Afrocubism, the Original Buena Vista Social Club, Perform at the National Concert Hall As Part of the Navigator Series 2011

Total Page：16

File Type：pdf, Size：1020Kb

Afrocubism, the Original Buena Vista Social Club, Perform at the National Concert Hall As Part of the Navigator Series 2011

Media Release 17 June 2011 AfroCubism, the original Buena Vista Social Club, perform at the National Concert Hall as part of the Navigator Series 2011 AfroCubism, featuring the greatest gathering of Malian and Cuban musicians including the renowned Kora player Toumani Diabaté and Cuban guitarist Eliades Ochoa , will perform at The National Concert Hall on Tuesday 19 July 2011, 8pm as part of the Navigator Series 2011. Described as ‘a joyous, classy, historic affair’ by The Guardian newspaper and ‘a cross-cultural tour de force’ by The Times, AfroCubism brings the best of Cuban and Malian music on stage played by some of the most renowned and respected musicians performing on the world stage today. The group are often referred to as the original Buena Vista Social Club because in 1996, a group of Mali’s finest musicians were due to fly into Havana for a speculative collaboration with some of Cuba’s most talented singers and musicians, however, the Malians never arrived. The result was the epoch defining Buena Vista Social Club. Fourteen years later the band that was meant to be; AfroCubism, released their album of the same name with World Circuit Records (October 2010). Fronting the Cuban team is the cowboy-hatted singer and guitarist Eliades Ochoa, singer of the great Buena Vista theme ‘Chan Chan’. The two original Malian invitees are multi award-winning ngoni lute master Bassekou Kouyate and the extraordinary Rail Band guitarist Djelimady Tounkara, both universally agreed to be among the world’s great instrumentalists. Joining them are Eliades' Grupo Patria, amongst Cuba's longest running and most revered bands, the mercurial kora genius Toumani Diabaté, legendary Malian griot singer Kasse Mady Diabaté and the innovatory balafon player Lassana Diabaté. This concert is presented by The National Concert Hall and Improvised Music Company as part of The Navigator Series 2011 which brings the world’s finest jazz and world music performs to Irish audiences throughout 2011. The final concert in the series on Wednesday 9 November at 8pm features jazz and flamenco musicians Pape Habichuela (guitar) and Dave Holland (double-bass). AfroCubism Musicians: Eliades Ochoa, guitar, vocal Toumani Diabaté, kora Bassekou Kouyate, ngoni Kasse Mady Diabaté vocals Djelimady Tounkara, guitars Lassana Diabate, balafon Osnel Odit, guitar Jose Martinez, bass Jorge Maturell, congas Eglis Ochoa, percussion Lennis Lara, trumpet Alain Dragoni, trumpet Baba Sissoko, talking drum Tickets: €25, €35, €40 (Choir Balcony: €20) 20% Discount for Friends and Groups / 10% Concessions National Concert Hall Box Office Tel: 01 417 00 00 or www.nch.ie (no booking fee) ENDS For further information please contact: Sinead Doyle, Marketing & PR Manager, Tel: 01 417 0057 or 087 1775334. “Elegantly crafted meeting of African and Cuban master musicians.” THE TIMES ****star review "The cream of Malian musicians and their Cuban counterparts." THE INDEPENDENT ON SUNDAY ****star review "The Buena Vista Social Club as it was meant to be. Lovely: meshed tropes, clever twists, new angels. Beautifully recorded and packaged." “An album of exquisite sunshine.” EVENING STANDARD ****star review .

Copy Link

Recommended publications

January / February
CELTIC MUSIC • KENNY HALL • WORLD MUSIC • KIDS MUSIC • MEXICAN PAPER MAKING • CD REVIEWS FREE Volume 3 Number 1 January-February 2003 THE BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY A Little“Don’t you know that Folk Music Ukulele is illegal in Los Angeles?” — WARREN C ASEYof theWicket Tinkers is A Lot of Fun – a Beginner’s Tale BY MARY PAT COONEY t all started three workshop at UKE-topia hosted by Jim Beloff at years ago when I McCabe’s Guitar Shop in Santa Monica. I was met Joel Eckhaus over my head in about 15 minutes, but I did at the Augusta learn stuff during the rest of the hour – I Heritage Festival just couldn’t execute any of it! But in Elkins, West my fear of chords in any key but I Virginia. The C was conquered. Augusta Heritage The concert that Festival is has been in existence evening was a for over 25 years, and produces delight with an annual 5-week festival of traditional music almost every uke and dance. Each week of the Festival specialist in the explores different styles, including Cajun, SoCal area on the bill. Irish, Old-Time, Blues, Bluegrass. The pro- The theme was old gram also features folk arts and crafts, espe- time gospel, in line with cially those of West Virginia. Fourteen years the subject of Jim’s latest ago Swing Week was instigated by Western book, and the performers that evening had Swing performers Liz Masterson and Sean quite a romp – some playing respectful Blackburn of Denver, CO as a program of gospel, and others playing whatever they music.
