Culture

For the past week and a half I have been living in a state of severe and toe-curling irritation. Of course the London Olympics came with the usual nationalistic sentiments, and with the customary hypocrisy with regards to the winners (of course no one begrudges those Chinese or US sportsmen and women winning all those medals). And I didn't even mind the hosts gloating excessively about their achievements.

What really got me was "Team GB" (pronounced "Geebee").

It's like nails on a blackboard. "Team GB". They should shoot the idiot who started this.
I realise the British have been 'matey' with the US for some decades now. The embarrassing encounters between Thatcher and Reagan immediately spring to mind. And I am aware of the uncomfortable and slightly bizarre relationship of Tony and George W (just thinking about this dynamic duo I get shivers running down my spine....).
But "Team GB": it seems like a turning point in history. Finally the British have given up their own culture in favour of that rich culture that gave us...

Well you tell me.

When it comes to cultural integrity, I am not as worried about Mali as I am about the UK. The country has survived colonialism with its culture intact. The islam in Mali is not the islam of Arabian Peninsula or the islam of the expatriates in Europe. What I have experienced of Malian islam suggests that the balance between islam and traditional culture is still in favour of the latter. So I am not convinced Mali will be an African Afghanistan.

And evidence for this can be found in the music. There is so much authenticity in this music and such strength of culture.
Listen , for example, to this cassette by Molobali Keita.
This is volume 5, - and there are more (besides the ones I have already posted - Vol.4, Vol.3, Vol.2).

Samassa S 4457

No hint of "Team GB" there, don't you agree?
And as an extra, this fantastic video by the same artist, from Ngoni's superior YouTube offerings:

Drum and.... bala

Continuing the bala theme , I am returning to an artist of whom I have already posted two cassette (here and here). Molobaly Keita appears to have been at the basis of a new phenomenon in Malian youth culture, and more particularly - and more remarkably - urban youth culture.

In the villages of Mali (especially in the southern part of the country) balafon groups have been entertaining children and women for ages. These groups, usually of musicians who also play in larger ensemble at ceremonies and festivities, perform in the street or on any 'square' or opening in the village. Parties like these are part of passing on the culture, and for the children an occasion to practice - or even compete on - their dancing skills.

Over the last ten years, these bala parties have moved to the city. They have taken the place of the Sabar dancing parties or "Sabarni", which for their increasingly indecent and immoral character were banned from the streets of Bamako in the early years of this century. Apparently female dancers were showing off more thigh and behind than the public morals deemed respectable.
The "Balani* show" street parties took their place in the teenage culture of Bamako. As the word suggests, the key instrument in these parties was the balafon.

Personally I think the music of (artists like) Molobaly Keita must have played an essential role in this urbanisation of the village bala parties. And more precisely: this very cassette. For it is the first cassette in which Molobaly used a drumkit.
As I have written before, it took me some time to get used to the drumkit. But I can see now that this opened the way to a completely new 'use' of this - essentially traditional - music.
To give you a better idea of the "Balani show" phenomenon I advise you to watch this very interesting video (in french, - but if you're interested I'll translate it).


Unfortunately it appears that the "Balani show" has taken, like the "Sabarni" before, a turn for the worse. First there were rumours of nightly disturbances and a first call to ban the parties. Then came reports of weapons and people being killed. More recently the calls to ban the parties seem to have grown louder, so it may be just a matter of time before we see the end of the "Balani show".
At least, in Bamako. In the villages there always be bala parties. And in the city....maybe they will continue, but just for children.

Here is Molobaly Keita's third cassette. It features amongst others the track "Signana Tolo" of which I have posted a video earlier.

IK 010 cassette

More bala to follow soon....

* The extension "-ni" signifies "small". So "Balani" is "little bala". It is used like "-ito" in many latin countries...

Molobali

I don't have the sleeve of this cassette, and there is reason for this.
I first heard this cassette by the great singer Molobali Keita (of whom I posted his fourth volume earlier) in Mali in 2000. I already had a few of his later cassettes and, although I had to get used to the drum kit which he had introduced to complement the traditional instruments, these had slowly but surely grown on me.
But that sweaty night in Bamako, listening to his second volume I heard for the first time the Molobali I subconsciously always had known existed. It was one of those rare moments that people, place, ambiance and music synchronised.

It took some effort to get a copy of this cassette, but I think you'll agree it was worth it. Technically it certainly isn't Molobali's best recording, but the vibes on this cassette are incredible. I advise you to play it late at night, outside - if you can - or when the house is empty.

All the tracks are traditionals from the Sikasso (or Kénédougou) region, and more particular from the region around the town of Sikasso, which is the source of an incredibly rich balafon tradition.

Super Sound SS 42

To give you an idea of what this music looks like, here is a video from Malian television. I assume it is from approximately the same time as the cassette. The line-up is at least very similar. The round gourd drum is a type of 'bara' (which comes in different sizes). The title on this video is "Shinyana foli", but on Volume 3 the same track is called "Signana Tolo" (and I suspect the latter is the correct title).


PS: There is another (and much better quality - especially in HQ) video featuring Molobali & Mama Keita here (thanks Scott for reminding me).

Bala

To really enjoy the full effect of the bala you have to go to West Africa. Preferably on a warm, humid night, with the sound of cicadas filling the background. When the bala player (or balafo) really gets going the gourds will start to hum - and the spirits will awake.

As I said, you'll have to go there yourself to experience this. Don't take my word.

I hate to disappoint you, but this cassette doesn't produce the same effect. But if anyone can get close it's Molobali Keita*. He's from the Sikasso region of Mali, and one of those artists that are at risk of remaining anonymous in the West (like Karamoko Keita). He has produced a string of cassettes (neatly numbered), and I can recommend any of those, or all if you can find them (and if you do, let me know!).

There are a few wonderful clips (here and here) on YouTube, if you want to see the master at work.

And here is the fourth volume of the series.

*or Molobaly