Gender Equality, Heritage and Creativity

Total Page:16

File Type:pdf, Size:1020Kb

Gender Equality, Heritage and Creativity United Nations Educational, Scientific and Cultural Organization Gender Equality: Heritage and Creativity 9 789231 000508 This publication is supported by Gender Equality Culture Sector United Nations Educational, Scientific and Cultural Organization Heritage and Creativity Published in 2014 by the United Nations Educational, Scientific and Cultural Organization, 7, place de Fontenoy, 75352 Paris 07 SP, France © UNESCO 2014 ISBN 978-92-3-100050-8 This publication is available in Open Access under the Attribution-ShareAlike 3.0 IGO (CC-BY-SA 3.0 IGO) license (http:// creativecommons.org/licenses/by-sa/3.0/igo/). By using the content of this publication, the users accept to be bound by the terms of use of the UNESCO Open Access Repository (http://www.unesco.org/open-access/terms-use-ccbysa-en). The present license applies exclusively to the text content of the publication. For the use of any material not clearly identified as belonging to UNESCO, prior permission shall be requested from: [email protected] or UNESCO Publishing, 7, place de Fontenoy, 75352 Paris 07 SP France. The designations employed and the presentation of material throughout this publication do not imply the expression of any opinion whatsoever on the part of UNESCO concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries. The ideas and opinions expressed in this publication are those of the authors; they are not necessarily those of UNESCO and do not commit the Organization. Graphic design: Aurélia Mazoyer Copy-editing: Richard Lo Giudice (English) Translation: Chantal Connaughton (French) Printing: UNESCO/CLD Printed in France Gender Equality Heritage and Creativity ©UNESCO/ M.Ravassard Foreword by Irina Bokova Director-General of UNESCO t a time when States are defining the contours of the Convention for the Protection and Promotion of of the post-2015 development agenda, there the Diversity of Cultural Expressions – especially in least A is rising recognition of the role of culture in developed countries – have generated positive social promoting inclusive social development, in eradicating changes, such as enhancing gender equality through poverty and in advancing environmental sustainability. As cultural entrepreneurship. a driver and enabler of sustainable development, culture determines the way in which individuals and communities The key lesson is clear – we need to recognize women understand today’s world, and envisage and shape their and girls as agents of change within their communities future. Gender equality is an essential part of the equation and value their achievements. This must include post- for more inclusive and sustainable development. conflict situations, where we can draw on the leadership of women in rebuilding peace and in forging equitable A UNESCO Global Priority, gender equality refers to public policies. Building a better future for all requires the roles and responsibilities of men and women, along the full and equal participation of all women and men in with gender dynamics, created and embedded in the cultural sphere. As we move forward, every society families, societies and cultures. UNESCO’s approach to must support the empowerment of all of its citizens as promoting gender equality is based on a commitment to wellsprings for innovation and dynamism. cultural rights and cultural diversity, underpinned by the international human rights framework. From this angle, In this spirit, this publication provides a first global overview cultural diversity and human rights must be seen to be of the status of gender equality with regard to access, mutually beneficial, with gender equality as a precondition participation in and contribution to culture. Focusing on for genuinely people-centred development. This was the UNESCO’s mandate in the field of culture, the analysis argument that I brought to the 2014 Commission on the builds on United Nations reports and General Assembly Status of Women, where I joined other UN leaders in resolutions, including the 1998 Stockholm Conference highlighting the need to tackle all forms of discrimination Action Plan on Cultural Policies for Development, against women and girls, including through discriminatory UNESCO’s 1995 Our Creative Diversity, drafted by the laws, social norms, practices and stereotypes. In all World Commission on Culture and Development, as well development efforts, we must ensure that culture is never as responses to a questionnaire sent to all UNESCO invoked to justify the infringement on, or limitation of, Member States, and also case studies from across the human rights. world. I am confident that this will deepen understanding of the importance