[Show full text]
Le Mandingue
André Larquié président Brigitte Marger directeur général le Mandingue : l’empire de la parole introduction Ce n’est pas un hasard si la cité de la musique, à la veille de l’an 2000, s’est intéressée aux héritiers d’un Royaume qui a connu son apogée au XIIe siècle de notre ère… C’est même un défi lancé au temps : découvrir une musique contemporaine de notre Moyen Age euro- péen qui a su rester vivante, populaire, évolutive, «classique » au sens noble du terme… Car si cette musique émerveilla les premiers décou- vreurs de l’Afrique noire, c’est aussi celle qui se joue aujourd’hui à l’ombre des gratte-ciel d’Abidjan comme dans les faubourgs de Bamako ou de Conakry, sous ces auvents de toile qui barrent les rues lors des mariages ou des funérailles ; vous l’entendez dans les cours des chefs de village comme à la radio ou à la télévision : dans toute l’Afrique de l’ouest, c’est la musique la plus écoutée, la plus respectée. En cassette, en disque compact, on l’enregistre jour et nuit dans les studios où elle s’accommode sans honte de tous les sons à la mode : synthétiseurs et boîtes-à-rythme ne risqueront pas de dénaturer la musique « mandingue », avec ses voix héroïques, ses instruments de bois et de peaux parfaitement sem- blables à ceux que décrivait le grand explorateur arabe Ibn Batouta en 1352. Cette musique presque millénaire - car elle a sûre- ment précédé la fondation de l’empire du Mali, celui des Mandingues - c’est avant tout celle des « griots ».
[Show full text]
Médiagraphie MALI
Bibliothèques d’Amiens Métropole Bibliothèque Louis Aragon - Espace Image et Son MUSIQUES et MUSICIENS du MALI Médiagraphie proposée à l’occasion du Festival d’Amiens, Musiques de jazz et d’ailleurs 26-29 septembre 2013 « Le Mali est l’un des poumons musicaux de notre planète. Qu’ils chantent, pincent des cordes ou caressent la peau d’un tambour, ses musiciens sont écoutés et admirés de leurs pairs à travers le monde depuis de nombreuses années. Certains d’entre eux, comme Rokia Traoré, Ballake Sissoko, Boubacar Traoré, Mamani Keita, ou Salif Keita ont écrit les plus belles pages de notre festival. Les projets joués cette semaine sont tous inédits à Amiens et témoignent de l’incroyable culture musicale d’un pays en voie de cicratisation. » Extrait du programme du Festival LE MALI, pays d’Afrique de l’Ouest, se trouve entre le monde arabe au nord et les peuples noirs au sud. Cette situation géographique en fait un pays d’une grande richesse ethnique et musicale. La tradition qui domine encore aujourd’hui est celle des Mandingues : leur empire (XIIIe – XVIIe siècle) connut son apogée au XIVe siècle. Il s’étendait entre le Sahara et la forêt équatoriale, l’océan Atlantique et la Boucle du Niger, soit sur les actuels Mali, Burkina Faso, Sénégal, Gambie, Guinée, Guinée-Bissau, Mauritanie et une grande partie de la Côte d’Ivoire. Il laisse un puissant héritage musical, source intarissable d’inspiration pour les musiciens modernes. Perpétué et enrichi par la caste des « djeli » (griots), attachée à celle des « horon » (nobles) – pour qui les griots sont les musiciens, généalogistes et conseillers – le fonds musical mandingue est un trésor raffiné de mélodies, de contes épiques accompagnés, selon les régions par divers instruments : n’goni (harpe), kora (harpe-luth), bala (xylophone), xalam (harpe), djembé (tambour à membrane), etc… Cette tradition ancestrale se transmet de père en fils – ou de mère en fille - dans les familles de griots comme les Kouyaté, les Diabaté et les Sissoko.
