people, can it be use to cause harm?
The reality is, whether ancient or modern contemporary society, the force of good and evil will always exist. Jalangs according to Mandingo history depends on the Jinn or Daafenw (something unidentified) that is the force of the Tree, the Rock, River, etc. The oracles will always tell the visitor to their place that, they will have to make contact with that Jinno or Daafenw. The rituals will begin and then, he/she will say the things to offer as rituals...So the metamorphoses of the old customs into some marabourism is very similar. Instead of spooky isolated places, a more approachable and acceptable form is invented.
Can you imagine seeing a Sanyang kunda man turning into a Lion? I will slap him. Lol
Thanks Sal
Suntou
Thursday, 21 April 2011
The Drums can speak: The Dance of Jamba Jabally
Wednesday, 27 May 2009
By Suntou Touray
The stage was set and matched. The audience came from all parts of the neighbouring villages. The heat of day overshadowed by the gentle breeze. The birds slowly flying to their layers and the chicken walking gingerly to their dens.
The call to prayer was about to be made. Children under 18 bound for the shelters, the old custom is to avoid exposing children just as night fall begins. The devil’s advocates roam inflicting harm on defenceless children. Sincere believers answering to the commands of God. Not the gods in any way.
The scene was Jendeh, a small Hamlet, one and half miles away from Darsilame, a twin village. The road leading to Jendeh is red grabble dusty and musky. The Hamlet maintains it rich customs. Festival of celebrating local customs occurs annually.
The events dates are such that, no calendar is needed to know when it’s due. People just know it. The ladies paety dance, the orobattete, and occasional kajo take precedence over other festival programs. Yet, no man can talk about the Jendeh festival without the kankuran and Jamba Jabally competition.
The kankuran is well known and likeable. He dresses in a costume of green leaves and red fara wonbo. He maintains decorum of unique styles, a style symbolised by the way he walks and talks. The kankuran talks but only to the jobo (guide). The guide is needed because the kankuran is supposed have his face covered. As some Mandingo culturalist would say, the jobo is the link between the mystical and the people. The kankuran of the wula or forest, being among people requires an mediator: the jobo. The jobo makes sure the drummers sound the right tunes for the kankuran, each kankuran has his unique dance moveees. What a spectacle!
The Jamba jabally on the other hand, is very different. It is uncommon in many other places. Jamba Jabally is dressed in a costume of a special green leaves. The leaves of a Jalo take the entire composition of the Jabally’s costume. He is a mystery figure in the kankuran circles. He talks but in slow and quiet tune. He dances in whirling way, he has a unique song that blend well with his dance and song.
The Jamba Jally on the Jendeh festival was so entranced by the slow drumming and clapping that, he never realise a kankuran was stealing the show from him. He sings songs like, fito fee malala jabally la fito yee malamala, hanin nman nyi nya danko nna fito yee malamala. (let the leaves shine, let jabally’s leaves shine, even if i am ugly, all that matters is let my leaves shine).
Sana a newThe kankuran broke a serious taboo, a kankuran doesn’t dance to the redeem of Jamba Jabally. He sits and watches the jamba jabally as a mark of respect. But not Sana, he was slogging it out with the Jamba jabally on Jamba’s tune and song. Jamba turn around towering over the mini kankuran. He made all gestures for Sana to stop but all falls on deaf ears.
Ifansu Juloma (Dance to your own redeem)
Jamba patience ran out. He became angry and bitter. How dare you! He Thought. Jamba gingerly went to the drummers and told them to change the tune. The drummer starts using the drum to talk to Sana. The drummers’ couple with Jamba Jabally start the ifansu julo ma song. Sana still continues dancing to that song and dance as well.
There is no option left for Jamba but to be proactive. He went politely to Sana the mad apprentice Kankuran and said “ifansujulo maa” (dance to your own music). Sana still couldn’t understand what is going on.
The truth is, that festival was Sana’s first day as a kankuran. He lacks all knowledge of the kankuran world. He doesn’t know the rules or regulations. The rituals and mannerism. Sana’s day ended badly. The Jamba Jabally strike Sana with his sword. Sana ran through the crowd, perplexed as to what has happen. The Jamba Jabally finally took hold of his residence and start singing other lovely songs free from interruption.
Ifansujulo Maa became taboo for sana.
I then knew that drums can talk. How interesting.
This story is a village childhood memory.
By Suntou Touray
The stage was set and matched. The audience came from all parts of the neighbouring villages. The heat of day overshadowed by the gentle breeze. The birds slowly flying to their layers and the chicken walking gingerly to their dens.
The call to prayer was about to be made. Children under 18 bound for the shelters, the old custom is to avoid exposing children just as night fall begins. The devil’s advocates roam inflicting harm on defenceless children. Sincere believers answering to the commands of God. Not the gods in any way.
The scene was Jendeh, a small Hamlet, one and half miles away from Darsilame, a twin village. The road leading to Jendeh is red grabble dusty and musky. The Hamlet maintains it rich customs. Festival of celebrating local customs occurs annually.