of gender equality to achieving both While there has been progress across the world, inequality human rights and development goals, and provide useful persists with regard to who participates in, contributes insight for creating new strategies for a gender-equal to and benefits from culture. I believe we must do far future beyond 2015. more to harness culture for the empowerment of women – for this, UNESCO’s standard-setting instruments provide a unique springboard. The implementation of the World Heritage and Intangible Heritage Conventions shows the importance of understanding gendered roles in safeguarding heritage and fostering dialogue and empowerment. Activities carried out in the framework ©OHCHR/Danielle Kirby Foreword by Farida Shaheed Special Rapporteur in the field of cultural rights t is a privilege to write this foreword to ‘Gender Equality, contribute to all aspects of cultural life on a basis of Heritage and Creativity’. As Special Rapporteur in the equality with men and boys. This includes the right to I field of cultural rights appointed by the United Nations equally determine and interpret cultural heritage; decide Human Rights Council, but also as an activist engaged in which cultural traditions, values or practices are to be kept defending women’s rights for more than thirty years, this intact; which are to be retained but modified, and which complex subject is particularly dear to me. I am therefore are to be discarded altogether. The right to participation delighted that UNESCO has released this important includes the right not to participate in any ritual, custom or report on Culture and Gender Equality. practice which contravenes the human dignity of girls and women, regardless of cultural justifications. Women and To start with, I want to stress that the tendency to view girls must enjoy the freedom to join, leave and re-join as culture as largely an impediment to women’s human well as create new communities of shared cultural values rights is over-simplistic. It is also problematic as it diverts around any markers of identity they want to privilege, attention from the specific actors, institutions, rules without fear of punitive actions, including any form of and regulations that keep women subordinated within violence. patriarchal systems and structures. The struggle for women’s human rights, and in particular As I underlined in my 2012 report to the General Assembly, cultural rights, is not against religion, culture, or tradition. on the enjoyment of cultural rights by women on a basis From the human rights perspective, the critical issue is not of equality with men, it is time for a paradigm shift: from whether and how religion, culture and tradition prevail over viewing culture as an obstacle to women’s rights to one of women’s human rights, but how to ensure that women ensuring women’s equal enjoyment of cultural rights. This own both their culture including religion and tradition, and shift is crucial because culture, manifested in individual their human rights. In practical terms, a key challenge is and collective self-expression, permeates all aspects of how to ensure women’s equal participation in discussions life and is inevitably gendered. Defining the parameters and decision-making on these issues and enable them to for social engagements, culture imposes the normative create new cultural meanings and practices. rules and roles for each gender and the penalties for transgressing these. Consequently, the realization of Culture is in constant motion and is always linked to cultural rights of women is pivotal to the realization of their power relations. Cultural rights must be understood as human rights in general. also relating to who in the community holds the power to define its collective identity. Belonging does not At present, gender-discrimination is so frequently confer equality within the community, and there can be defended by reference to culture, religion and tradition multiple views within a community as to the elements that that it seems safe to conclude that no social group has constitute the essentials of one’s culture. It is imperative suffered greater violation of human rights in the name of to ensure that all voices within a community, representing culture than women. For example, women are denied the the interests, desires and perspectives of diverse groups, right to vote, subjected to violence and customs that deny are heard without discrimination. them personhood, for instance, by being forcibly married (or denied the right to marry), being prevented from Discourses that essentialize cultures, presenting cultures earning, or disallowed freedom of movement, association as monolithic, static and ahistorical, must be vigorously and expression, all in the name of culture.