[Show full text]
MORY KANTE a PARIS by Lucy Durán Published in the Griots Of
MORY KANTE A PARIS By Lucy Durán Published in Folk Roots 175 (Jan/Feb 1998): 40-47 The griots of Mali and Guinea have their own way of talking: they call it "jelikan" - Jeli (griot) language. It's dense and full of metaphors and aphorisms and philosophical observations. Proverbs are its pepper. Proverbs allow for quite biting comments, without being specific. They're like a code to a whole way of lateral thinking. In jelikan, entire, meaningful conversations can be conducted purely as a series of proverbs. Backstage with Mory Kante at the annual Francophonie Trade Fair in London last March, waiting to introduce myself, I overheard him using a string of phrases like "an empty bag will not stand up", "the crocodile is immune to the water", and "the head of a rooster does not hide in a soup". I could see a couple of fans and journalists looking perplexed. Mory Kante the doyen of techno-kora music, author of Yeke yeke, the biggest African dance-floor track ever, seemed to be talking in riddles. This was the sort of talk I have come to expect from the older generation of Malian musicians living in Bamako, but not from someone who has lived for nearly fourteen years in Paris, and who is known as the "Ambassador of French music". I remembered reading a review in Melody Maker written in 1988, at the height of Kante's success: "unlike his Nigerian neighbour Fela Kuti, Kante doesn't give interviews backstage in his knickers, but instead dons a dapper white silk suit and silk scarf with a Pierre Cardin monogram and we adjourn to a restaurant for what turns out to be a journalist's nightmare - an interview with a man who speaks mostly in metaphors and hurried French..." (30.7.88) When it was my turn to say hello, he was polite but distracted, if not exactly hurried.
[Show full text]
Scotland ^ 37Th Annual Smithsonian
SMITHSONIAN FOLKLIFE FESTIVAL SCOTLAND ^ 37TH ANNUAL SMITHSONIAN FOLKLIFE FESTIVAL Appalachia Heritage and Haniioiiy Mali From Timbuktu to Washingto ii Scotland at the Smithsonian June 2 5 -July 6, 2003 Wa s h i n g t o n , D . C . The annual Smithsonian Folklife Festival brings together exemplary keepers of diverse traditions, both old and new. from communities across the United States and around the world. The goal of the Festival is to strengthen and preserve these traditions by presenting them on the National MaO, so that the tradition-hearers and the public can connect with and learn from one another, and understand cultural difierences in a respectful way. Smithsonian Institution Center for Folklife and Cultural Heritage 750 9th Street NW Suite 4100 Washington, DC 20560-0953 www. folklife. SI . edu © 2003 by the Smithsonian Institution ISSN 1056-6805 Editor: Carla Borden Associate Editors: Frank Proschan, Peter Seitel Art Director: Denise Arnot Production Manager: Joan Erdesky Design Assistant: Krystyn MacGregor Confair Printing: Finlay Printing, Bloomfield, CT Festival Sponsors The Festival is co-sponsored by the National Park Service. The Festival is supported by federally appropriated funds; Smithsonian trust funds; contributions from governments, businesses, foundations, and individuals; in-kind assistance; volunteers; and food, recording, and craft sales. Major in-kind support for the Festival has been provided by media partners WAMU 88.5 FM—American University Radio, Tfie IVashiiigtoii Post, washingtonpost.com, and Afropop, and by Motorola, Nextel, Whole Foods Market, and Go-Ped. APPALACHIA: HERITAGE AND HARMONY This program is produced in collaboration with the Birthplace of Country Music Alliance and the Center for Appalachian Studies at East Tennessee State University.
