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For the Mande Bala Todd G. Martin A TOWARD A PEDAGOGY OF "PLAY" FOR THE MANDE BALA TODD G. MARTIN A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO APRIL, 2017 © Todd Martin, 2017 ABSTRACT A theoretical model is proposed that posits "play" as both the long-term goal of bala learning, and as the means through which the short-term steps toward that goal can best be achieved. Play is defined in two different ways. In the first sense it is an orchestrating of means and ends in which means are at the centre of interest. In this sense, play is a goal of bala learning. In the second sense, play is defined (using the framework of Applied Behaviour Analysis) as: activities that (a) are inherently reinforcing (and not inherently punishing), and (b) do not eventuate extinction, escape, or avoidance. In this sense, play is conceived as one possible means through which to achieve pedagogical goals. The case is made that owing to its intrinsic (musical) characteristics—in particular, the inherent scalability of pattern density—Mande bala music is especially well suited to a pedagogy of "play." Although the model proposed is supported by empirical evidence and has a strong rational underpinning, the model itself is not tested in the present study, but rather, is herein articulated (via illustrative case studies depicting the learning of various bala patterns through digitally mediated means—books, CDs, DVDs, etc.) An argument is built to support the notion that in comparison with traditional, immersion- based pedagogical modalities, the digital mediation of bala teaching eventuates a pedagogical loss, but that this pedagogical loss can be attenuated through a more "playful" pedagogical approach. ii ACKNOWLEDGMENTS We live in a vast, globally interconnected web of individuals. All of us are part of the global community. And every one of us plays a role in the accomplishments of the other. Just as I could not have written this dissertation without the interminable support, love, and patience of my mother and father, the overwhelming openness, generosity, and commitment of my bala teachers, and the tremendous faith, encouragement, and friendship of my dissertation supervisor, I could also not have done it without the Canadian "sandwich artists" who make my Subway tuna melts, the Brazilian excavator drivers who mined the bauxite that was used in the manufacture of my MacBook Pro, or the Thai rubber producers who made it possible for me to travel between Winnipeg and Toronto, or The Gambia, Italy, and Mexico, or even between my apartment and the university (since I use both tires and shoes). It is my duty to all of you to continue working, to stay on the path, and to keep ever positive. I extend truly my most sincere thanks to everyone. I very literally could not have done it—could not do it—without you. People that I know personally who have in one way or another contributed to the elaboration of this dissertation include: Garry Martin, Nickie Martin, Toby Martin, Flávia Julio Martin, Robert Simms, Famoro Dioubate, Missia Saran Dioubate, Naby "Coyah" Camara, Sory Diabate, Mawdo and Yusupha Suso and the entire Suso family, Naby "Eco" Camara, Nicholas Hockin, Lynne Jessup, Roderic Knight, Saiba Suso, Janez Pirc, Barnabas Mckye and the whole Seattle crew, Danilo Spergia, Juan Antonio Haro Urquízar, Irene Paracchino, Alex "Al Mandingo" Bottoni, Trevor Ferrier, Nathalie Cyr, Nadia Silvati, François Seguin, Nicolas Platen and all the members of the mandebala.net community, Katenen "Cheka" Dioubate, Herman Teunissen, Mamadou Koita, Sidafa Koïta, Amara Kante, Amadou Kienou, Hadja "Mabinty" Sylla, N'Dere Nimon, Frank Norquay, Kevin Howe, Baw Kaba, Raul Rothblatt, Sean Dixon, Ibrahima iii "Kolipe" Camara, Andy Algire, Sylvain Leroux, Yacouba Sissoko, Reggie Ross, Abou "N'Camara Abou" Sylla, Bonfils Kouyate, Heather Cornell, Anna Melnikoff, Isaac Akrong, Nadine McNulty, Joan Piloya, Thomas Hanes, Stanley White, Mark Rutledge, Christian Archer, Neel Dani, Assetou Conde, Balady Conde, Doussou Kaba, Mohamed "Mo" Mohsenian, James Atin-Godden, Alice Sellwood, Blaze Brdar, Janelle Belgrave, Maria Romios, Evelyn Mukwedeya, Jeremy Cooper, Mercedes Guhl, Richard Finks Whitaker, Michèle Arriola, Tito Cuentas Butrón and the entire Cuentas family, Mariana Almaguer, Pablo Ruiz, Eric Moreno, Oscar Resendiz Justiniano, Eduardo Lalin, César Danilo Horta Pulido, Guillermo Silicéo, Kabele Bah, Rubén Ruiz Alcantar, Jérémy Le Guen, Daniel Aguirre, Ricardo Pérez Aguilera, Sara Flores, María Godínez Bustos, Guillermo Arias, Oumar N'Diaye, Mohammed N'Diaye, Dominic Sherman, Pascal Gaudette, Estelle Lavoie, Hugo Monroy, Bruno Martinez, Olivier and Benjamin Landry, Diely Mori Tounkara, Adama Daou, Robert Lepine, Catherine Veilleux and her awesome family, Patricia Balfour, Élage Mbaye, Jeff Siderius, Leo Brooks, Louise Brind'Amour and all of the members of Cobra du Mandingue, Mohamed Diarra, Saran Kante, Akra Soumah, Bamba Bangoura, Mohamed Diaby, Fode "Lavia" Camara, Sory "Simbo" Camara, Fode Bangoura, Iris Lindsay, Aly Traore, Kassoum Diamoutene and the Diamoutene family, Kalifa Goita, Salomon Agbenya, Fanta Ongoiba, Oumar Ongoiba, Saikou Saho, Njacko Backo, Lua Shayenne, M'Bemba Bangoura, Billy Konate, Debbie Johnson, Bernardo Padron, Daniel Shnee, Andrew Timar, Amir Koushkani, Rachel Muehrer, Andrew Mark, Rubén "Beny" Esguerra, Simeon Alev, Eugene Belianski, Nicolas Lall, Phil Yetman, Melissa Noventa, Carlos Arcila, Bob Witmer, Ricardo D. Trimillos, Alan Henderson, Pablo Idahosa, Casey Sokol, Rob Bowman, Matt Vander Woude, Louise Wrazen, Rob van der Bliek, Michael Coghlan, Sherry Johnson, Jay Rahn, Ray Williams, Lindy Burgess, Rick Lazar, the administrative staff at the York U music department, my friend Nenita Cayube, and Michael Marcuzzi, may he rest in peace. iv I would also like to make special mention of Dr. Eric Charry and the lineage of dedicated, hard-hitting researchers whose shoes I will never manage to fill, but whose work I will always try to emulate. I stand on the shoulders of giants. And finally, I wish to acknowledge the long line of balafolalu—many who are alive today, but the majority of whom have long since passed away—that dates all the way back to (that mischievous genius) Bala Faseke Kouyate. This dissertation is for you. v TABLE OF CONTENTS Front Matter ii Abstract ii Acknowledgements iii Table of Contents vi List of Tables viii List of Figures ix List of Transcriptions x Chapter 1. Introduction 1 Chapter Overviews 6 Chapter 2. Preliminaries 9 Literature Review 9 Theoretical Framework 13 Positionality, Research Methodology, Fieldwork, and Data Collection 18 Transcription and Notation 27 Bala Tuning 37 Terminology and Orthography 39 Chapter 3. The Goals of Bala Pedagogy 44 The Four "Spheres" of Mande Music 44 Mande Social Organization: Jelis and Numus 47 Jeli Music Making; Bala Music Making 50 The Kumbengo-Birimintingo Continuum 53 Multiple Kumbengolu for a Single Piece 58 Pedagogical Bedrock 66 Chapter 4. Teaching and Learning Bala Music 71 Learning in Mande 71 Mande Balafolalu Teaching Non-Mande Students 77 Commercial Pedagogical Materials for the Bala 81 mandebala.net, YouTube, and Other Online Sources 90 Bala Tuning and Bala Pedagogy 94 Chapter 5. A Pedagogy of "Play" 97 A Behaviour-Analytic Framework 97 Two Definitions of "Play" 107 First, Learn the Structures 113 Three More Examples of "Density Analysis" 121 "Playing" with the Four Elements of Rhythm 125 vi Chapter 6. Toward a Pedagogical Grammar 130 Keyboard Areas and Keyboard Layout 131 Bala Repertory / Jembe Repertory 142 Listening for Embedded Melodies 153 Vocabulary vs. Grammar 159 Rolling (and Running) 162 Chapter 7. Conclusions 167 The Beginning of Knowledge 168 Applying "Play" to Digitally Mediated Bala Study 170 Merits and Drawbacks 173 Contributions and Directions for Further Research 175 Final Words 180 Glossary 184 References 190 vii LIST OF TABLES Table 1. Mande Languages Spoken by Balafolalu Informants 42 Table 2. Commercial Pedagogical Material for the Bala 81 Table 3. Repertory Comparison of Four Sources 144 Table 4. Repertory Selections by Susu-Speaking, Guinean Informants, 2005–2009 147 viii LIST OF FIGURES Figure 1. JV4 screenshot key 31 Figure 2. Modified TUBS notation adapted for the gyil by Wiggins and Kobom (1992: 45) for the piece Derkpee 31 Figure 3. Vertical TUBS notation key 32 Figure 4. Ethnologue map 1: Mande language distribution 39 Figure 5. Niger-Congo language family and subgroups 40 Figure 6. Ethnologue map 2: Languages under consideration in this study 41, 52 Figure 7. Core, Inner-Circle, Outer-Circle model for kumbengo/birimintingo relationship 55 Figure 8. "How to Learn" insert from Camara (2010-vid) 87, 117, 172 Figure 9. Google Analytics user data, Oct. 1, 2012–Oct. 1, 2015 93 Figure 10. Google Analytics user distribution by country, Oct. 1, 2012–Oct. 1, 2015 93, 94 Figure 11. Konkoba accompaniments 1 to 4 (Diabate, 2005-per) 134 Figure 12. Konkoba accompaniments 1 to 4, dyad arrangement 134 Figure 13. Konkoba accompaniment 1, 4–5–5–4 pattern 135 Figure 14. Konkoba keyboard areas 135 Figure 15. Sörsörnë accompaniment 1, two-pulse kinetic pattern (Diabate, 2005-per) 136, 139 Figure 16. Jole accompaniment 1, two-pulse kinetic pattern (Diabate, 2005-per) 136 Figure 17. Sörsörnë accompaniment 1, dyad arrangement 136, 139 Figure 18. Jole accompaniment 1, dyad arrangement 136 Figure 19. Sörsörnë accompaniment 1, 5–5–4–4 pattern 136, 139 Figure 20. Jole accompaniment 1, 5–5–4–4 pattern 136 Figure 21. Sörsörnë keyboard areas 136 Figure 22. Jole keyboard areas 136 Figure 23. Jarabi keyboard areas (from Diabate, 2013-per) 136 Figure 24. Kaira keyboard areas (from Dioubate, 2015a-per) 136 Figure 25. Sökö keyboard areas (from Camara, 2006-per) 136, 137 Figure 26. Soli keyboard areas (from Dioubate, 2009-per) 136 Figure 27. Tutu Jara keyboard areas (from Camara, 2011a-per) 136 Figure 28. Soli keyboard areas (Dioubate, 2010a-per) 138 Figure 29.
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