GRIOT MUSICAL LANGUAGE

 Aimed to

It is open to all types of melodic, rhythmic and harmonic instruments.
Especially recommended for percussionists or flutists who wish to deepen their knowledge of the polyphonic, rhythmic and melodic language of the Peul flute. And for korists or guitarists who have been fascinated by the magic language of the kora.
The rhythms are focused on Djembé, Sabar and Pumpkin, but can be worked with cajón and palmas.


Description

In the Mandinga culture of West Africa (Gambia, Guinea, Guinea-Bissau, Senegal, Mali, Sierra Leone, Liberia, Burkina Faso and Ivory Coast), the djele (griot in French) was and is one of the most representative and respected characters of the tribe. With a tradition of at least 1600 years, the griots were responsible for preserving the memory of the tribe, its genealogies, myths, tales, historical battles and oral traditions, which passed from generation to generation, also acting as advisors to tribal leaders.
To do this they devised a 21-stringed instrument, the kora mandinga, a hybrid between the harp and the lute we might say, with which they accompanied their chants and retahilas. They also used sabar, tama, xalam and balafón.
The griots used their instruments and told their stories in the royal courts and were often considered advertisers. Their ceremonial songs were an integral part of political life.
Although they belonged, as artisans, to the lowest caste, they enjoyed great respect due to their social function.

The pedagogical and artistic proposal is based on the understanding of basic popular rhythms and melodies from the Wolof, Serer and Mandinga traditions, which walk harmoniously and melodically through the kora, the Peul flute and the voice: Yarabe, Kaira, Mazana Size, Sonou, Tara, Mañobe kumbola…

 

 


Content

The character of the music is presented from various perspectives.
On the one hand, from its own language and its traditional form of transmission (which falls on the figure of the Griot). On the other hand, from the point of view of musical language and modern western harmony, of its rhythmic (in the form of compasses) and intervalic vision, from the Major or Ionic Mode.

Harmonically, the Lidio, Mixolidio and Frigio modes and the melismatic character of the melodies through the language of the Peul Flute and the Kora are studied in depth.

 


 

NDO-MBEMBA KANOUTÈ

Ndo-Mbemba Kanoutè is the kora´s player of Ndoumbelane Jazz and Theatre National Daniel Sorano. At the age of 10 he started playing kora with his uncle (an eminence in the griot world). Already devoted to the practice of this ancestral instrument [kora], he spent a few years in France where he collaborated on Ousmane Touré’s album. On his return to Senegal he joined Mbassou Niang’s group, making a difference to other traditional korists through jazz, inspired by Soriba Kouyaté.
He has contributed musically with Youssou N´Dour, on Alsaama Day, and with so many other artists from the African and French scene.

 

ISSA NDOUR

Issa Ndour is a flutist and plays djembe in Ndoumbelane.
He began playing this instrument at the early age of 7 years and at 11 years the tokhoro, tambín or peul flute, with his teacher Fallou Sy in Thies and Baba Gaye in Dakar.
He has collaborated with great bands of the Senegalese and international scene: Ben Bopp, Waflash, Tony Vacca, Ali Muller, among others.
Since 2012 he has been the flutist and djembele of the Senegalese National Ballet of the Daniel Sorano National Theatre (Dakar), a group with which he has toured around the world: China, Turkey, Germany, Italy…

 

ALBA A.LARREY

Alba A. Larrey is a flutist and music teacher in schools and colleges. She has collaborated with Ndoumbelane. Flautist in several flamenco paintings: Eli Belmonte, Estrella Varilla, Virginia Garcia.
He currently plays with El Sombrero del Abuelo and collaborates with musicians from the Afromadrileño scene such as Aboubacar Syla or Abba Suso.
He has also contributed his Peul flute to groups such as Tranceuntes. He travels assiduously and continues his training in Senegal with masters such as Ousmane Bah and Issa Ndour. He conceived and coordinated the project “Afroflamencas” for Mezzkla (Lavapies), creating an afro and flamenco laboratory with workshops and concerts by women such as La Jose, La Trini, Coumba Tilala, Nasrine Rahmani or Katy la Polaca. He has received classes from Jorge Pardo, Juan Carlos Aracil, Trinidad Jiménez… and currently from the master Patxi Pascual at EMC in Madrid.

 

 

 

• 25 March, 2017

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