ECOS NÓMADAS Itinerario Musical La Biblioteca De Adultos Ofrece Un Itinerario Musical a Través De Sonidos Con Ecos Viajeros

Total Page:16

File Type:pdf, Size:1020Kb

ECOS NÓMADAS Itinerario Musical La Biblioteca De Adultos Ofrece Un Itinerario Musical a Través De Sonidos Con Ecos Viajeros ECOS NÓMADAS Itinerario musical La biblioteca de adultos ofrece un itinerario musical a través de sonidos con ecos viajeros. Y es que también los ritmos étnicos son herederos de formas de vida nómada: romaníes, tuareg o masai han dejado su huella en algunos grupos actuales. De este modo, instrumentos, estilos o ritmos ancestrales se han fusionado con músicas contemporáneas, componiendo nuevos sonidos que hermanan culturas y épocas. Esta selección musical nos recuerda que, en tiempos remotos, muchos de nuestros antepasados recorrían los senderos con la vida a cuestas. Sus ecos han pervivido a través del tiempo. Reseñas de José Miguel López , director del programa Discópolis , de Radio 3 , publicadas en: Fonoteca Civican de Ritmos Étnicos: una selección de músicas del mundo. Pamplona: Caja Navarra, 2007 ABAJI. Nomad spirit. Network Medien GMBH, Baaba MAAL. Lam toro. Island Records, 1993 2005 (ASI) (AFR) CONTIENE: Al kafila al akhira/ Iskandar el kabir/ CONTIENE: Hamady boiro (yelle)/ Daande lenol/ Lem Trance eastern blues/ Khosrow/ Al 'assifa/ Mitilini/ Al gi/ Ndelore/ Yela/ Toro/ Daniibe/ Olel/ Sy sawande/ awlad/ Nomad spirit/ Nida/ Tshingane/ Waiting for Hamady bogle djivan/ Min al jabal/ Bi albi/ Badawi/ Kamar wa assal Lam Toro es el quinto disco occidental de Baaba Maal. Abaji es un espíritu nómada donde los haya: trovador Fue el más mezclado de todos los que había hecho beduino con raíces familiares en Libia, Siria, Armenia, hasta ese momento. Baaba Maal estaba muy bien Turquía y Grecia. Nació en Beirut, hablaba francés en relacionado con Peter Gabriel, con quien había casa, árabe en la escuela y turco con su abuela Alicia. colaborado en la banda sonora de la película Passion . La guerra del Líbano le hizo emigrar a París y sus Fruto de esa interrelación creó una fusión progresista discos están editados en una empresa con sede en de rock vanguardista y sonido africano. Le acompaño Frankfurt. Nomad spirit es su segundo trabajo y en él su grupo habitual Daande Lenol (La Voz del Pueblo). Abaji toca siete instrumentos y canta. Además, cuenta El disco fue considerado el mejor africano de los con otros tres músicos de procedencia diferente: un editados en 1992 y recibió muchos elogios. Una percusionista indio, un flautista ( duduk ) armenio y otro década después, se revisó y volvió a editarse con otro intérprete marroquí que toca guimbr i y oud. disco extra añadido en el que aparecían remezclas electrónicas de las mismas canciones. Baaba MAAL. Djam leelii. Rogue Records, 1989 (AFR) Saban BAJRAMOVIC. Saban Bajramovic a CONTIENE: Lamtooro/ Loodo/ Muudo hormo/ gypsy legend. World Connection, 2001 (EUR) Salminanam/ Maacina tooro/ Djam leelii/ Bibbe leydy/ CONTIENE: Jasmina/ Pelno me sam/ Hanuma/ Avaj, Sehilam/ Kettodee avaj mo cavo/ Pena/ Sila kale bal/ Djeli mara/ Opa cupa/ Djelem, djelem/ Boza, limunada/ Dade, dade/ I Baaba Maal tiene una voz privilegiada. No barval pudela/ Sajbija/ Pitao sam malog puza desciende de griot alguno, sino que sus orígenes son realmente humildes. Nació en 1954 en una Saban Bajramovic es un mito en los Balcanes. Goran pequeña aldea. Hoy en día esta considerado uno Bregovic le considera su principal fuente de influencia. de los artistas más innovadores de Senegal. El hecho de que Saban no haya tenido managers internacionales y su rechazo a adquirir protagonismo Cuando se trasladó a Dakar formó un dúo con el fuera de su Serbia natal han acentuado su leyenda. guitarrista Mansour Seck. Ambos se trasladaron Sus discos de vinilo son rarísimos de encontrar y sólo a París, estudiando Baaba música en el antologías editadas a partir de 2002 permiten Conservatorio de Bellas Artes. Al regresar a recuperar alguna de sus canciones. Sin embargo, se Senegal fundó el grupo Dande Lenol (La Voz del le ha podido ver en peliculas de Paskaljevic ( Sunday Pueblo) y con ellos grabó un