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Janko
Gambia
1267 Posts |
 Posted - 21 Oct 2009 : 11:42:44
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Jaliba Kuyateh- An ambassador for Manden culture and Music
By Suntou Bolonba Touray U.K
Jaliba kuyateh a Mandingka kora superstar has mesmerised his audience both within and outside the borders of the Gambia for years. Jaliba a former teacher, choose music as his soul career at a very early part of his adult life. That decision made him a very influential and well known Kora player. His style of Music is rooted in the Mandingko griot tradition. The fact that the Kuyatehs are a respected griot family line is unmistakable in Manden (all Mandingka countries). The kora is said to have originated from Gambia. For a more comprehensive history of the Kora check OneGambia. Even though that narrative of the origin of the kora is subjective and Gambian-centric it however relay an interesting dialogue about the myth of the instrument.
I am by all accounts the most unqualified person to conduct this enquiry as I am completely lacking a deeper knowledge of current trends in Mandingka music or music in general. My position is more of an abridger in identifying Jaliba’s role in negotiating Mandingka griot tradition towards the outside world or outside its original context. The commentary here will be a brief analysis of Jaliba’s export and promotion of the Mandingka culture and how he may have modified the original understanding of tradition. I will also show the opinions of Gambian music promoters, who may not be Mandingkas but recognise the evolution of Mandingka music tradition.
Jaliba became the most famous Kora player in Gambia after the eras of Lalo keba Drammeh, Bamba Suso, Amadou Bansang, Banna Kanuteh, Alh. Bai Konteh, Jali Madi Wullen etc. This doesn’t mean Jaliba is a greater Gambian kora export than the likes of Jali Foday Musa Suso who toured the globe with different renowned western musicians. Traditionally musical instruments are linked to specific cultures. Jaliba, the name and the instrument he plays identifies him with the Mandingka music, culture and tradition. Jaliba followed the path of the Manden Jali/musician tradition of seeking out batufas, patrons of the Gambian society....
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Clean your house before pointing a finger ... Never be moved by delirious Well-wishers in their ecstasy |
Edited by - Janko on 21 Oct 2009 11:45:28 |
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kayjatta
2978 Posts |
Posted - 21 Oct 2009 : 12:01:36
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| Great work here, Suntu! |
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Santanfara
3460 Posts |
Posted - 21 Oct 2009 : 17:28:19
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Ala baraka Janko and Kay. It is a work in progress, the real complete finish article will have Jaliba's picture and few more extras. The part two should be more interesting as the observers opinion will be stated.
jaliya and batufa jamun, it is a changing cultural spectrum. |
Surah- Ar-Rum 30-22
"And among His signs is the creation of heavens and the earth, and the difference of your languages and colours. verily, in that are indeed signs for men of sound knowledge." Qu'ran
www.suntoumana.blogspot.com |
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Momodou
Denmark
11823 Posts |
Posted - 21 Oct 2009 : 18:19:06
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| Suntu, this is a well researched article. Keep it up. I look forward to part 2. |
A clear conscience fears no accusation - proverb from Sierra Leone |
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MADIBA
United Kingdom
1275 Posts |
Posted - 21 Oct 2009 : 19:11:19
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Santa
That was a great write-up. Keep it up!
I think Jaliba and his many fans would love it |
madiss |
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gainde
Sweden
117 Posts |
Posted - 22 Oct 2009 : 10:07:27
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quote:
Originally posted by Santanfara
Ala baraka Janko and Kay. It is a work in progress, the real complete finish article will have Jaliba's picture and few more extras. The part two should be more interesting as the observers opinion will be stated.
jaliya and batufa jamun, it is a changing cultural spectrum.
Inin bara, Suntou. A bee fo(lol). Translated: Keep up the great job and hit us with more soon. |
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Santanfara
3460 Posts |
Posted - 22 Oct 2009 : 17:25:51
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Thanks all for the kind words. Gainde, thanks for highlighting the issue of Bannah Kanuteh. Gainde mention that Bannah was a balafon (xylophone) player not a kora king. Can anybody support this position. i never know who Bannah kanuteh is, it will be interesting to know his musical expertise. Momodou, Janko, any comments?
