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 In 1985, after several years of amateur drum playing, I took my first djembe workshop with Adama Drame. This
encounter was decisive. I was immediately attracted to the instrument and the music, and have dedicated myself to
them ever since. Given the growing interest in traditional African music, especially percussion, I wanted to makeavailable
a book that both places the instrument in its African context and enablesthe reader to start to learn to play.

It would be pretentious to try to produce an exhaustive work on so vast a subject. Since traditional music is usually
passed on orally, the transcription of African rhythmics might be open to criticism and using Western notation to write
down a type of music which is radically different might seemarbitrary.
My goal is not to establish absolute or limiting rules, but rather to pass on in written form a synthesis of my personal
research and experience to others interested in this extraordinary instrument.
This book is not just a simple methodfor learning an instrument. It is for a wider audience: percussionists from all back-
grounds, percussion teachers, instrument makers and music lovers will all find it instructive.

The beginning percussionist cannot claim to "play like a pro " after reading this book. Regular practice is neces-
sary, as well as a certain rigor and, above all, supervision by an experienced teacher who will help and guide him or her
in this work.
Several trips to WestAfrica will bring him into direct contact with the djembe's cultural milieu and give him the plea-
sure of playing with local musicians. Africa's unique atmosphere is indispensablefor learning to play really well. In the
meantime,a compact disk has been included to enable the reader to better understand and interpret the written material.

The repertory given here is not simply "African inspired". The rhythms presented are real traditional standard rhythms
whoseauthenticity and accuracy have beenconfinned by such eminentmusiciansasAboubakar Bamba, Koumgbanan Conde,
[.amine Soumah, Mamady Kei"ta, Noumoudy Kei"ta and Souleymane Dembele. I sincerely thank themfor their interest.
In contributing to the making of this document, they have helped give a new dynamic to percussion and West African
rhythmics in the world.

I would also like to express my gratitude to Morton Potash, Franr;ois Kokelaere, Jean-Pierre Journet, Julien Andre,
Modibo Bah, Ravy Magnifique and Youssouf Tata Cissefor their help and advice.

The reader will find here a pedagogical aid, written with passion and all possible accuracy, allowing him or her to taste
the pleasure of playing this instrument. I hope it will arouse a desire of one day attaining the musical excellence of the
great masters.