primer disco, lunch ) o Kusturica ( Gato blanco, gato negro ). Reside Wango , al que siguió el seminal Djam Leelii en la ciudad de Nis (Serbia), donde nació en abril de (1989), un muestrario de cómo se puede hacer 1936. Gipsy legend recoge parte de las 700 canciones canción de autor original sin atender a patrones que compuso. occidentales. A este disco ha seguido una docena a cual más interesante. Biblioteca Civican Pamplona Julio 2010 Mari BOINE. Winter in Moscow. JARO Medien FANFARE CIOCARLIA. Baro biao: world wide GmbH, 2001 (EUR) wedding. Piranha Musik, 1999 (EUR) CONTIENE: Dás áiggun couzzut/ Pjesna ljesorubov/ CONTIENE: Asfalt tango/ Manuela oh manuela/Sîrba Korridorsangen/ Sjestra maja notsj/ Vozlje tvojej ljobvi/ de la lasi/ Hora de la monastirea/ Mariana/ Manea cu Odinotsjestvo-sestritsa/ Roahkkadit rohtte luodi, voca/ Mr. Lobalola/ Tiganeasaca/ Doina si cîntec/ Hora mánázan/ Balada o Gorje lui pusac/ Hai romale!/ Piece de tarita/ Lume, lume si hora/ Balaseanca de 8 ore/ Sîrba fluierate/ Manea Disco gélido… aparentemente. Se llama Invierno en tiganilor/ Casablanca/ Baro Biao Moscú. Esta hecho por Mari Boine, que procede del norte de Noruega (de la región sami, casi en el Polo Una fanfarria es una formación de instrumentos de Norte), junto al grupo moscovita The Farlanders, con metal con tambor y caja. La Fanfare Ciocarlia está Sergey Starostin e Inna Zhelannaya como invitados compuesta por tres trompetistas, dos tubas, dos saxos destacados -ambos procedentes del campo de la altos, clarinetista, bombardino y tuba, aparte de los música clásica contemporánea-. Por tanto, tenemos dos percusionistas. Proceden de Zece Prajini, una mezcla intrépida de gente joven con ganas de (literalmente, Diez campos), un pueblo de hacer cosas. El repertorio lo marca Mari Boine y está cuatrocientos habitantes situado en el este de la basado en temas tradicionales samis, pero su Rumania profunda, cerca de Moldavia. Antes de editar tratamiento moderno lo desarrollan colectivamente, su primer disco, se dedicaban a tocar en bodas, alcanzando un ambiente muy creativo y…¡hasta bautizos y funerales, allí donde les llamaran. En 1998, calido! un productor alemán se fijó en ellos y les grabó su primer disco, Radio Pazcani , al que siguió el año siguiente Baro biao , obra que nos ocupa y que !DELADAP. Cigani, Ruzsa + Angelo. Chat muestra una fogosidad notable. Chapeau, 2004 (EUR) CONTIENE: Intro/ Chachimo/ Amaro shavo/ Demovast/ Star najengo/ Angelo/ Me kamav tu/ Pen FANFARE CIOCARLIA. Gili garabdi: ancients mange/ Vandorlovura/ Gi/ Biav/ Zsa manca secrets of gypsy brass. Asphalt Tango Records Disco de presentación de un peculiar proyecto GmbH, 2005 (EUR) apadrinado por el productor Stani Vana, un artista CONTIENE: 007 (James Bond Theme)/ Alili/ Sirba polifacético que desde su estudio en Praga, ha tratado moldoveneasca/ Caravan/ Ma maren ma/ Hora de realizar una revisión urbana de la música gitana arabeasca/ Golden days/ Lume lume/ Sandala/ centroeuropea al que ha adjetivado como Nu-Roma Moldavian mood/ Hora evreiasca/ Time out/ Godzila/ (algo así como cantos urbanos gitanos Ibrahim/ Rumba de la lasi/ Alili (radio version) contemporáneos). Comenzó a trabajar con tres músicos que pronto se convirtieron en siete. El Cinco años separan este disco de Baro biao. En ellos, número aumentó las ganas de juerga y el disco salió el grupo realizó giras por todo el mundo llevando sus muy bailarín. Tuvo su continuación en varios singles metales gitanos hasta sitios tan insospechados como con remezclas hechas para discotecas. la fiesta del 50 cumpleaños de Danny Elfman -uno de los personajes más carismáticos de Hollywood-. Esta conexión cinematográfica continuó con el rodaje de un ESMA y STEVO TEODOSIEVSKY ENSEMBLE. documental largo, Iag Bari Brass On Fire , premiado en Chaje shukarije. World Connection, 2000 (EUR) diversos festivales de Barcelona, Madrid, Roma o Skopje. Gili garabdi comienza (y no parece ser CONTIENE: Nikolco/ Abre kako so pijeja/ Hajri ma te casualidad) con el tema de James Bond, 007. Hay dike/ Rakencar phirava/ Abre ramce/ Delchevsko oro/ también un guiño al repertorio de Duke Ellington en Volim