[Show full text]
Dossier De Presse
AFRICOLOR Le 24 décembre sont nés deux enfants turbulents, Jesus et Africolor. Pour le premier, on discute encore de la paternité ; pour Africolor, pas de palabre : depuis sa fondation par Philippe Conrath, c’est le festival de création autour des musiques africaines. Marqué dès ses premiers pas par un lien ombilical avec le Mali, Africolor ne cesse de creuser le lien souterrain avec cette Afrique si vivante et si proche qu’elle irradie toutes les musiques présentes et passées. Ici, avec les communautés branchées sur les artistes de Bamako, Dakar ou Kinshasa si peu programmés par les institutions publiques. Là-bas, avec les jeunes artistes des années 1990, Nahawa Doumbia, Angélique Kidjo, Danyel Waro et ceux de 2015, Djénéba Kouyaté ou Patrick Kabré. Africolor ne cesse de tendre ce fil rouge et ténu qui relie les époques, les continents, les hommes et les musiques à travers les déportations, les déplacements, les migrations. Là où d’aucuns voulaient séparer le savant et le populaire, le Nord et le Sud, le blanc et le noir, les Coltrane, Reich, Villa-Lobos, n’avaient pas attendu pour retrouver les racines africaines de leurs identités musicales. Là où, de nos jours, de nouveaux naturalistes amateurs veulent enfermer l’Afrique dans des imageries post- coloniales, Africolor est la vitrine de l’Afrique vivante d’aujourd’hui : urbaine, cosmopolite, politisée, déchirée parfois, traversée par des conflits qui reflètent les appétits mondiaux, branchée sur la sono mondiale, mais aussi tournée vers son patrimoine, ses épopées, ses ancêtres. Sans rien renier de l’universel, Africolor programme les musiques africaines parce qu’elles apportent quelque chose d’unique à l’Histoire de la musique, de par leurs partages du sensible, leurs vocalités incomparables, leurs gammes détonantes.
[Show full text]
Mark Chowaniec World Music Collection
University at Buffalo Music Library The Mark Chowaniec World Music Collection A Finding List Arranged by HRAF-Murdock Number Compiled by Matthew Sheehy. Print version, with name index: ML156.4.F6S4 Finding List | Index by HRAF-Murdock Number This is a finding list for the Marc Chowaniec World Music Collection. The collection consists of 802 cassettes, 519 records, and 19 videos of musical performances from all over the world. The recordings include commercially produced, dubbed recording s, field recordings, and recorded radio programs. The collection reflects a wide variety of music, both traditional and popular. This list is arranged by HRAF-Murdock number, then by performer and title. Much of this material is in alphabets other than Latin and therefore difficult to reproduce. An attempt was made to transliterate information from the containers for only a small portion of the collection. Everything else that is written in character s that could not be reproduced has entries primarily for identification purposes, i.e., on T 127, the only Latin characters are 01. There is a lack of authority in names and titles, acknowledged misspellings, and a lack of diacritical markings. Illegibl e writing is omitted so some items are represented by little more than a date or record number. For field or dubbed recordings, Chowaniec is listed as the publisher. There are see and see also references under many HRAF-Murdock numbers that indicate items that may represent the music of more than one culture. A note of additional HRAF numbers is included in the item record as well. George Peter Murdock's Outline of World Cultures, 5th edition, 1975, is the culture index.
[Show full text]
El Oído Pensante, Vol
Article / Artículo / Artigo I Play Wassoulou, Jeli, Songhay and Tuareg Music: Adama Drame in Postcolonial Mali, Bimusical or Multimusical? Luis Gimenez Amoros Rhodes University, South Africa [email protected] Abstract Adama is an accomplished guitarist in diverse Malian styles. The Malian guitarist is able to analyse the forms and contexts of the national musical styles he performs in regards to: the musical interaction with other musicians, timbre, rhythm and melody. In this article, I examine how Adama performs a wide range of Malian musical styles in Bamako; and how he represents and participates in different postcolonial musical cultures in Mali. In this article, Adama’s capability of understanding different national musical styles as part of the social contexts in a variety of musical cultures in Mali is defined as multimusical. Multimusicality debates the concept of bimusicality (Hood 1960) defined as the capacity of performing both, a western and non-western musical style; therefore separating musically the Self [western music] and the Other [non-western]. For Adama, the concept of multimusicality does not only extend the possibility of learning more than two musical styles, but examines the national styles he is able to play as a Malian citizen (insider) and not as the Other. This paper is based on my musical contact with Adama Drame during November-December 2006 in Mali and in the last eight years. Keywords: Multimusicality, bimusicality, musical cosmopolitanism, Malian music, postcolonial Mali Toco música wassoulou, jeli, songhay y tuareg: Adama Drame en Mali postcolonial, ¿bimusicalidad o multimusicalidad? Resumen Adama es un guitarrista competente en diversos estilos musicales de Malí.