Recommended publications
  • 2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI Via AP Balazs Mohai
    2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI via AP Balazs Mohai Sziget Festival March 26-April 2 Horizon Festival Arinsal, Andorra Web www.horizonfestival.net Artists Floating Points, Motor City Drum Ensemble, Ben UFO, Oneman, Kink, Mala, AJ Tracey, Midland, Craig Charles, Romare, Mumdance, Yussef Kamaal, OM Unit, Riot Jazz, Icicle, Jasper James, Josey Rebelle, Dan Shake, Avalon Emerson, Rockwell, Channel One, Hybrid Minds, Jam Baxter, Technimatic, Cooly G, Courtesy, Eva Lazarus, Marc Pinol, DJ Fra, Guim Lebowski, Scott Garcia, OR:LA, EL-B, Moony, Wayward, Nick Nikolov, Jamie Rodigan, Bahia Haze, Emerald, Sammy B-Side, Etch, Visionobi, Kristy Harper, Joe Raygun, Itoa, Paul Roca, Sekev, Egres, Ghostchant, Boyson, Hampton, Jess Farley, G-Ha, Pixel82, Night Swimmers, Forbes, Charline, Scar Duggy, Mold Me With Joy, Eric Small, Christer Anderson, Carina Helen, Exswitch, Seamus, Bulu, Ikarus, Rodri Pan, Frnch, DB, Bigman Japan, Crawford, Dephex, 1Thirty, Denzel, Sticky Bandit, Kinno, Tenbagg, My Mate From College, Mr Miyagi, SLB Solden, Austria June 9-July 10 DJ Snare, Ambiont, DLR, Doc Scott, Bailey, Doree, Shifty, Dorian, Skore, March 27-April 2 Web www.electric-mountain-festival.com Jazz Fest Vienna Dossa & Locuzzed, Eksman, Emperor, Artists Nervo, Quintino, Michael Feiner, Full Metal Mountain EMX, Elize, Ernestor, Wastenoize, Etherwood, Askery, Rudy & Shany, AfroJack, Bassjackers, Vienna, Austria Hemagor, Austria F4TR4XX, Rapture,Fava, Fred V & Grafix, Ostblockschlampen, Rafitez Web www.jazzfest.wien Frederic Robinson,
    [Show full text]
  • Théâtre Theatre
    THÉÂTRE CENTENNIALTHEATRE centennialtheatre.ca Pourquoi nommer Couleurs d’artistes la saison qui Consider this your invitation to “Colour your World” s’annonce ? Parce que, plus que jamais, au Québec ­ but why you may ask? More than ever in Quebec et ailleurs, ce sont les artistes qui donnent de la and elsewhere, artists add a dash of color to couleur à nos vies. Que ce soit devant nos yeux our lives. Whether in live performance or through ou via les appareils électroniques qui jonchent the various electronic platforms that surround notre parcours (les iPad, téléviseurs grand format, us (iPad, wide­screen televisions, iPod and iPod et téléphones intelligents de toutes sortes), Smartphone of every dimension), artists are la couleur de l’information et du divertissement the lens through which we receive the color passe par les artistes. of information and entertainment. Au Théâtre Centennial, nous leur donnons la parole Centennial Theatre provides an intimate space et l’écoute qu’ils méritent, car c’est avec leurs yeux and a captive audience every artist deserves as it qu’on peut voir différemment, bellement et intelli­ is through their eyes that we can see differently, gemment. Les artistes décortiquent notre perception beautifully and intelligently. Artists break down du monde et la refont selon leur propre vision, que our perception of the world and reconstruct it ce soit en musique, en danse ou en théâtre. Découvrez with their unique outlook whether in music, dance cette année la vision d’un artiste comme David or theatre. This season discover the vision of such Myles. Son monde vous sourira comme il a souri an artist in David Myles.