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Surah- Ar-Rum 30-22
"And among His signs is the creation of heavens and the earth, and the difference of your languages and colours. verily, in that are indeed signs for men of sound knowledge." Qu'ran
www.suntoumana.blogspot.com |
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Momodou
Denmark
11823 Posts |
Posted - 22 Oct 2009 : 18:14:46
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Yes he is right. Banna Kanuteh was the brother of the late Alhaji Fabala Kanuteh. The GRTS should have a lot of recordings of these brothers in the archives.
You might add Dr. Roderic Knight to your collection. I saw him in the Gambia in the 70s.
http://www.oberlin.edu/faculty/rknight/ |
A clear conscience fears no accusation - proverb from Sierra Leone |
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Janko
Gambia
1267 Posts |
Posted - 22 Oct 2009 : 22:23:47
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| Yes, Santa, gainde is right, if you mean Banna as a kora player, I took it that you mean, he is an icon of Manden music in Gambia, and he is |
Clean your house before pointing a finger ... Never be moved by delirious Well-wishers in their ecstasy |
Edited by - Janko on 22 Oct 2009 22:26:54 |
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Santanfara
3460 Posts |
Posted - 23 Oct 2009 : 07:21:14
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quote:
Originally posted by Janko
Yes, Santa, gainde is right, if you mean Banna as a kora player, I took it that you mean, he is an icon of Manden music in Gambia, and he is
Thanks Momodou, i the guy is a computer. Janko, yeah i took him as an icon, the names they collectively created for themselves in promoting Manden musical tradition. His speciality was not a matter for this discussion. But none the less, it is good that his balafon expertise is also highlighted. Thanks
I am begining to think that the drum power takes more cloud in Jaliba's band than the Kora.. |
Surah- Ar-Rum 30-22
"And among His signs is the creation of heavens and the earth, and the difference of your languages and colours. verily, in that are indeed signs for men of sound knowledge." Qu'ran
www.suntoumana.blogspot.com |
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Santanfara
3460 Posts |
Posted - 28 Oct 2009 : 16:41:42
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http://suntoumana.blogspot.com/2009/10/jaliba-part-two.html
The comments of three Gambian culturalist make the part two of the Jaliba topic. This will be followed by Jaliba's own interview later.
Thanks to Njok Malick, Ebrahima Kamara and Pa Modou Njie (Gainde). |
Surah- Ar-Rum 30-22
"And among His signs is the creation of heavens and the earth, and the difference of your languages and colours. verily, in that are indeed signs for men of sound knowledge." Qu'ran
www.suntoumana.blogspot.com |
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Janko
Gambia
1267 Posts |
Posted - 11 Jan 2010 : 10:25:42
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The GambiaJournal:
Exclusive with Jaliba Kuyateh
Suntou and Jaliba:
Suntou: How would you describe your music?
Jaliba: Thank you Suntou for having me, my music was actually described by the former president of the Gambia DK Jawara as ‘Afro manden kora’. This is because; my style of kora is distinct from the former great kora kings Lalo Kebba and co. I adapt the kora tune according to the occasion and then accompany it with drums, flutes, saxophone, balafon etc.
Suntou: What is the kora to you personally?
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Clean your house before pointing a finger ... Never be moved by delirious Well-wishers in their ecstasy |
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Santanfara
3460 Posts |
Posted - 21 Jan 2010 : 18:39:18
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Thanks janko for bringing the interview. two days ago, the music maestro Oko Drammeh also made a brillaint but controversial observation. That plus our good friend Cherno Baba.
Here is Oko's points:
Thanks Sountou & thanks Cherno Jallow
A NOTE FROM OKO
The Gambia is a very tribalist country.
The reason being is that we still practice tribal culture and tribal unity of purpose. We live in small interest groups and our tribal beliefs and values are not compromised for modernisation.
Jaliba Kuyateh will be a celebration artists for a while to come because the Wollof community will not accept him and will not invite him to their major functions. The Gambian- Banjulians take pride in Senegalese cultural values than Gambian Mandinka or Fula, or jola values. This was the disrespect they had for Ifangbondi. The wollof community seem to be the trendsetters of Senegalese culture in Gambian communities. Every Senegalese is a Senegalese BUT every Gambia is a Jola, Mandinka, Fula or Wollof. WHY?