te veruj mi/ Nasvali so uljum/ Nahtareja mo ilo Caravan y a Esma Redzepova -la cantante danljan/ Kamloreja/ Chaje shukarije/ Donkino oro/ O macedonia-, en la melodramática Ibrahim. El resto son ketano/ Cherenije/ Korkori phirava composiciones de Adrian Sinal. La Reina de los gitanos, Esma Redzepova, tenía más de cincuenta años cuando grabó este disco, que presenta una extraordinaria fuerza vital. Nació en Suto Orizari (En Skopje, Macedonia), donde Emir Kusturica filmó su película El tiempo de los gitanos , a la que como gran diva fue invitada a participar. Para entonces, Esma había grabado junto a su marido, Stevo Teodosievsky, unos cincuenta discos o casetes. Cuando éste murió, decidió seguir adelante acompañándose de sus músicos. Chaje shukarije se grabó después del éxito de la película y es el segundo suyo que tuvo trascendencia internacional. Presenta quince canciones gitanas macedonias de su repertorio habitual. Biblioteca Civican Pamplona Julio 2010 GIPSY KINGS. Roots. SINE, 2004 (EUR) KAL . Kal. Asphalt Tango Records, 2006 (EUR) CONTIENE: Aven, Aven/ Legende/ Fandango CONTIENE: Duj duj/ Dvojka/ Lili/ Komedija/ Djelem, (Patchai)/ Bolerias/ Rhythmic/ Como siento yo/ djelem/ Papusha/ Boro boro/ Mozzarella/ Gurbetski Amigo/Tarantas/ Fandango (Nicolas)/ Boogie/ Nuages/ tango/ Obrenovac boogie/ Tu barosa/ Midnight walk Como ayer/ Soledad/ Tampa/ Hermanos/ Petite Noya Kal significa negro en romaní, lo que quiere decir Roots, Raíces, es el disco oficial numero doce de los auténtico, profundo. Artísticamente, Kal es un septeto Gipsy Kings, sin contar antologías. Desde
Recommended publications
  • Downbeat.Com September 2010 U.K. £3.50
    downbeat.com downbeat.com september 2010 2010 september £3.50 U.K. DownBeat esperanza spalDing // Danilo pérez // al Di Meola // Billy ChilDs // artie shaw septeMBer 2010 SEPTEMBER 2010 � Volume 77 – Number 9 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser AdVertisiNg sAles Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] offices 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] customer serVice 877-904-5299 [email protected] coNtributors Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Atlanta: Jon Ross; Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, How- ard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Jennifer
    [Show full text]
  • WOLOF for More Information Boston University Source
    WOLOF For more information Boston University Source:http://www.geographicguide.com/africa-maps/ Wolof is spoken in Senegal, France, Gambia, Guinea- Prof. Fallou Ngom Bissau, Mali, and Mauritania Director, African Language Program [email protected] ABOUT SENEGAL 617-353-3673 Senegal is bounded by the Atlantic Ocean to the west, Mauritania to the north, Mali to the east, and Guinea and Guinea-Bissau to the south. Internally it almost completely surrounds the Gambia. Dakar, the capital city of Senegal, is located at the westernmost tip of the country on the Cap-Vert peninsula. During the 17th and 18th centuries, numerous trading posts, belonging to various colonial empires, were established along the coast. The town of St. Louis became the capital of French West Africa before Dakar replaced it in 1902. Dakar became Senegal’s capital in 1960 at the time African Studies Center Image above taken from century-old of independence from France. 232 Bay State Road manuscript in the African Ajami Library Boston, MA 02215 collection in Mugar Library. www.bu.edu/africa MUSIC & CULTURE Senegal is justly famous worldwide for its musical heritage, due to the popularity of mbalax. It has been popularized by Youssou N'Dour and others. Sabar drumming is especially enjoyable. Another instrument is the tama. Internationally renowned Photo by Fallou Ngom Senegalese musicians include Ismael Lô, Cheikh Lô, Orchestra Baobab, Baaba Maal, Akon Thione Seck, Viviane, Titi, Papiss Cisse, and ID 116 - Africa Today: The Beat of Popular Culture Pape Diouf. COURSES & MINORS AN 312 - Peoples & Cultures of Africa Senegal is well known for the West MU 340 - Musical Cultures of the World African tradition of storytelling, BU’s program in Wolof is unique.
