1. The River and the Path: Conversation and Collective Expression in West African Musics
Chapter 10

2. Akan Proverb: “The River and the Path”
The river crosses the path,
the path crosses the river,
who is elder?
The path was cut to meet the river,
the river is of old,
the river comes from “Odomankoma” the Creator.

3. Drum Speech Akan Drum Proverb [PL 10-1]
Recited in Twi, which is a tonal language
Meaning of a word determined “not just by the actual sounds of its syllables, but also by the specific patterns of pitch, rhythm, and timbral inflection with which it is articulated.”
“a-kon-TA” = brother-in-law; a-KON-ta = mathematics
Atumpan
Drums capable of literally speaking in Twi
Call-and-response (imitative) between voice, atumpan as they alternately recite lines of the proverb
Proverb highly metaphorical:
“Just as the path must meet the river, the Akan must cut their own paths toward communion with the sources of their creation: divine, ancestral, familial, and natural. They also must aim to follow their individual pathways toward intersection with one another and mutual support.” (p. 201)

4. Meaning of the Proverb, Focus of the Chapter
“Metaphorically, the artistry of West African music explored in this chapter is the meeting of the path and the river. Like the river, it flows to the pulse of many different rhythms, timbres, and layers that on first impression may suggest little sense of coherence (that is, to the non-African listener). But ultimately, the multidimensional musical flow reveals itself as an integrated collective of individual ‘voices’ that are unified by shared values and a communal sense of purpose.” (p. 202)
Thus, polyvocality is a thematic focus of the chapter, which surveys a range of African musics, but focuses mainly on selected traditions of West Africa, with particular focus on the kora, an instrument of the Mande people.

5. African Musics in Context
Ancient and modern traditions, extraordinary diversity
African popular music stars:
Angélique Kidjo, Salif Keita, Fela Anikulapo Kuti, Miriam Makeba, Thomas Mapfumo, Youssou N’Dour
South African isicathamiya group Ladysmith Black Mambazo
With Paul Simon, “Diamonds on the Soles of Her Shoes,” from Graceland (1986) [PL 10-2]
Performing “Unomathemba,” from Grammy-winning 1987 album Shaka Zulu [PL 10-3]
Note distinctive “clicking” sounds, which are part of the Zulu language

6. The African Continent, Sub-Saharan Africa, and the African Diaspora
Regions
Saharan North Africa (Egypt, Libya, Tunisia, Algeria, Morocco, etc.)
Horn of Africa (Ethiopia, Somalia, etc.)
Sub-Saharan Africa
West Africa (Ghana, Benin, Mali, Senegal, Gambia, Guinea, Guinea-Bissau, Nigeria, Togo). Our primary focus.
The eastern, southern, and central regions of the continent also host rich musical traditions
African diaspora
Euro-American slave trade
Gave rise to musical traditions including ragtime, blues, jazz, rhythm-and-blues, soul, rock-and-roll, rap, hip-hop, salsa, Cuban son, Puerto Rican bomba, Trinidadian steel band, Jamaican reggae, Brazilian samba (several of which we will return to in Chapter 11)
Mutual feedback loop historically and still today between the musical cultures of Mother Africa and global African diasporic communities

7. Music, Culture, and History in Sub-Saharan Africa
Pre-colonial kingdoms
Mande, Ghana, Songhay, Dahomey, Buganda
15th century
Foreign intervention, eventual foreign domination (colonization)
17th-19th centuries
Slave trade
African diaspora – United States, Caribbean (Cuba, Jamaica, Trinidad, Puerto Rico), South America (Brazil)
Post-WWII
Nationalism movements, independent African nations (Ghana first in 1957), globalization
New musical developments related to all of these phenomena
Example: “Ingculaza (AIDS),” by Dumisani “Ramadu” Moyo [PL 10-4] (see p. 205)
Religious practice
Traditional African religions, Christianity, Islam, religious syncretism
Importance of paying homage key in much religious practice (reflected in music)

8. Fontomfrom: An Akan Royal Drum Ensemble
Most African music is not drumming-centered, but we explore one more drumming-based pieced before moving to other types of traditions: Fontomfrom, a royal drum ensemble music of the Akan.
The ensemble and its music important symbols of the power and legitimacy of the Akan chief that owns the instruments.
Chief may dance to Fontomfrom accompaniment (aides monitor the chief while dancing to ensure he does not fall – sign of weakness, vulnerability)
Fontomfrom may be played from both a stationary position and processionally.
“In its totality, this music is far more than just a drumming piece. It is a multipart conversation spoken in percussive tones, and beyond that it is a musical model of idealized social interaction among members of Akan society.” (p. 210)