It was all fine when Ifangbondi played Saraba or Xalel Daii maga but as soon as the Jola rhythms and songs, Fula and Mandingo beats start pouring, the elite: ladies and gentlemen of that time (even if they are Jolas, Fula & Mandinkas ) they will start to leave for home.
Gambians are still not culturaly awake.
They want to share the Euro- Urban life style of little Dakar or Europe and not the original-folk music of the country. Gambians are still not liberrated culturally. This is why our youth copy foreign clothes, foreign music, foreign insults like (Bang-Bang your Mama), the sound of the gun.and applly these messages in the Gambian composition music, also with mixed up Jamaican Jah Rastafarian Reggae lyrics which did not make it big breakthrough since Bob Marley, except on third world radio station and news media programs which is not in the accountable mainstream industry.We are far from understanding how the industry works.
Ndagga did not come from Gambian- But It is wollof.
We can say Laba Sosseh Tussed it and Ifangbondi conceptionalized it. Laba Sosseh had all the guts to sing in Wollof while all the band members of the Foyer Band were semi portugese in Banjul and sang in Spanisn & Potugese, although Cha Cha Cha Salsa/ Pachanga tunes but that brought about the dearing "Bi-Tanka du Lal Be" by the Super Eagles by dearing to fused-in Wollof in their Salsa music.
The latin tunes
were more acceptable to colonisers and that's how the wollof, the Groumets (Grumets/ Catholics). The wollof-party people who drink wine & eat pork were the Grumets.The wollof ladies were the party goers and had many mulato kids with slave masters and love slave masters music. This is why Dakar love pachanga/ Africando/ Tasu- Mbalax/ Salas Mbalax no one Plays Ndanga- Njie Pop.
All Ndaga is Salsa
Senegal had a Poet President who had partners in countries all over the world. They staged shows, festivals, opened royality offices, concerts halls and music administration set ups. This is running till today in Dakar including the school of Arts.
Gambians do not know this. The British needed our manpower in Europe, to abandon our country and give our human resources to England.
When Europe need your country, they would want to you to stay and build railways but if they don't need you, like The Gambia you can start imitating them and pledge your future to the Union Jack.
Senegal have artists and musicians runnunig the business since day one. Right now it is musicians who control the budget, the programs and are responsible for international tour and building of auditariums. Also in sports, theater etc,
THEY GIVE IT TO THOES WHO HAVE DONE IT BEFORE AND ARE RECOGINSED BY THE INDUSTRY TO DO IT. THEY ARE RECOGNIZED BY THE WORLD NEWS MEDIA.
I see too often how Gambians pick up small pop infants band from Senegal for their occation in France, England, USA & Scandanvia while they ignore Jaliba Kuyateh and his Mandingo music. The acceptance they would give to an Unkown Djibi or Djimay drammeh or a Pape Diouf etc, or Kumba Ting Ting, Falia Baldeh, etc, etc is more than the acceptance they give to Jaliba. If you go to Dakar some artists (mostly Malians & Guineans, some Senegalese) will tell you that they want to be like Jaliba, they like his songs, his music and his strenght to hang on for so long. But when you come with Jaliba to gambians, he is a tribal artists.
I know thoes who hire Jaliba. He is only fit for ceremonies, homely weddings and Multicultural African Somalian Youth Center concerts hall shows. These are Patrons of Jaliba Kuyateh and they pay his bills and keep him to maintain for the past 25 years.They are not industry people, the promoters of Jaliba are not known to the business of music, the press do not run down Pre-views and musical reviews on Jaliba when invited by his loyal patrons.
There is no collective effort to promote him. If we loose Jaliba now, he will be worthless in our history books like Pa Touray, Laba Sosseh & the rest. Gambians do not document their artists. Jaliba is not represented by any major label and distributed by a major label. He still need to be introduced. If he has well produced shows he will be recognized.This can happen only if we all believe in him like we believe in what we choose. believe is a choice. His biggest honoiur is UNICEF amdassador. What $$$$ signs are no it, none !