    [Show full text]
  • Dakar Wolof and the Configuration of an Urban Identity
    Journal of African Cultural Studies, Volume 14, Number 2, December 2001, pp. 153-172 Dakar Wolof and the con guration of an urban identity FIONA MCLAUGHLIN (Department of Linguistics, University of Kansas) ABSTRACT The turbulent period of political and social unrest at the end of the 1980s and beginning of the 1990s in Senegal gave rise to the l movement in which the city of Dakar was recreated in the historical imagination of its youth. This essay argues that the movement coincided with the emergence of a self-conscious urban identity among the Dakar population, evidenced by a variety of artistic expression that focuses on and exalts the culture of the city. Central to the notion of an urban identity is the role of Dakar Wolof, a variety of the language that has signi cantly diverged from the more conservative dialects spoken in the rural areas, primarily by incorporating massive lexical borrowing from French. Dakar Wolof is portrayed in sustained written form for the rst time in two comics that appeared during this period: Boy Dakar by Ibou Fall and Aziz Bâ, and Ass et Oussou by Omar Diakité. This essay discusses the hybrid nature of Dakar Wolof and its depiction in written form in the two comics. Finally, it is argued that Dakar Wolof has had a profound effect on the notion of ethnicity in the Senegalese context and has contributed to the emergence of a de-ethnicized urban identity. 1. Introduction In February of 1988, presidential elections in Senegal failed to produce a change of regime from that of incumbent president Abdou Diouf to that of opposition leader Abdoulaye Wade, whose widely proclaimed campaign slogan had been or Change!1 A little more than a year later, in April of 1989, during the Muslim holy month of Ramadan, unprecedented ethnic violence against the Moorish population in Senegal broke out in the streets of Dakar, the country’s capital, escalating into an international crisis that stopped just short of war.
    [Show full text]
  • The Music of Senegal: a Way of Life in West Africa
    1 The Music of Senegal: A Way of Life in West Africa Lucien DeLaBruere Independent Study Project School for International Training Dakar, Senegal; Spring 2007 Project Advisor: Keba Djibril Mane Academic Director: Souleye Diallo 2 Dedication… To all the people who helped with the making of this project: SIT: Senegal, Keba Mane, Jacques Diatta and all the musicians in Senegal that helped make it all come together. 3 TABLE OF CONTENTS ABSTRACT………………………………………………………………………………1 INTRODUCTION……………………………………………………………………….1 METHODOLOGIES…………………………………………………………………….3 FINDINGS………………………………………………………………………………..6 Music in Senegal………………………………………………………………….6 A Brief History of Senegalese Music……………………………………………7 African Drumming and the Djembe……………………………………………8 Looking at Rhythm……………………………………………………………..11 Notating Traditional Music…………………………………………………….15 ANALYSIS……………………………………………………………………………...17 CONCLUSION…………………………………………………………………………18 APPENDIX……………………………………………………………………………...19 GLOSSARY…………………………………………………………………………….25 WORKS CITED………………………………………………………………………..26 4 I. ABSTRACT “Music is in the veins and blood of the Senegalese people” (Bakayoko 2007). This paper aims to take a look into the reason for why this is. By examining the historical and present context of music in Senegal, one can better understand the social aspects of its music. In addition, analyses concerning the rhythmic and pedagogical importance will help provide a better picture for how we, as Westerners, can try to comprehend this rather undocumented subject. II. INTRODUCTION It is difficult for a Westerner to understand African music. Moreover, it is difficult to understand the importance and social significance that music plays in African life. When a Westerner listens to African music for the first time, he will typically elicit one of two responses. He will become confused due to the assumed rhythmic complexity and consequently become bored or he will become intrigued for the very same reason, but still not quite understand why.