9. Musical Guided Tour: “Instruments and Basic Rhythmic Patterns in Fontomfrom Music”
Access at Online Learning Center (OLC): www. mhhe.com/bakan3e
Text transcript, pp (See also Fig. 10.1, bottom of p. 208)
This tour introduces
The instruments of the ensemble
Drums: from, atumpan, eguankoba
Bell: dawuro
The standard rhythmic patterns played on the different instruments
Of fundamental importance is the 12-beat time-line rhythm of the dawuro bell
Concepts of polyrhythm, call-and-response, and conversational elements in West African music
A foundation for understanding and appreciating the music’s complexity, “and at least a rudimentary sense of how the principle of multipart musical conversation in West African music works.”

10. GLE: “Fontomfrom (Akan Royal Drum Ensemble Music)” [PL 10-5], Pt.1
0:00–0:32
Lead drummer signals beginning of performance with rhythms played on the from.
Dawuro (iron bell) joins the from at 0:02, playing standard time-line rhythm (though with first note “missing” first time through the pattern).
The other drums (atumpan, eguankoba) enter at 0:08, joining the from and dawuro and initiating a section of great polyrhythmic complexity.
At 0:27, the rhythms of the different drum parts become more clearly synchronized and pattern-based.
0:33–0:47
Section featuring call-and-response musical dialogue between the from and the atumpan.

11. GLE: “Fontomfrom,” Pt. 2 0:48–1:02 1:03–1:32 1:33–end Full ensemble.
Texture features layered ostinatos with variations.
1:03–1:32
A second passage of call-and-response dialogue between the from and the atumpan.
1:33–end
Layered ostinato texture with variations is initially reestablished, after which the texture continues to alternate between full ensemble passages and sections of from-atumpan call-and-response. The dawuro bell pattern continues throughout.

12. Musical Africanisms
Complex polyphonic textures [PL 10-6] (E. T. Mensah)
Layered ostinatos with varied repetition [PL 10-7] (King Sunny Adé)
Conversational element [PL 10-8] (Mahlatini and the Mahotella Queens)
Improvisation [PL 10-9] (Boubacor Traoré)
Timbral variety [PL 10-10]
“Buzzing” timbre of mbira dzavadzimu

13. More than Drumming: African Musical Diversity
Before moving our focus specifically to the kora, here are just a few of thousands of possible examples of non-drumming-based African music:
Central African BaMbuti vocal polyphony [PL 10-11]
Timbila xylophone orchestra of the Chopi people, Mozambique [PL 10-12]
Mmensoun animal horn aerophones of Ghana [PL 10-13]
Nkokwane musical bow of the Qwii people, Southern Africa [PL ]
Music played on the Ugandan endongo (note “buzzing” timbre) [PL 10-15]

14. The Kora and Its Musicultural World
Construction of kora (see labeled diagram, p. 213)
21-string spike harp chordophone
Straight wooden neck, calabash resonator, soundhole
High bridge
Two handgrips
Two parallel rows of nylon strings
(traditionally antelope hide)
Rawhide tuning collars
Cowhide face
Demonstration of kora by Toumani Diabaté
Kora performance by Toumani Diabaté [PL 10-16]

15. Mande History and Culture
Maninka: Mali and Guinea
Mandenka: Senegal and Gambia (Senegambia)
Mande languages (many languages, dialects)
Mande Empire (Mali Empire)
Sunjata Keita, 13th century
Keita = royal family surname
European colonization of Mande lands
Senegal, Mali, Guinea (French)
Gambia (British/English language)
Guinea-Bissau (Portuguese)

16. The Jeli and the Art of Jeliya
Jeli classified as a type of griot (praise singer/musician)
Plural: jelilu
Female: jelimuso (pl. jelimusolu) – sing, don’t usually play instruments
Most famous jelimuso is the singer Kandia Kouyaté [PL 10-17]
Jeliya repertoire – praise songs-based
Jeli and the jeliya tradition date back to time of Sunjata (13th century)
Kora one of several instruments associated with jeli and the musical arts of jeliya
Others include the bala (balafon) [PL 10-18] and koni (ngoni) [PL ]
Herditary jeli families: Kouyaté, Diabaté, Sissoko (Cissokho)

17. Salif Keita and Seckou Keita
Traditionally, descendants of the royal Keita family were forbidden from playing music professionally. Still problematic, but some Keitas have “broken rank” to pursue musical careers
Malian pop star and national icon Salif Keita [PL 10-20] (photo, p. 217)
Singer/percussionist [PL 10-21] and kora player Seckou Keita (photo, p. 217)
In his song “Sabu Ngima” (Good Help) [PL 10-22], Seckou Keita proclaims:
“It is not today that I have decided to be a musician and to sing. It is the luck of being born into the Griot [jeli] tradition through my mum’s family, the Cissokho [Sissoko]. Oh mum! Oh dad! I am not shy to sing and play the kora.
My mum and my dad like it. They agree that I am lucky to have this gift from God. Love has united my mum and dad despite the traditions [of social class exclusivity in marriage]. These traditions also do not allow a king such as somebody from the Keitas to become a musician, a griot. My grandfather always said to me, “If you leave well, you will arrive well.” Everyone has luck from somewhere.”