And now the momenthas come to turn to the djembe and its music..,

SergeBlanc

-4-
 4
~
~ oundjata, a thirteenth-century mythical and legen-
.> dary hero, had a great destiny. A great among the
greatest,he is attributed a very important role in tradi-
tional Mandingo history. The main events of his life are
recountedin chroniclesof the time andin numerousAfri-
can history books. His story is told in "Janjon" and
"Soundjata Fasa", the Saga of Soundjata, the most
famous Mandingo epic chant(l).
The story goesthat SogolonKedjougou,one of the wives
of Fara-Koro Makan Kegni, gave birth to a sick boy,
who was paralyzed for seventeenyears. He was called
Soundjata.
Soundjatahad a stepmother,TassoumaBerete,who hel-
ped her son,DakaranTouma, Soundjata'shalf-brother,
usurp the throne. Soundjata's astonishing strength and
generosity had made Tassouma Berete jealous and
fearful; she plotted against him. She and her son exi-
led Soundjata,the sole heir to the throne, along with his
whole family. They went to Nema, where his mother
died on the eve of his departureto reconquerhis native
country. Soundjataprosperedon the way back, sealing
alliances, sacking and submitting the different peoples,
who then became his vassals.At the historic battle of
Kirina, Soundjata and his Mandingo allies triumphed
over SoumangourouKante, King of the Susu.
Soundjatawas proclaimed Mansa, or Emperor, King of
Kings. He then laid the foundations of the Mandingo
Empire, the Empire of Mali.
He developedagriculture, which becamethe main basis
of the economy, and oriented trans-Saharancommerce
towards gold trading, ruining the Maninka slave trade,
which he later abolished.
In the realm of social relations, there was real inno-
vation. Caste differentiation becamemore systematic.
Preexistinggroupswere divided into three impermeable
strata: the horon (important people and nobles), the
nyamakala(2) (caste members) and the jon (slaves).
Each stratum's role was well defined by rules of
centuries-old customs. The essential duty of the
nobles, placed at the top of the hierarchy, was to
oversee the group's safety. Caste members were to
entertain and satisfy the material needs of the group.
The slaves did the hardest and most unpleasant work.
Soundjataalso codified the clan system.Tradesand pro-
fessions becamehereditary: from that time on, the son
had to follow in his father's footsteps.There are several
'versions of Soundjata's end. Like his life, his death is
shroudedin mystery. The most widespreadversion says
that he drowned in the Sankaranninriver.
1.Thissaga comprisesseveralhundred versesthat are played, sung, danced and discussedduring important ceremonies.
2. Theterm nyamakaladesignatesgroups within different clans composedof the
- Jali: griots,
- Numu: smiths,specialistsin iron and other metals, - Fune:a kind of holy beggar.
-6-
The Empire of Mali reachedits height during the reign
of Kankou Moussa, known as Mansa Moussa 1(1342-
1360).The empire stretchedfrom the Atlantic Oceanto
the west of Gao on the Niger River.
Kankou Moussa won fame with his celebrated pilgri-
mage to Mecca, a pilgrimage that is still legendary.
During his journey, he distributedso much gold (12 tons,
it is said), that he causedthe Cairo precious metals mar-
ket to crash,therebyearningan extraordinaryreputation.
A pious sovereign, he had many mosques built in his
colonies, contributing to the spreadof Mali's renown
beyond the borders of Sudanand attracting many Arab
travellers to his country. The most famous of thesewas
the Moroccan Ibn Battuta, who came in 1352. At that
time, MansaMoussareigned over a vast and prosperous
empire. After his death, internal quarrels weakenedthe
government.Vassalseverywhererose up and threw off
the Malian yoke, among them the Wolof and Sereri
peoples.The Mandingo Empire disintegrated.
Many kings were born in the historical land of the
Mandingo empire. They are the heroes and warriors
whom the griots throughout West Africa continue to
glorify as if they were still alive.
After several years of French colonization under the
name of French Sudan, Mali became an independent
and sovereignrepublic on September22, 1960.During
Modibo Kelta' s presidency,the first republic experien-
ced severe economic difficulties, amplified by social
crisis. Seriousconflicts arosewithin the national direc-
tion of the single political party, the USRDA, creating
a political crisis. This led to a military takeover on
November 19, 1968, under the direction of Lieutenant
Moussa Traore, who ruled the country single-handedly
for 23 years.He was overthrown by the tragic eventsof
May 26, 1991, enabling the establishment of a multi-
party, democratic system.
Colonization considerablymodified the map of the Man-
dingo region and dispersedthe Maninka peoples.Their
zone of influence currently includes parts of Burkina
Faso, the Ivory Coast, Gambia, Guinea-Conakry and
Guinea-Bissau,Liberia, Mali, Senegaland SierraLeone.
The Maninka belong to a Mandingo family that in-
cludes many prestigious ethnic groups, including the
Bamana, the Kaado, the lula, the Soninke, the Susu
and the Syenara.
Mandingo music today is conquering the world under
the leadership of star musicians as well-known as
they are talented, such as Ami Kolta, Salif Kelta,
Mory Kante...
- Garanke: cobblers or dyers,
 Faso
Bwa or Bobo Fulbe Jula Sarnogo
Dafin Gurumance Lobi Syenara
Busa Dagari Gurusi Mosi or Senufo

" Coast
Aboron Bete Fulbe Koyaga Wob6
Ani Birifu Gagu Maninka Yakuba
Atiye Bole Gere Syenara
Barnana Dan Guroor Kweni Turuka
Bawule Ebiriye Jula

'-

Baga Jalunke Landuman Temine

Basari Jula Maninkaor Malinke Tornaor Lorna
Fulanior Peul Kisi Nalo Tuculeri
Gereze Koniagi Susuor Soso

Bamanaor BambaraKaadoor Dogon Sarnogo Tarnasheqor Touareg

Bela Kakolo Somono Tuculeri
Bozo Kasonke Songolor SonraY Wasulunke
Bwa Mamaraor Miyanka Soninke,Sarakoleor Maraka Wolof
Fulbeor Peul Maninka Surakaor Moor
Jula Mosi Syenara

- and Gambia
Basari Maninka Tuculeri
Fulbe Sereri Wolof
Jula Soninke
Lebu Suraka

ethnic class groups

Fune Jali Numu
Garanke Maabo

- ---c-' used for the namesof ethnic groups, instruments and rythms is that of the mandingo alphabet. The
"j" is pronounced like the "dy" in "Goodyear". The letter "u" is pronounced like the "00" in "boot". The
, is pronounced like the "a" in "cape". The original spelling, derived from the French, is used for
names.