The events dates are such that, no calendar is needed to know when it’s due. People just know it. The ladies paety dance, the orobattete, and occasional kajo take precedence over other festival programs. Yet, no man can talk about the Jendeh festival without the kankuran and Jamba Jabally competition.
The kankuran is well known and likeable. He dresses in a costume of green leaves and red fara wonbo. He maintains decorum of unique styles, a style symbolised by the way he walks and talks. The kankuran talks but only to the jobo (guide). The guide is needed because the kankuran is supposed have his face covered. As some Mandingo culturalist would say, the jobo is the link between the mystical and the people. The kankuran of the wula or forest, being among people requires an mediator: the jobo. The jobo makes sure the drummers sound the right tunes for the kankuran, each kankuran has his unique dance moveees. What a spectacle!
The Jamba jabally on the other hand, is very different. It is uncommon in many other places. Jamba Jabally is dressed in a costume of a special green leaves. The leaves of a Jalo take the entire composition of the Jabally’s costume. He is a mystery figure in the kankuran circles. He talks but in slow and quiet tune. He dances in whirling way, he has a unique song that blend well with his dance and song.
The Jamba Jally on the Jendeh festival was so entranced by the slow drumming and clapping that, he never realise a kankuran was stealing the show from him. He sings songs like, fito fee malala jabally la fito yee malamala, hanin nman nyi nya danko nna fito yee malamala. (let the leaves shine, let jabally’s leaves shine, even if i am ugly, all that matters is let my leaves shine).
Sana a newThe kankuran broke a serious taboo, a kankuran doesn’t dance to the redeem of Jamba Jabally. He sits and watches the jamba jabally as a mark of respect. But not Sana, he was slogging it out with the Jamba jabally on Jamba’s tune and song. Jamba turn around towering over the mini kankuran. He made all gestures for Sana to stop but all falls on deaf ears.
Ifansu Juloma (Dance to your own redeem)
Jamba patience ran out. He became angry and bitter. How dare you! He Thought. Jamba gingerly went to the drummers and told them to change the tune. The drummer starts using the drum to talk to Sana. The drummers’ couple with Jamba Jabally start the ifansu julo ma song. Sana still continues dancing to that song and dance as well.
There is no option left for Jamba but to be proactive. He went politely to Sana the mad apprentice Kankuran and said “ifansujulo maa” (dance to your own music). Sana still couldn’t understand what is going on.
The truth is, that festival was Sana’s first day as a kankuran. He lacks all knowledge of the kankuran world. He doesn’t know the rules or regulations. The rituals and mannerism. Sana’s day ended badly. The Jamba Jabally strike Sana with his sword. Sana ran through the crowd, perplexed as to what has happen. The Jamba Jabally finally took hold of his residence and start singing other lovely songs free from interruption.
Ifansujulo Maa became taboo for sana.
I then knew that drums can talk. How interesting.
This story is a village childhood memory.
The Concept of Ifanbondi and Kankuran
By Suntou Bolonba Touray
To understand the world of the Kankuran one has to appreciate the dogmas of the Mandingo cult that many have abandon, the cult of Hurr. Kankuranyaa is depicted in a facet of the spirit world and the human. Just like amongst the Wollof, Serre, Jola and Fulbe, many native pre-Islamic or Christian practises have died away or are slowly disappearing, hence many will be wondering, why is Ifanbodiyaa relevant today?I wrote a short story on Jamba Jabally one year ago. It is similar to your narrative on Ifanbondi..
However, Fanbondi is still classified as a secret male domain. I am not afraid of the repercussions in explaining it all, however, till another occasion. You ably explained the mannerism of the craft, the mystery and reactions of the natives to its news. But why was Ifanbondi even necessary? We all know that answer, to word off evil spirits.
Kankurans though have a Jobo (guide, intermediary) between themselves and the people. The Jobo speaks for the Kankuran, the intention of both the Kankuran and Ifanbondi is rooted in abstruse mysteries and self-mortification. In essence, the world of the human and that of the spirits. Ancient worlds implant discord into creation (jealousy, envy, evil eyes, betrayals, rivalry, mutual enmity, fights , both in the physical and metaphysical sense etc etc).
Even as Muslims or Christians we are, this discord is chit chatted in our every day dealings. The expectations of evil Witchs to conduct their Craft on unsuspecting children is so terrifying, the Ifanbondi is commissioned to restrict and threaten the evil advocates. The safety of the newly circumcised is not left to the agency of God the Most High alone, but regulated by the inter-mediators of our humanly world, the Ifanbondis.
Whilst Kankurans discipline youths, and even grown ups, they cannot enter into the realms of the deep spirits. Also the Kankuran are social entertainers, whilst the Ifanbondis are not. The Kankuran can sing and dance, the Ifanbondi cannot even be identified let alone entertain the people.
Finally, as the sayings goes, familiarity breeds contempt, that logic is utilised by the elders in sensitively disguising or keeping the identity of the Infanbondi a top secret. The Ifanbondi is usually someone from a different neighbourhood, but it can also be a native.