18. GLE: Seckou Keita, “Dounuya” [PL 10-23]
Solo voice and kora
Three main types of texture:
Kumbengo (accompaniment) – 0:10-0:23
Birimintingo (solo improvisation) – 1: 41-2: 14
Sataro (declamatory vocalization) – 2:15-2:56
Word painting, e.g., hammerlike chords at 1:28 under “Why should we choose the bad?”
Key moral message of song
Improve our relationships (with each other, God, etc.);
symbolized in both the song text and the kora part

19. Guided Listening Quick Summary, “Dounuya,” Pt. 1
0:00–0:09
Solo kora introduction featuring short (staccato) notes and syncopated rhythms.
0:10–0:23
Solo kora continues, but now the playing style is kumbengo.
Flowing, layered ostinato texture and interwoven kora lines in the low, middle, and high registers of the instrument.
Ostinato patterns are varied each time they recur.
0:24–0:29
Keita breaks from the kumbengo style momentarily at 0:24 to play a virtuosic, birimintingo flourish; this anticipates the arrival of the sung verse to follow.
0:30–1:08
First verse of “Dounuya” song, sung by Keita as his kora playing now becomes the accompaniment; section concludes with a second birimintingo passage at 1:03.
1:09–1:40
Second sung verse of “Dounuya” song (new text, varied melody).

20. Guided Listening Quick Summary, “Dounuya,” Pt. 2
At 1:28, hammerlike chords in the kora’s high register heighten the musical drama when the important line “Why should we choose the bad [when the good is there for us to choose]?” is sung.
1:41–2:14
This section once again features the kora alone (solo); no singing.
Texture highlights occasional birimintingo passages over continuing kumbengo accompaniment.
Interesting call-and-response dialogue between middle- and upper-range kora “voices” beginning at 2:02.
2:15–2:56
Keita now returns as vocalist, but performing in sataro style rather than singing as he did before.
2:57–end
Final vocal refrain on the line “Why should we choose the bad?” once again enhanced by hammerlike chords in the upper register of the kora.

21. GLE: Toumani Diabaté and Taj Mahal, “Atlanta Kaira” [PL 10-24]
From album Kulanjan
Collaboration between blues/world music guitarist Taj Mahal and kora virtuoso Toumani Diabaté, plus “all- star” band of jelilu including:
Bassekou Kouyaté (“bass” koni on “Atlanta Kaira”)
Ballaké Sissoko (kora)
Kassé-Mady Diabaté* (male vocalist) [*Note: Great HD video, with close-up shots of koni, bala as well]
Lasana Diabaté (bala)
Ramatou Diakité (female vocalist)
Taj Mahal
Found inspiration on both sides of the Atlantic, hearing a connection between the guitar styles of old-style American bluesmen like Jesse Fuller [PL 10-25] and contemporary Malian musicians like Ali Farka Touré [PL ]. Video of duet, Ali Farka Touré and Toumani Diabaté
“Catfish Blues” [PL 10-27], also on the Kulanjan album, represents its more blues-oriented side
Toumani Diabaté
Son of kora legend and Malian national hero Sidiki Diabaté (original “Kaira” [PL 10-28] ; means “peace”)
One of the leading kora players of his generation

22. Key Musical Features, “Atlanta Kaira”
Sauta mode
One of four principal modes in Mande music
F G A B C D E (F) [note “Lydian” raised fourth]
As in “Dounuya”:
complex polyphonic texture (layered ostinatos, varied repetition, improvisation)
Kumbengo, birimintingo, sataro
“Conversational” elements
Rich timbral variety

23. Guided Listening Quick Summary, “Atlanta Kaira,” Pt. 1
SOLO KORA INTRODUCTION (TOUMANI)
0:00–0:41
Played in the sauta mode.
Good illustration of the musical range of the instrument and of Toumani Diabaté’s virtuosity.
ENSEMBLE INTRODUCTION TO “KAIRA” SONG
0:42–0:52
Instrumentation: two koras, bala, koni, and guitar.
Eight-beat cycle established; texture features layered ostinatos with variations.
“KAIRA” SONG
0:53–1:28
The two singers, Kassé-Mady Diabaté (man) and Ramatou Diakité (woman), enter the texture and sing “Kaira” song.
Melody highly ornamented in characteristic jeliya style.
Kumbengo accompaniment provided by instrumental ensemble.