    [Show full text]
  • Pasic 2001 Marching Percussion Festival
    TABLE OF CONTENTS 2 Welcome Messages 4 PASIC 2001 Planning Committee 5 Sponsors 8 Exhibitors by Name/Exhibitors by Booth Number 9 Exhibitors by Category 10 Exhibit Hall Map 12 Exhibitors 24 PASIC 2001 Map 26 PASIC 2001 Area Map 29 Wednesday, November 14/Schedule of Events 34 Thursday, November 15/Schedule of Events 43 Friday, November 16/Schedule of Events 52 Saturday, November 17/Schedule of Events 60 Artists and Clinicians 104 Percussive Arts Society History 2001 111 Special Thanks/PASIC 2001 Advertisers NASHVILLE NOVEMBER 14–17 2 PAS President’s Welcome It is a grim reminder of the chill- from this tragedy. However, in a happier world that lies ® ing events that shook the U.S. this land of diversity, we all deal ahead for all of us. on September 11. I am espe- with grief and healing in differ- cially grateful to all of our PAS ent ways. I’m in no way international members who sent trivializing this tragedy when I personal messages to me, tell you that I’m especially look- members of the Board of Direc- ing forward to seeing friends tors, and into the PAS office in and colleagues from around the www.pas.org Lawton, Oklahoma. Your out- globe at PASIC in Nashville. pouring of support and conso- Percussion is the passion that oday, as I sit to write my lation are deeply appreciated. binds us all and allows us to T“welcome to PASIC” I applaud those of you who come together in a common message, I realize that our have offered to use your re- place to see our friends, hear world has forever changed.
    [Show full text]
  • Record Executives Dream of Being: an Innovator, a Barrier Breaker and An
    Blackwell’s mother’s family had settled in Jamaica in the 1700s after the Inquisition chased them out of Portugal. In Jamaica they began selling rum, cattle and sugar. Those were good businesses then and remained so for the next two hundred years. Chris was bom in London in 1937 to an Irish aristocrat, Middleton Joseph Blackwell. When Chris was six months old, he was brought to his mother’s family’s mansion in Jamaica to be raised. He was brought home. At age ten, Chris left Jamaica to be edu­ cated in England, feat he was already too free-spirited to slide into the British class system. left Harrow in 1955 and returned to Jamaica, where he worked at odd jobs while falling more and more deeply in love with music. In 1959 he started Island Records, Which at first mostly supplied Ja­ maican records, including early efforts by the fledgling Wailers, to Britain. Always curious and still a very young man, Blackwell also took a job as a second assistant to the director of the first James Bond movie, Dr. No, filmed in Jamaica. Offered a permanent job in the production company, Blackwell asked a fortune-teller what to do. She told him his destiny lay with music. Blackwell passed on 007. In 1964 he produced Millie Small’s “My CHRIS BLACKWELL IS w hat Boy Lollipop,” which sold six million copies around the world. Chris Blackwell was on his way. That same year, he recorded the Spencer record executives dream of Davis Group with Stevie Winwood. “Keep On Running,” “Gimme Some Lovin’ ” and being: an innovator, a barrier “I’m a Man” gave Blackwell big hits, an influx of cash and the start of a long, fruitful rela­ breaker and an international tionship with Winwood.