I decided to record the Kora Dance album by Jaliba for a major label and for documentation and a tour was planned to promote him worldwide.I took many Jazz artists and soul & blues artists of American name brands like, Don Grusin, Larry Williams/ Seawind, Leon Ware, Bill Summers from Quincy Jones band and we did the album with Jaliba. We pitched the tour to promote his new industry sound to many Gambian music promoters round the world, not one replied in the positive. So I decided to call it a day. But I am always ready to do it all over again
It is sometimes dissapointing how Gambians respond to mandingo music. But they like Salif Keita, Mory Kanta & Sekou Bambino and Baba Maal but not from Gambia. The Boys can play back home very well and up to standard., they do not record in good studios but they are better than 70% of what I hear from Radio. The New Nigerian sound, the New ***** cat mew-mew sound effect that is in all new music is mostly because of lack of funding and guidance in production. They are not coached. This was it with our football , they were not coached but if they are funded guided and coached the musicians will deliever..
Music is understandable by every person that can hear. Even children of 3 years have their favorite songs from their Moms at an early age. The human brain can identify with anything it recognise and familiar with. If Gambians create a make-belief pull and propaganda that Gambian music is best, they will be the first to embrace it. Gambian music is far better than music from many parts of the world. We are civilized, have a history and sensible.
If gambia musicians do not record in sessions, much more music and perform much more in international festivals, TV shows and making acting-movie cilps, they will not have the suitable experience required to make a proper music record career.
Gambians cannot produce a record of hig magnitude caliba, well formed, well shaped and containing hook lines, transposing, effects,etc. they did not evolve with technolog. A good record is 90% the Art of scientific application. It is not what you do on stage that goes on record. a record is produced in parts and in pieces before applying intensity and sound petals for wider and more sophisticated ultra sound range. This is how to make a hit and the hit will make the star.
The New Gambia music has no name,
it is being form and being shaped. I know guys who are doing very well but they cannot maintain it. Somethings you have to learn, The Gambian music is not yet ripe or fit to be brought to the front. Some Gambia artists should be financed to make good recording production in proper studios. The home recordings are not durable and have no dept and width for manupuilation.
What makes Youssou Ndour is the recordings not the praises he get.
Music do not prosper under governments. Governments do not study music as an ecomonic priority. Now tourism folding, it is time to hire experts and use the musicians and festivals to create a new tourism site in Gambia and get the world there. Gambia needs an event, a seminar, music, conventions, music education, scholarships, and an international travelling GAMBIAN All Star cast to tour the world.
In today's Gambia there are no shows, no concert halls, no recording studio, no music newspaper, no star, no charts, no charge tax for visiting foreign artists, 70 % music on Gambia airwaves is non-Gambian.. No money is coming to Gambian artists. they have families and they want to send their kids to school and to the Doctor but the are no job, no initiative and no future.
Jaliba is a miracle man to stay that long entertaining us and upholding our pride. He sacrificed a lot.
Oko Drammeh
www.Soto Koto.tv
http//twitter.com/sotokotoband
www.facebook.com/OkoDrammeh |
Surah- Ar-Rum 30-22
"And among His signs is the creation of heavens and the earth, and the difference of your languages and colours. verily, in that are indeed signs for men of sound knowledge." Qu'ran
www.suntoumana.blogspot.com |
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Santanfara
3460 Posts |
Posted - 21 Jan 2010 : 18:58:12
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In Appreciation of Jaliba Kuyateh -
His National Importance and Musical Profile.
By Cherno Baba Jallow
As a life-long fan of Jaliba Kuyateh, I read with great interest Suntou Touray's feature article on the Gambian Kora maestro. The article, sprinkled with comments from a number of Gambian musical observers, is at once informative and enlightening. And the Jaliba interview has provided me with an unprecedented opportunity to learn about the man's musical disposition. I have been attuned to his Kora rhythms for as long as I can remember. And yet, and until now, I had never had the chance to read his thoughts on himself, his music and his views about music, its subtleties and shifting patterns.