-7-
, n WestAfrica, in the greatfeudal societieslike the Mali
Empire, where many, codified castes defined the
social hierarchy, the griots, or bards, becamean object
of the highest esteem. As the society's heralds, they
were respected,courted and feared.
Within the highly structuredand hierarchical Mandingo
society, the griots orjaliw were a caste apart, engaged
in oratorical art and music.
According to the renowned specialist Kele Monson
Diabate, their origin goes back to the times of the prophet
Mohammed. Legend has it that the Prophet gave his
slave Bilali three coffers intended for his three grand-
sons who afterward went to Mandan and founded the
village of Kikoronin. According to oral tradition, the
Maninka came from Mecca.
Griots may be men or women; they are surrounded by
an aura of mystery. Called "belen tigui"(l) they are the
keepers of the oral tradition. One is a griot by heredi-
tary filiation. It is therefore possible to enjoy this status
without practising any of its extremely difficult tasks
and activities. Great griots are rare.
In Manden, the oldest griots travel very little, remaining
attached to tradition and the land where they were born.
They are settled there, serving a king or a power on whom
they in turn depend.
Lower caste, they are both loved and despised. They
do no manual labor and do not work the land, but are
supported by the nobles. While still very young, their
children learn the art of public speaking and develop
their memory, which becomes their working tool.
These genealogists, story-tellers and musicians generally
have very common names, like Kouyate, Diabate or
Cissoko. Some of them are also healers, for they are
initiated in the secrets of nature and plants.
The griot was therefore the depository of a dynasty's
history, of a genealogy, the people's living memory,
indispensable for perpetuating institutions. His skill
was revealed during large public events glorifying his
superiors, in the presence of other nobles accompanied
by their own griots who knew the content of what would
be said and chanted. He proved his competence by being
clever enough not to cause the nobleman whose praises
he sung to lower his head in shame.
The griot was also bellicose. He was the one who goa-
ded the kings to fight to the death in combats that were
motivated by glory, power, acquisition of land and also
of beautiful women (the kings in general had thirty wives).
Some griots started wars, like the one who one day
obstinately refused to sing for King Biton of Segou.
"What's wrong?" the King finally asked. "It's in your
1. Thisexpression is formed from "belen" , meaning "rod" and "tigui", meaning "master of".
2. "Buruju": the origins of institutions and family genealogies, also called "tarik", from the Arab word for "chronicle".
- 8 -
kingdom, sire, that nothing is right," replied the griot.
"The prettiest girl of the Empire lives in the village of
the neighboring kingdom and you haven't married her
yet! How can I sing your praises?"
Upon hearing these words, the king prepared his army
and launched a war to abduct the girl, whom he then
married. One does not say "no" to a griot. It is a matter
of honor.
Before the written word was used,the griots taught and
exchangedknowledge orally. To learn from the source,
the young griots left the family home and went to study
with a great master. They did domestic work for him
until they earnedhis trust. When hejudged them capable
of learning, he began teaching them "buruju"(2) which
enabled them, among other things, to realize that they
were of good stock: there was always a hero amongtheir
ancestorswho servedas a referencepoint.
After their minds had beenopened,learning as much as
they could absorb, they left the master and became in
their turn keepersof the "tarik".
Today, living mainly in cities, unableto claim to belong
to a particular masterdue to changesin social and geo-
political structures(the royal courts have disappeared),
the griots have become independent. True profes-
sionals of speech,show and music, they are mastersof
ceremony for local festivities in their communities. It
is difficult to imagine weddings, baptisms and funerals
without them; the sowing seasonis punctuatedwith their
chantsand music. Praising equally noblesand important
people,they no longer needto tell the truth; instead,they
say what pleases and prompts generous donations,
rewards and gifts.
It is therefore unusual today to find young people who
know the "tarik", now a rarefied lore. They prefer the
lure of quick money to volunteer work which no longer
attractsanyone.All griots believe that the day they start
working will unquestionably be the beginning of fame
and fortune. They readily submit to the power of money.
But their function remainsimportantwhen -
mediators, intervening in inter-family problems
disputes. And it is still the griot who arranges