Today, instead of using the agency of Ifanbondis, the marabous took their place and different forms of Sufi arts and magic replaces them..The Ngri Ngriro is a different story, it is utilise when the situation became tense and the fear is that, the evil doers are on the look out. The mystery there is the sound, a very strange sound that cause terror just like when the presence of Ifanbondi is announced.
Thanks
A brief exchange with Malick Kah who wrote a poem on Ifnabondi
To understand the world of the Kankuran one has to appreciate the dogmas of the Mandingo cult that many have abandon, the cult of Hurr. Kankuranyaa is depicted in a facet of the spirit world and the human. Just like amongst the Wollof, Serre, Jola and Fulbe, many native pre-Islamic or Christian practises have died away or are slowly disappearing, hence many will be wondering, why is Ifanbodiyaa relevant today?I wrote a short story on Jamba Jabally one year ago. It is similar to your narrative on Ifanbondi..
However, Fanbondi is still classified as a secret male domain. I am not afraid of the repercussions in explaining it all, however, till another occasion. You ably explained the mannerism of the craft, the mystery and reactions of the natives to its news. But why was Ifanbondi even necessary? We all know that answer, to word off evil spirits.
Kankurans though have a Jobo (guide, intermediary) between themselves and the people. The Jobo speaks for the Kankuran, the intention of both the Kankuran and Ifanbondi is rooted in abstruse mysteries and self-mortification. In essence, the world of the human and that of the spirits. Ancient worlds implant discord into creation (jealousy, envy, evil eyes, betrayals, rivalry, mutual enmity, fights , both in the physical and metaphysical sense etc etc).
Even as Muslims or Christians we are, this discord is chit chatted in our every day dealings. The expectations of evil Witchs to conduct their Craft on unsuspecting children is so terrifying, the Ifanbondi is commissioned to restrict and threaten the evil advocates. The safety of the newly circumcised is not left to the agency of God the Most High alone, but regulated by the inter-mediators of our humanly world, the Ifanbondis.
Whilst Kankurans discipline youths, and even grown ups, they cannot enter into the realms of the deep spirits. Also the Kankuran are social entertainers, whilst the Ifanbondis are not. The Kankuran can sing and dance, the Ifanbondi cannot even be identified let alone entertain the people.
Finally, as the sayings goes, familiarity breeds contempt, that logic is utilised by the elders in sensitively disguising or keeping the identity of the Infanbondi a top secret. The Ifanbondi is usually someone from a different neighbourhood, but it can also be a native.
Today, instead of using the agency of Ifanbondis, the marabous took their place and different forms of Sufi arts and magic replaces them..The Ngri Ngriro is a different story, it is utilise when the situation became tense and the fear is that, the evil doers are on the look out. The mystery there is the sound, a very strange sound that cause terror just like when the presence of Ifanbondi is announced.
Thanks
A brief exchange with Malick Kah who wrote a poem on Ifnabondi
Tuesday, 5 April 2011
Marriage name in Mandinka...Futuwoo
Santa, I believe Futuwoo could have another meaning. "Fuu" also means lack of seriousness/playfulness "Tuu" means to leave/abandon. Hence Fuutuwoo could mean entering a stage of been responsible. (Mansasulu Gambia.dk)
Monday, 4 April 2011
Mandinka Griot proverb...Nyanin tun
Allah bali junso nyanintun, jun bali Allah soo fanan, nyanintun (To give to people and ignore the right of God, still you are needy, however, to give to God and leave people out also indicate your poverty) Mandinka griot poverb
Tiili Buka afanwu lah Mala lon
The Sun doesn't appreciate it's own light. Tilo in Mandinka indicate to a day but consequently, also the Sun. They count a day by the Sun. Tili kilin, one day or one Sun, tili fula, two Sun or two days.. What would the comment be directed at that the 'Sun doesn't appreciate it's own rays or light?' Mandinka proverb
Sunday, 3 April 2011
Nko Kumo...Dalaso or Dalasi
It is reported that, the Gambian currency Dalasi was suggested by a Fula elder at a gathering.When they say, what should we name the Gambian currency, he said, "this is after independence and it is a time of hard work and sel-relaince, I suggest Dalaso" (sewing of wresler's custume)Dala or wreslers pants use to be hand made by local village girls. It involve meticulous time consuming effort, because each wresler wear a distinct custume.However, the word Daa is important, which means to make, Laa is layer. does the word actually means, making a layer for wreslers? I wonder.Dalaso became Dalasi
Friday, 1 April 2011
Nko Kumo..meaning of Mandingo words
Futuwoo (mandinka for marraige) but what does it entail...My thinking is that, the first word fuu (to lend) Tuwoo (to stay or remain permanently). Hence Futuwoo use to denote seriousness...In essence the family of the woman allow their daughter to marry but on condition that, the man behaves if not, futuban, the lending period ends.Futuwo (a lending that is continous)I may be wrong..
Saturday, 12 March 2011
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