    [Show full text]
  • Growing Into Music in Mali: Perspectives on Informal Learning
    Growing into music in Mali: perspectives on informal learning from West Africa By Lucy Durán, SOAS, University of London Chapter in Economidou, Natassa, and Stakelum, Mary (eds). European Perspectives on Music Education vol. 4: every learner counts. Innsbruck: Helbling Verlag (2015), pp. 49-64 Photo caption Adama Diarra (balafon, right) leads a rehearsal at home with his children and nephews including Waly Coulibaly (balafon, left), and Thierre Diarra (djembe, left). Photo: Lucy Duran, Bamako, March 2015 Abstract Despite the fact that Mali is famous for its musical traditions, some of which date back to the 13th century, very little research has been done on the passing down of musical knowledge from one generation to the next. Yet surely this is a key to understanding how these oral musics have survived into the 21st century with such vigour. In this chapter I reflect on how children within specialist Malian musical families (jelis, also known as as griots) acquire musical skills. The chapter draws on many years of research in the region, particularly between 2009 to 2012 when I engaged in a film-based project entitled ‘Growing into music – musical enculturation in oral traditions’. There is a small but growing ethnomusicological literature documenting aspects of childhood musicality in Africa (see Rice 2003, Campbell & Wiggins 2013), but almost nothing on Mali except for passing comments in Charry (2000). I am inspired by the idea of ‘enskilment’, a term from anthropology, first used by Gísli Pálsson in his study of apprenticeship in Icelandic fishing (Pálsson 1994), and since taken up by others including Tim Ingold (2000) and Trevor Marchand (2010, 2015) writing about the acquisition of artisanal skills.
    [Show full text]
  • Musical Resistance in Abderrahmane Sissako's Timbuktu
    Observatorio (OBS*) Journal, (2020, special issue), 108-122 1646-5954/ERC123483/2020 108 Musical Resistance in Abderrahmane Sissako’s Timbuktu Katy Stewart* *University of Sheffield Abstract When Abderrahmane Sissako’s film Timbuktu was released in 2014, it attracted a great deal of controversy – as well as an Oscar nomination. Was lauded as an exceptionally artistic, poetic film which brought the world’s attention to the plight of Timbuktu under jihadi rule, but the way in which Sissako chose to humanise jihadists, and the elliptical way in which he constructs the film – missing many of the finer details of the political and military situation – was criticised by some, and it was almost withdrawn from competition at FESPACO, the world’s largest African film festival. This article argues that much is missed in such readings of the film, and proposes that an intermedial approach to analysing the film offers a new understanding of it. By exploring the intermedial and intercultural borders and connections in Timbuktu, it will be shown how Sissako combines diverse influences, including Italian Westerns and the Wassoulou music of southern Mali, to create a film that does not merely represent resistance, but is itself an act of resistance against extremism, in Mali. Intermedial borders between film, music and social media are of particular significance in this regard. With a focus on the diegetic and extra-diegetic performances of Malian singer Fatoumata Diawara, the article demonstrates how such intermediality can engage the spectator’s “symbolic participation” (Manthia Diawara, 2015) and contributes to a movement of artistic resistance against extremism in Mali.
    [Show full text]
  • From a Village in Mali to the Stages of the World
    THE AUSTRALIAN, MONDAY, DECEMBER 19, 2011 www.theaustralian.com.au ARTS 13 Cape Verde’s barefoot diva put From a village in Mali to African island music on the map Cesaria Evora started OBITUARY singing as an orphan Cesaria Evora girl in bars, and rose the stages of the world Singer. Born Mindelo, Cape to international fame Verde, August 27, 1941. with her soulful Died December 17, age 70. versions of songs from her native Cape Verde islands CESARIA Evora, who started singing as a teenager in the bay- side bars of Cape Verde in the 1950s and won a Grammy in 2003 after she took her African islands GETTY IMAGES music to stages across the world, has died at age 70. millions. She won a Grammy in — I value my freedom,’’ she said. Evora, known as the ‘‘Barefoot the world music category in 2003 At 16, when Evora was doing Diva’’ because she always per- for her album Voz D’Amor. piecework as a seamstress, a formed without shoes, died in the Evora, known to her friends as friend persuaded her to sing in Baptista de Sousa Hospital in Cize (pronounced see-zeh), was one of the many sailors’ taverns in Mindelo, on her native island of the best-known performer of her town, and she was a hit. As her Sao Vicente in Cape Verde, said morna,CapeVerde’snational popularity grew, she was rowed her label, Lusafrica. music. It is a complex, soulful out into the bay to sing on an- She sang the traditional music sound,mixingtheinfluencesfrom chored ships.