Music is a locomotive. It keeps moving. Changing. Into different lanes. I am glad that Jaliba was able to articulate that to his interviewer, who, at the risk of misinterpretation, seems to be somewhat concerned about the incursions of modernity into Jaliba's musical enterprise. Or otherwise stated, the gradual ebbing away of traditionalism we tend to identify with na jallolu. Frankly, had Jaliba merely contended with the singular utility of the Kora instrument and the puritanism of folk lore music, he would have long faded. Or, at least, his impact wouldn't have been this great. From his earliest unripened River Gambia tunes to today's danceable, heavy-bass beats churned out by a motley of instruments (cymbals, saxophone, pulsating drums, etc.), Jaliba has come a long way. His longevity on the Gambian musical scene is as much a consequence of his own depth of perseverance as it is of his genius in the art of improvisation.
Don't misunderstand. Commercialism has had some in-road into Jaliba's musical career. But since it is foolhardy to pit morality against music and its changing contours, it will be wrong to cast Jaliba's marketing pursuits as a negation or abandonment of traditional purity. Like those of Salifu Keita, Mory Kante and others, Jaliba's music is a melange of the traditional and the modern with the former still playing the more dominant role. The Kora rhythm carries a lot of weight for the traditional element in Jaliba's music. It is enough to lit the traditional fire up and to trigger homely feelings about culture and its sensibilities.
Suntou's article places heavy emphasis on Jaliba's musical representation of the Manden culture. This observation is true but parochial. It is strictly reductionism. I view Jaliba's musical import in the context of national identity; his contribution to the growth of a musical genre we, Gambians, can claim as our own and sell to the outside world. In the early 1990s, I wrote in the Daily Observer that Gambian music was suffering from a surfeit of multiple genres; there was not a single brand of music that could be exclusively called Gambian on the international stage. This was at a time when Reggae was making the rounds in Gambian entertainment circles. Studio River Gambia was selling Reggae tunes like hot cakes. Those were the days of DJ Buju Boots, Gunji Man, Rebel Baddibu, etc. People were dabbling at the Jamaican patois
At the time, I was privately criticized for playing second fiddle to traditional Gambian music. It represents a variety of national identities, I was reminded. Point taken. I maintained, however, that our traditional musicians were handicapped by their own limited exposure, a problem not of their own making, but largely of the scarcity of marketing ventures and of innovative musical entrepreneurship. Hence their stunted growth. Hence The Gambia's inability to export musically.
What is Gambian music? What do you call it? Difficult questions. Not so with Senegal: Ndagga. Congo: Soukous. Cuba: Merengue. Zimbabwe: Shona Mbira. I learned during my private conversations with the veteran Gambian music promoter Oko Drammeh, that the Ndagga/Mbalax rhythm was Gambian-founded; Senegal snatched it from us. So technically we could call Ndagga our own, too. But that will be like claiming ownership of something held and domesticated by someone else. Ndagga has come to be associated with Senegal. The Gambia's claim to it becomes just that: a mere mental construct, a figment of nationalistic imagination.
While Americanization continues to make in-roads on the Gambian airwaves and we grapple with the difficulty in sorting out the real ones from the copy-cats on what has become a disorderly Gambian musical scene, Jaliba Kuyateh remains in a league of his own, providing us with something tangible to call our own. His brand of music and its considerable cachet continue to give currency to The Gambia in the world.
The defunct Ifanbondi group founded and tried popularizing the Afro Manding sound into a national commodity. It didn't pan out. Might Jaliba succeed in this regard? Would that that were the case.
Cherno Baba Jallow, the Public Relations Officer of the Gambia Press Union (USA), is a lover of cultural music and the oldies. He is collecting early songs from the Ifanbondi, Guelewarr, Libidorr, Police Band and his all-time favorite Senegalese group Xalam Deux (2). He needs your help. Please contact him at chernobjallow@hotmail.com.
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Surah- Ar-Rum 30-22
"And among His signs is the creation of heavens and the earth, and the difference of your languages and colours. verily, in that are indeed signs for men of sound knowledge." Qu'ran
www.suntoumana.blogspot.com |
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