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RATTLES THE KESEKESE

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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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SCRAPEDrNSTRlJHENTS THE KARIY AN

The kariyanis a hollow iron tubeopenalongits entire

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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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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

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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.

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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

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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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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

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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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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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. . . . . . . . . . .. .,. ... . . . . .. . .

.9

, 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-

-69-

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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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-

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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-

FAMOUDOU KONATE

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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

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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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