    [Show full text]
  • 1 50Th Anniversary of the First World Festival of Negro Arts
    “This is an original accepted manuscript / preprint of an article published by Taylor & Francis in Interventions : International Journal of Postcolonial Studies on 28 June 2018, available online: https:// www.tandfonline.com/doi/abs/10.1080/1369801X.2018.1487329 Accepted version downloaded from SOAS Research Online: http://eprints.soas.ac.uk/32537 50th Anniversary of the First World Festival of Negro Arts: A Comparative Study of the involvement of the populations in the World Festival of Negro Arts in 1966 and 2010 ABSTRACT This article departs from two hymns of the First World Festival of Negro Arts in 1966, composed by Abdoulaye Ndiaye “Thiosanne”, and another one by saxophonist Bira Guèye and sung by the griot Mada Thiam, in order to analyse and rethink the involvement of the population in this festival. In alight of the 50th anniversary of this historic event, this article offers a comparative study of these two festivals that took place in different periods and contexts. It focuses on the population and their involvement in these two worldwide events. By applying a methodology that uses the archival research of the national newspaper Dakar-Matin in 1966, and Le Soleil, in 2010, as well as a selection of sound archives, we intend to understand the perception that the local and international population had in their differences and convergences of appreciation. The festivals in 1966 and 2010, organised under the presidency of Senghor and Wade respectively, will be examined in the context of their different cultural policies. We suggest that the Festival in 1966 could be seen as a ‘festival of affirmation’ (of black identity).
    [Show full text]
  • Download File
    Mbalax: Cosmopolitanism in Senegalese Urban Popular Music Timothy Roark Mangin Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Timothy Roark Mangin All rights reserved ABSTRACT Mbalax: Cosmopolitanism in Senegalese Urban Popular Music Timothy Roark Mangin This dissertation is an ethnographic and historical examination of Senegalese modern identity and cosmopolitanism through urban dance music. My central argument is that local popular culture thrives not in spite of transnational influences and processes, but as a result of a Senegalese cosmopolitanism that has long valued the borrowing and integration of foreign ideas, cultural practices, and material culture into local lifeways. My research focuses on the articulation of cosmopolitanism through mbalax, an urban dance music distinct to Senegal and valued by musicians and fans for its ability to shape, produce, re-produce, and articulate overlapping ideas of their ethnic, racial, generational, gendered, religious, and national identities. Specifically, I concentrate on the practice of black, Muslim, and Wolof identities that Senegalese urban dance music articulates most consistently. The majority of my fieldwork was carried out in the nightclubs and neighborhoods in Dakar, the capital city. I performed with different mbalax groups and witnessed how the practices of Wolofness, blackness, and Sufism layered and intersected to articulate a modern Senegalese identity, or Senegaleseness. This ethnographic work was complimented by research in recording studios, television studios, radio stations, and research institutions throughout Senegal. The dissertation begins with an historical inquiry into the foundations of Senegalese cosmopolitanism from precolonial Senegambia and the spread of Wolof hegemony, to colonial Dakar and the rise of a distinctive urban Senegalese identity that set the proximate conditions for the postcolonial cultural policy of Négritude and mbalax.
    [Show full text]
  • Tony's Story About the Mayor's Reception
    MEETING WITH THE MAYOR By Tony Vacca So much of my music and the work I’ve done on the Senegal-America Project is about the interconnectedness of people, and the power of generosity. So I really shouldn’t be surprised that these are the major elements in the story of how we all wound up at a Senegalese-style gala reception, thrown in our honor by the mayors of Pikine and Guinaw Rail. Pikine and Guinaw Rail are two neighborhoods in Dakar; they are the Brooklyn of Senegal’s capital city of Dakar, and just like Brooklyn they are rough places to live, made beautiful by the resilience and character of the people who live there. But getting back to the gala; when I say gala, I mean gala African style, complete with dancers, drummers, singers, speechifying in four languages, and general good-time, multiculti mayhem. As usual, this story is all about how we are even more connected to one another than we could possibly imagine, and how what we do can actually have an effect far beyond our customary sphere of influence. Now, it’s almost impossible to actually start at the beginning of this story. I mean,I can’t really tell where the beginning begins. So I’m just going to pick a place in this story, let’s just say it’s somewhere near the beginning of things that seem of immediate importance to what happened. Back in 1995, I met Massamba Diop on the stage of the famous Iron Horse Concert Hall. I was opening the concert for the world-renowned Senegalese singer, Baaba Maal, and of course Massamba is the famous tama drummer in that band.