[Show full text]
Press Kit MALI BLUES
MALIBLUES A film by Lutz Gregor PRESS KIT p MALI BLUES 2 03 General Information & Press 04 Credits 05 Logline & Short Summary 06 Long Summary 07 Press Release 09 Lutz Gregor – Script & Director 10 Christian Beetz – Producer & CEO Gebrueder Beetz Filmproduktion 11 Protagonists 15 Music in Mali, and its political background GENERAL INFORMATION 3 A production by gebrueder beetz filmproduktion In coproduction with ZDF In association with ARTE Funded by Film- und Medienstiftung NRW, Medienboard Berlin-Brandenburg, FFA, DFFF, MEDIA Programm der europäischen Union Documentary, 93 Min, HD PRODUCTION COMPANY GERMAN DISTRIBUTOR PRESS gebrueder beetz filmproduktion Real Fiction Filmverleih Lea-Marie Körner Neue Weyerstraße 9 Hansaring 98 [email protected] 50676 Köln 50670 Köln +49 30 695 669 13 [email protected] Tel. +49 221 952 21 11 www.gebrueder-beetz.de [email protected] www.realfictionfilme.de CREDITS 4 Director Lutz Gregor Director of Photography Axel Schneppat Editor Markus CM Schmidt, Michelle Barbin Sound Pascal Capitolin Live-Sound Karsten Höfer Sound Design Daniel Piechotka Sound Mix Jörg Höhne Production Assistance Bärbel Mauch, Mory Touré Additional cinematographers Dieter Stürmer, Konrad Waldmann, Abdellah Coulibaly, Mohamed Lamine Touré, Bakary Sangaré Line Producer Kathrin Isberner Production Manager Anique Roelfsema, Nick Pastucha Technical Supervisor Philipp Weigold Production accountancy Daniela Schöne, Sandra Zentgraf Production Assistance Céline Deligny, Marianne Kühn Producer Kerstin Meyer-Beetz Junior Producer Lea-Marie Körner Executive Producer Christian Beetz Commissioning Editor ZDF / arte Tobias Cassau LOGLINE & SHORT SUMMARY 5 LOGLINE MALI BLUES tells the story of four female and male musicians from the West African country of Mali, who espouse with their music a tolerant Islam and a country at peace.
[Show full text]
Title: Valuing Tradition: Mali's Jeliw, European Publishers and Copyright
This is the version of the article accepted for publication in Journal of World Popular Music Vol. 4 (1) published by Equinox Publishing: https://journals.equinoxpub.com/index.php/JWPM/issue/archive Accepted version downloaded from SOAS Research Online: http://eprints.soas.ac.uk/23968/ Title: Valuing Tradition: Mali’s jeliw, European publishers and Copyright Author: Caspar Melville, SOAS University of London The issue of how copyright works for the musical traditions of Africa has been steadily growing in importance since the 1990s, pushed to the fore by the increasing visibility of African artists in the world music market, the neoliberalisation of African economies that is pushing IP issues into the centre of state creative industry policies, the ubiquity of illegal forms of reproduction, physical and increasingly digital and the processes by which immaterial goods and cultural traditions are becoming reimagined as commodities. Recent scholarly discussions of this issue moves the debate significantly beyond the simple notion of copyright as a Eurocentric imposition on vulnerable African cultural heritage and instead considers how IP issues are addressed differentially in specific local contexts across sub-Saharan Africa. This article examines these issues in relation to how Mali‟s Mande griots (“jeliw”) work with European publishers. Based on a series of sixteen interviews with jeli musicians and European publishers and others in the world music industry, its main finding is that while it is necessary to reconsider what we mean by composition in relation to Mali‟s Jeliw and their musical practice, copyright can and is being adapted by publishers working with traditional musicians to provide much needed revenue to jeli composers and plays a role in sustaining a vital, but vulnerable, tradition.
