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.
Sunday, 24 April 2011
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..
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