    [Show full text]
  • Roberto Fonseca & Fatoumata Diawara
    FOR IMMEDIATE RELEASE CAP UCLA presents Roberto Fonseca & Fatoumata Diawara March 23 at The Theatre at Ace Hotel DTLA "The Cuban keyboardist is a terrific example of what makes 21st century improvised music so exciting: Fonseca is part of a generation of musicians who feel that all sounds from all countries are accessible to them, either in acoustic, electric or digitized form — whether it's a traditional, ancient rhythm or a computerized studio effect." — Downbeat ​ "Fatoumata Diawara projects her strong songs with effortless poise." — The Telegraph ​ UCLA’s Center for the Art of Performance (CAP UCLA) presents Roberto Fonseca & Fatoumata Diawara in a shared evening celebrating their musical roots on Saturday, March 23 at 8 p.m. at The Theatre at Ace Hotel Downtown LA. Tickets for $29–$59 are available now at cap.ucla.edu and theatre.acehotel.com, by phone 310-825-2101, ​ and at The Theatre at Ace Hotel box office. Both Fonseca and Diawara are masters of their craft and together, Diawara’s husky yet smooth vocals followed by Fonseca’s jazz genius create a remarkable evening. Considered one of the most innovative Cuban pianists in generations, Fonseca became a musical connoisseur after his time as a pianist with the Orquesta Buena Vista Social Club®. Fonseca found his exemplary sound between the crossroads of jazz, traditional music, and soul immersed from his Afro-Cuban roots. Hailed as one of the most vital standard-bearers of modern African music, Diawara mastered her craft as a back-up vocalist to her fellow Malian Oumou Sangaré. She is ​ ​ skilled in creating musical masterpieces that simultaneously offer a fresh, bold sound while also paying respect to her heritage.
    [Show full text]
  • Live Music and Translation: the Case of Performances Involving Singing 1
    The Journal of Specialised Translation Issue 35 – January 2021 Live music and translation: The case of performances involving singing Lucile Desblache, University of Roehampton ABSTRACT This article explores the multicultural and multilingual context of live music today in relation to translation, focusing primarily on a European context. A first section examines the complex relationship of music and translation, arguing that in many respects, music is a form of translation. The article then focuses on the case of vocal music and/in translation, before considering accessibility in relation to music and how it is understood in this article. Past and current traditions and expectations of translation in live music are discussed in the next section. Two more sections explore respectively contemporary audiences’ preferences, and artists’ engagement with their public, as well as the solutions they find to communicate with their audiences and convey the verbal content of their songs. The conclusion draws on the findings of these sections to emphasise the importance of lyrics translation in the live music scene. It also outlines the key role that music can play in translation, particularly in the cosmopolitan context of live musical events. KEYWORDS Vocal music, popular music, live music, song translation, lyrics translation. 1. Introduction The ways in which music has been produced, disseminated and consumed in the last fifty years have been evolving constantly and rapidly, particularly in the popular arena. The industry focus has been on prioritising portability, so that listeners could access and interact with music individually and ubiquitously. One of the characteristics of popular music is that, with the exception of some electronic dance music (EDM), nearly all its mainstream genres, including pop/rock and rap, are vocal (Every Noise at Once no date).