    [Show full text]
  • African Fusion / Electronica LONDON (UK)
    AFRICAN FUSION / ELECTRONICA LONDON (UK) Afriquoi are the 5-piece outfit that take the influence of UK house, funky, garage, dubstep and glitch and fuse it with traditional African melodies, harmonies and rhythms plus a dose of dancehall vocals. The band came to life in 2011 after percussionist and promoter www.wormfood.co.uk André Marmot arranged a session with Jally, Nico, Fiston and Kudaushe, and the team never looked back. Their infectious vibe www.wormfood.co.uk/afriquoi-2 and sound is totally unique. www.afriquoi.com Featuring a diverse array of hyper-talented musicians from Congo, DISCOGRAPHY: Gambia, Bostswana and the UK, Afriquoi combine live instruments, electronics and vocal effects to create live African dance music. KolabA 2015, WOrmfOOd As well as their spectacular 5-piece live show, Afriquoi are also available for DJ sets and semi-live DJ sets featuring live percussion ”The band’s energy onstage is infectious” - and MCs. Songlines Magazine Afriquoi is releasing a new single in March 2016 on Wormfood records, and a new EP in May. Remixes of Terakaft, Pierre STREAMING: Kwenders and Amadou Diagne are scheduled to be released next • wormfoodrecords.bandcamp.com/album/afriquoi-kolaba year. DJ MIXES: Group Size: 5 artists • soundcloud.com/dimensionsfestival/afriquoi-dimensions-2015-mix-10 DJ Set: 1-3 artists (Optional: live percussions and Kora) • www.mixcloud.com/afriquoi/because-of-the-beauty/ • www.mixcloud.com/afriquoi/afriquoi-new-year-20142015-mix/ Booking Scandinavia: d to the on le c f Marisa Segala VIDEO: e t S +45 / 25 61 82 82 • Live at Queen Elizabeth Hall at the Southbank Centre as part of Africa Utopia: [email protected] www.secondtotheleft.com vimeo.com/141264895 Skype: marisa.segala.bennett .: MORE LINKS / LIVE VIDEOS ON PAGE 3 :.
    [Show full text]
  • 8 Goals for Africa MDG African Super Stars in South Africa for Closing Of
    8 Goals For Africa MDG African Super Stars in South Africa for closing of Pretoria, South Africa, 1 July 2010 – with only 11 days to go to the closing of the 2010 FIFA World Cup, energy and excitement are mounting for a splendid send-off. The United Nations System in South Africa has taken this opportunity to be part of the euphoria while at the same time spreading the message of the 8 Millennium Development Goals (MDGs). Africa’s Super Stars will get together in South Africa to sing the “8 Goals For Africa” song, and call for a commitment to achieving these goals to reduce poverty, hunger, disease and maternal and child deaths and promote gender equality, universal education and a sustainable environment as well as a global partnership by 2015. The artists will perform at the Elkah Park Fan Fest in Soweto on 11 July. The artists will also be acknowledging World Population Day which coincides with the finals of the 2010 FIFA World Cup. Artists who are part of the 8 Goals For Africa feature: African MDG Envoys Yvonne Chaka Chaka from South Africa, Angelique Kidjo from Benin, Oliver Mtukudzi from Zimbabwe, Eric Wainaina from Kenya, Baaba Maal from Senegal, Mingas from Mozambique, and the Soweto Gospel Choir and HHP from South Africa. World renowned jazz musician Hugh Masekela and Jimmy Dludlu from South Africa are instrumentalists on the track, produced by Arthur Baker from the United States of America. 8 Goals For Africa was composed by Jimmy Dludlu and the lyrics were written by Eric Wainaina, and are copyrighted to the United Nations.
    [Show full text]
  • Download the Lyrics
    Born from the Land, what’s behind this song? Award winning musicians Baaba Maal of Senegal and Ricky Kej of India have just released a new song, Born from the Land. Why? "There is a sense of excitement and joy when musicians come together for the cause of environmental consciousness. In this case, it was a time of coming together for our land… We all thrive and depend on the land. This is our land and our home. Everything we know is an embodiment of the land and life on it. This is inspiring and the UNCCD efforts at conserving land also inspired me,” says Ricky Kej. “I am an international artist of African descent. The fight against desertification is part of my commitment to the cause of development, especially the reforestation I have been doing with the people in my country (Senegal) for several years. My participation in the song ‘Born from the Land,’ resonates with my musical work ‘Lekki’, which means the Tree, and that I interpreted during COP 14. It is therefore a pleasure to invest myself with Ricky Kej in this project for the environment, especially the fight against desertification that spares no continent,” says Baaba Maal. To put it into perspective, consider that only 30 percent of our Planet is land. The rest is water. That small portion of the planet is source of everything all 7.5 billion of us need – food, fresh water, homes, cities and recreation areas. But every generation gets to use less and less of what the Earth once offered because it has changed a lot, mostly since 1970.
    [Show full text]