24. Guided Listening Quick Summary, “Atlanta Kaira,” Pt. 2
FIRST SATARO SECTION
1:29–2:50
Text pays homage to Sidiki Diabaté.
Dramatic, almost speechlike vocal delivery by Kassé-Mady Diabaté.
Musical dialogue between vocal part (Kassé-Mady) and birimintingo passages on kora (Toumani).
IMPROVISED KONI SOLO
2:51–3:32
No singing.
Koni player (Bassekou Kouyaté) breaks away from “bass line” kumbengo to play an improvised solo.
The solo has a blues-like character in some parts.
SECOND SATARO SECTION
3:33–4:21
Kassé-Mady’s vocals again featured here.
Similar to earlier sataro section.

25. Guided Listening Quick Summary, “Atlanta Kaira,” Pt. 3
“KAIRA” SONG, SECOND STATEMENT
4:22–end
Sung as before by Kassé-Mady and Ramatou with instrumental ensemble accompaniment.

26. Angélique Kidjo: The Diva from Benin
Kidjo, according to the Rough Guide to world music, “has done more to popularise African music than any other woman”
Winner of numerous awards, including the Grammy Award for best world music album for Eve (2014)
Album was inspired partially by her experiences as UNESCO goodwill ambassador
Earlier albums included a trilogy of Oremi, Black Ivory Soul, and Oyaya!, which explored African diasporic syncretisms of R&B, Brazilian, and Caribbean musics, respectively
Born in 1960 in Ouidah, Benin, to artistic family
French the official language of Benin, but Kidjo sings most of her songs in her native language, Fon
Moved to Paris and became a world beat star there
Breakthrough album was Aye, opening track of which was “Agolo” (1994)
First internation hit album was Fifa (1996), which included catchy tracks like “Wombo Lombo” and featured several guest artists including Carlos Santana [on PL 10-29]

27. GLE: Angélique Kidjo, “Okan Bale” [PL 10-30]
From the album Black Ivory Soul
Pop ballad
Produced by Jean Hebrail, Kidjo’s French producer/husband
Lyrics:
“I know where I come from. From you, my family. Let me take a moment to thank you because you bring me joy and strength. If my moves are full of blessings, it comes from you, my family.”
Note growing prominence of the kora as the arrangement progresses, as well as the interaction between voice and kora.
Kora player is Mamadou Diabaté, younger cousin of Toumani; based in New York, he has played with everyone from jazz trumpet great Donald Byrd to Zimbabwean pop legend Thomas Mapfumo [PL 10-31]

28. Guided Listening Quick Summary, “Okan Bale,” Pt. 1
INTRODUCTION
0:00–0:35
Ethereal synthesizer tones, acoustic guitar, electric bass (playing harmonics), harmonized voices (all Kidjo’s, overdubbed).
From 0:24–0:32, Mamadou Diabaté plays kora solo in birimintingo style.
FIRST VERSE (VERSE I)
0:36–0:57
Sung by Kidjo.
Acoustic guitar is the main accompanying instrument; kora is largely absent.
FIRST BRIDGE SECTION (BRIDGE I)
0:58–1:18
Different chord progression; guitar shifts to mainly staccato articulations.
Brief kora birimintingo at 1:07–1:09 between vocal phrases.

29. Guided Listening Quick Summary, “Okan Bale,” Pt. 2
FIRST CHORUS (CHORUS I)
1:19–1:51
Dialogue between lead voice (Kidjo) and harmonized background vocals (also Kidjo, overdubbed).
Beautiful, lush chord progression (outlined largely by the background vocals).
Role of kora limited (no solo parts).
INTERLUDE (“REPRISE” OF INTRODUCTION)
1:52–2:13
Solo kora (birimintingo) featured again.
Kora solo more extended and florid in style than in introduction.
SECOND VERSE (VERSE II)
2:14–2:35
Similar to first verse, but kora takes a more active role, weaving in and out of the lead vocal line with birimintingo flourishes.

30. Guided Listening Quick Summary, “Okan Bale,” Pt. 3
SECOND BRIDGE SECTION (BRIDGE II)
2:36–2:57
Similar to first bridge section, but this time it is a kora birimintingo, rather than a guitar lead-in, that provides the transitional material leading into the chorus.
SECOND CHORUS (CHORUS II)
2:58–end
Similar to first chorus, except that the kora is now much more active than before, inserting several birimintingo flourishes.