    [Show full text]
  • Sfoglia Il Catalogo
    1 Investimenti sostenibili. Allinea i tuoi interessi a quelli del pianeta. Paolo Tacchi Wealth Advisor Banca Generali 2 3 MAIN SPONSOR SPONSOR www.lucar.it PARTNERS connesso oltre lo schermo 4 5 LUCCA FILM FESTIVAL E EUROPA CINEMA 2019 Direttore Tecnico: Direttore Mostre: Responsabile Acquisizione Diritti e Movimentazione Federico Ghivizzani Alessandro Romanini Copie: Presidente: Assistenza Direzione Tecnica: Assistenza alla Direzione Mostre: Martino Martinelli Nicola Borrelli Gianluca Marzari, Dario Ricci, Gioele Morini, Stefania Fabiola Manfredi Acquisizione Diritti e Movimentazione Copie: Grondona Francesca Montagni (volontaria), Nicolò Marcheschi Vice Presidente: Direzione Effetto Cinema Notte: (stagista), Roberto Gugliotta (stagista), Sofia Nieri Stefano Giorgi Responsabili Gestione Spazi: Stefano Giuntini, Cristina Puccinelli (stagista) Valentina Vasta, Lucia Nieri, Erika Citti Produzione Esecutiva Effetto Cinema Notte: Comitato Artistico: Gestione Spazi: Beatrice Manigrasso (scenografie) Responsabili Sottitolatura Elettronica: Alessandro De Francesco, Alessandro Romanini, Alessandra Presti (stagista), Andrea Stocchi (volonta- Alessandro Di Giulio (responsabile produzione) Paolo Merli, Manuel Navati, Neon Video di Torino Cristina Puccinelli, Erika Citti, Nicolas Condemi, Federi- rio), Anna Di Iorio (stagista), Gaia Salvestrini (stagista), Nicola D’Olivo, Andrea Faina (produzione esecutiva) Sottotitolatura Elettronica in sala: co Salvetti, Federico Ghivizzani, Federico Lorenzi, Fran- Giulia Prete (volontaria), Ilaria Mongelluzzi (stagista),
    [Show full text]
  • Programme 55Th Montreux Jazz Festival
    FOR IMMEDIATE RELEASE Montreux, 1st June 2021 PRESS RELEASE Programme 55th Montreux Jazz Festival The Montreux Jazz Festival unveils the programme for its very special edition, which will be held from 2 to 17 July 2021. On the bill: up-and-coming talents, current trends and tailor-made concerts from major artists. Condensed onto four stages, two paying and two free of charge, the 55th edition will be able to accommodate between 1,200 and 1,500 people per day, depending on the capacity allowed by the authorities. Tickets go on sale on 8 June at midday. The programme includes: Woodkid, Ibrahim Maalouf, Zucchero, Rag’n’Bone Man, Brandão Faber Hunger, Arlo Parks, Yseult, Altın Gün, Yussef Dayes Trio, Alfa Mist, Inhaler, Delgres, Raul Midón, Macha Gharibian, Robben Ford & Bill Evans, Isfar Sarabski, Nubya Garcia, Christian Sands, Fred Hersch, Nathy Peluso, Priya Ragu, Fatoumata Diawara, Sofiane Pamart, Kid Francescoli, Sam Fischer… “Small is beautiful” could be the informal slogan of this 55th edition. Théâtre will embody the jazz DNA of the Festival: the jazz of today, The Montreux Jazz Festival wanted to prioritise the comfort and uninhibited, fresh and cosmopolitan. In total, this 55th edition brings safety of festival-goers by preserving the format of the edition as together artists from 17 different countries, with the Swiss contingent announced on 31 March. An intimate edition, focused on the Festival’s representing a third of the paying programme. values of hospitality, musical excellence and breathtaking setting. The free part of the 55th edition will be concentrated in two main Each year, the identity of the Montreux Jazz Festival is reflected in areas: Les Jardins and the Grand Hall by MJAF.
    [Show full text]
  • Music Practices Across Borders
    Glaucia Peres da Silva, Konstantin Hondros (eds.) Music Practices Across Borders Music and Sound Culture | Volume 35 Glaucia Peres da Silva (Dr.) works as assistant professor at the Institute of Sociology at the University of Duisburg-Essen. Her research focuses on global markets and music. Konstantin Hondros works as a research associate at the Institute of Sociology at the University of Duisburg-Essen. His research focuses on evaluation, mu- sic, and copyright. Glaucia Peres da Silva, Konstantin Hondros (eds.) Music Practices Across Borders (E)Valuating Space, Diversity and Exchange The electronic version of this book is freely available due to funding by OGeSo- Mo, a BMBF-project to support and analyse open access book publications in the humanities and social sciences (BMBF: Federal Ministry of Education and Research). The project is led by the University Library of Duisburg-Essen. For more information see https://www.uni-due.de/ogesomo. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Na- tionalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de This work is licensed under the Creative Commons Attribution 4.0 (BY) license, which means that the text may be remixed, transformed and built upon and be copied and redistributed in any medium or format even commercially, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by/4.0/ Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder.