[Show full text]
Abeti, See Masakini, Abeti Abidjan, 26, 51, 59, 125, 190, 201 Accosti
Index Abeti, see Masakini, Abeti Antillean immigrants, 50–3, 70, 109–10, Abidjan, 26, 51, 59, 125, 190, 201 189 Accosti (recording studio) carnivals and grands bals, 50–1 Action Zaïre, 194 anti-Semitism, 5, 115 see Péla Simba apartheid, 17 Actuel, 16, 31–2, 39, 41 antiapartheid movement, ix, 54, 60–1 see Jean-François Bizot and musicians, 32, 39, 60–1, 66 Ade, King Sunny, 31, 42–3, 200 Apollo Theater, 12, 61 juju (music), 42 Armstrong, Louis, 13, 68 Afric music, 15 Arnaud, Gérald, 58, 62, 125, 213 Africa Fête, 15, 17–18, 90, 121, 143, 158 Aron, Raymond, 75 (n. 87) see Mamadou Konté Ashanti (language family), 148–9 African immigrants, 5–6, 14, 22–3 Asnières, 26 African Jazz, 12 Assassin, 151 African restaurants, xi associations, 18, 23, 85 Africolor, 38, 72, 107, 144–5, 148, 214 Aubert, Laurent, 58 Africultures, 120 Aulnay-sous-Bois, 16, 205 Afrique en Créations, 120 Auslander, Leora, 180–1 Afrique en scenes, 120 Au Petit Tam-Tam, 193–4 Afromusic, 15 Au Village, 191–3, 210 “Afropop,” 26 Awadi, Didier, 157–9, 161 Aide et Action, 208–9 see Positive Black Soul Akendengué, Pierre, 17–18, 29–30 Aznavour, Charles, 126 Aldrich, Robert, 211 Algeria(ns), 5–6, 23, 35, 50, 79, 113, 115, Bachet, Laurent, 97 119, 203–4 Tout le monde descend, 97 Ali, Muhammed, 28 Badarou, Wally, 23, 62, 66–7, 71, 206 Alizé, 166 Badinter, Élisabeth, 82, 200 Allen, Tony, 72, 208 balafon (West African xylophone), 108, 146, Amadou et Mariam, 145, 200 159, 172, 184 Ambassadeurs de Mali, Les, 26, 35 Baldwin, James, 13 Amnesty International, 61, 157 Balladur, Éduard, 95 Anderson,
[Show full text]
Médiagraphie MALI
Bibliothèques d’Amiens Métropole Bibliothèque Louis Aragon - Espace Image et Son MUSIQUES et MUSICIENS du MALI Médiagraphie proposée à l’occasion du Festival d’Amiens, Musiques de jazz et d’ailleurs 26-29 septembre 2013 « Le Mali est l’un des poumons musicaux de notre planète. Qu’ils chantent, pincent des cordes ou caressent la peau d’un tambour, ses musiciens sont écoutés et admirés de leurs pairs à travers le monde depuis de nombreuses années. Certains d’entre eux, comme Rokia Traoré, Ballake Sissoko, Boubacar Traoré, Mamani Keita, ou Salif Keita ont écrit les plus belles pages de notre festival. Les projets joués cette semaine sont tous inédits à Amiens et témoignent de l’incroyable culture musicale d’un pays en voie de cicatrisation. » Extrait du programme du Festival LE MALI, pays d’Afrique de l’Ouest, se trouve entre le monde arabe au nord et les peuples noirs au sud. Cette situation géographique en fait un pays d’une grande richesse ethnique et musicale. La tradition qui domine encore aujourd’hui est celle des Mandingues : leur empire (XIIIe – XVIIe siècle) connut son apogée au XIVe siècle. Il s’étendait entre le Sahara et la forêt équatoriale, l’océan Atlantique et la Boucle du Niger, soit sur les actuels Mali, Burkina Faso, Sénégal, Gambie, Guinée, Guinée-Bissau, Mauritanie et une grande partie de la Côte d’Ivoire. Il laisse un puissant héritage musical, source intarissable d’inspiration pour les musiciens modernes. Perpétué et enrichi par la caste des « djeli » (griots), attachée à celle des « horon » (nobles) – pour qui les griots sont les musiciens, généalogistes et conseillers – le fonds musical mandingue est un trésor raffiné de mélodies, de contes épiques accompagnés, selon les régions par divers instruments : n’goni (harpe), kora (harpe-luth), bala (xylophone), xalam (harpe), djembé (tambour à membrane), etc… Cette tradition ancestrale se transmet de père en fils – ou de mère en fille - dans les familles de griots comme les Kouyaté, les Diabaté et les Sissoko.
[Show full text]