    [Show full text]
  • Fatoumata Diawara Biography
    FATOUMATA DIAWARA BIOGRAPHY The Malian singer Fatoumata Diawara (aka Fatou) was born in Africa in 1982. As a child she became a member of her father's dance troupe and was a popular performer of the wildly flailing didadi dance from Wassoulou, her ancestral home in western Mali. She was an energetic and headstrong girl and at the age of twelve her refusal to go to school finally prompted her parents to send her to live and be disciplined by an aunt in Bamako. She was not to see her parents again for over a decade. Her aunt was an actress, and a few years after arriving, Fatou found herself on a film set looking after her aunt's infant child. The film's director was captivated by Fatou's adolescent beauty and she was given a one line part in the final scene of the film 'Taafe Fangan' ('The Power of Women'). This led to her being given a lead role by the celebrated director Cheick Omar Sissoko in his 1999 film 'La Genèse' (Genesis). At the age of eighteen Fatou travelled to Paris to perform the classical Greek role of Antigone on stage. After touring with the production she returned to Mali where she was given the lead in Dani Kouyaté's popular 2001 film 'Sia, The Dream of the Python'. The film tells the story of a West African legend called Sia, a young girl who defies tradition. To many in Mali, Guinea, Senegal and Burkina Faso, Fatou is Sia thanks to the film's enormous success throughout the region.
    [Show full text]
  • Fatoumata Diawara Fatoumata Diawara Vocals, Guitar Sékou Bah Bass Yacouba Koné Guitar Jean-Baptiste Ekoué Gbadoé Drums Arecio Smith Keyboards
    2018 20:00 23.03.Grand Auditorium Vendredi / Freitag / Friday Autour du monde Fatoumata Diawara Fatoumata Diawara vocals, guitar Sékou Bah bass Yacouba Koné guitar Jean-Baptiste Ekoué Gbadoé drums Arecio Smith keyboards ~90’ sans pause Fatoumata Diawara photo: Aida Muluneh Fatoumata Diawara, par-delà les codes… Vincent Zanetti Vendredi 9 février 2018, Boulogne-Billancourt, cérémonie des Victoires de la Musique… Enrichi par l’indispensable présence du maître malien de la kora Toumani Diabaté, de son fils Sidiki et de la comédienne et chanteuse Fatoumata Diawara, « Lamomali », le dernier disque en date du chanteur français Matthieu Chedid, alias -M-, remporte la Victoire du « Meilleur album de musiques du monde ». Mais quand arrive le moment d’en présenter un extrait musical, avant que le groupe s’élance, c’est d’abord Fatoumata Diawara qui entre en scène, seule et a capella. Corset de cuir noir sur une jupe longue couleur de soleil, ceinture de cauris, coiffe en couronne de wax multicolore, elle tient dans sa main gauche le chasse-mouches en queue de vache, insigne des dignitaires de la société mandingue traditionnelle. Son port est celui d’une reine, d’une magicienne de légende, mais sa gestuelle et sa manière d’interpeler le public sont celles d’un chantre de la confrérie des chasseurs donsow ou d’une société de masque bamana. Irradiant de l’énergie des héros des épopées sahéliennes, elle incarne une Afrique nouvelle, forte, fière et consciente de ses richesses, mais dont l’avenir ne pourra plus jamais se faire sans les femmes. Les femmes et la musique dans la société traditionnelle mandingue Quiconque a voyagé en Afrique de l’Ouest ne peut qu’avoir été impressionné par le rôle qu’occupent les femmes dans l’animation culturelle de la société traditionnelle mandingue et de ses sous- groupes malinké, bambara ou dioula.
    [Show full text]