traditional marriages.
In the Mandingo world there are many villages
ning centerswhere young people interestedin
oral traditions go. The novices learn the art '
. - ~ -
especially in K6la (Kangaba society), in Kita
dofo (a suburb of Kita) and in Krina "
cities wherethe traditionsarewell kept in Mali; __a.
Hamadaor Famada(Kouroussa society) in Guinea.
plack Africa has an infinite number of musical
:P instruments. It is difficult to itemize them all,
given the size of the regions and the great variety
of populations and ethnic groups, as well as the
multiple and variable terminologies.
Here are the instruments most representative of
Mandingo music, ones that have a more or less
direct relation with the djembe and its music.
They are played during initiation ceremonies,
games, songs and dances and popular festivities.
They are also used by the national
dance companies.
As on integralpart of African social
life, evidence of the liveliness of
traditional music, they are playedto
this day at eachstageof agricultural
work (tilling, sowing, harvesting),
hunting and fishing. They accom- - E. yon Hornbostel.
pany birth, childhood, puberty, fune-
rals andinheritances,expressingrefinement,
solemnityand piety in the rituals. They let
'joi~ devivre" andgaietyburstout andgive
expressionto ardor in work.
There are sacredinstruments, whosereso- -
nancechambersandorifices sometimeshave a shape
that lend themselves to symbolic or mythological
interpretations;and there are popular instruments.
The latter, while keepingtheir fundamentalelements, tI Idiophones:
are more or less victims of the general technical
evolution of wood and metals.
Their constructioncan be very careful, but also slip-
shod and even rudimentary. But they all have one
thing in common: they are never mass-produced.
Using all sorts of resonantmatter, madeessentially
from natural or found materials (wood, bamboo,
horns, animal skins, gourds,iron, etc.), their quality
residesabove all in the richness of the timbre; the
instrument must be able to produce unusual tones,
more or less strangeand often complex.
There are no real instrumentmakers,except for the
djembe and certain instrumentslike the kirin or the
nkoni. The musician designs them himself, com-
municatingto them the languageof his ethnic group
and endowing them, using various artifices, with a
personality of their own.
Instruments are thus invented that produce nasal,
vibrating, strident or soft sounds which repro-
duce as closely as possible the sounds and music
of nature.
Each drum, then, is unique, with its own beauty,
its own assetsand flaws.
1. A spoken language of Gambia.
2. A spoken language of Mali and Guinea.
The Gambian kora, for example, which "speaks
Mandengo"(l) is not tuned the same way as the
Malian kora, which "speaks Mandenka"(2).Like-
wise, the Guinea bala does not have the same
"scale" as the Burkina Fasobala, and the Maninka
flute resemblesthe flute from Fouta only in tone,
not in language.
Modern materials are used more and more and
often produce instruments with a wide rhythmic
and melodic range. When played outside their
traditional framework they enable musicians to
integrate quite naturally into instru-
mental groups and modern combos
throughout the world.
The instruments listed here are
classified according to the four
large categoriesof traditional orga-
nology establishedby C. Sachsand
I; Membranophones:
These are instruments with a membrane
stretchedover a hollow support.The sound
is obtainedby striking the membranewith
the handsor a stick:
djembe, dunun, bara, ntama, siko.
In this category, the sound is produced by the vibration
of the material itself, using no strings or membranes:
kirin, kele, kesekese, yabara, filendunun,
gita, kariyan, wasamba, bala.
Chordophones:
Their soundis madeby causingthe string or strings,
stretchedbetweentwo fixed points on a support,to
vibrate:
bolon, nkoni, kora.
. Aerophones:
This category includes all instruments whose sound
is produced by vibrating the air contained in a tube.
They are also called air or wind instruments.
The human voice must be added to this category.
In Africa, it is a very substantial source of music.
Hand clapping is the only accompaniment.
file.
- 10-
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 HEHrSPHEREDRLJHS

THE BARA

The bara(l)is from theSegouregionof Mali. It is used

, in the Bamanamilieu.
This kettledrum, around 60 cm in diameter,
sometimes larger, is made of wood and
covered with a skin, generally calfskin,
which is sewn and held in place by a
system of hide strip laces.
It either hangshorizontally by a belt from
the musician's waist or is placed on the
ground. It is struck with both palms.
The barais usedin all popularfestiveevents,
especially in the Bondialan region.
by another skin-covered drum, the bongolo. Its
In
the
Bamana
milieu,
the
bara
is
accompanied
,<"
shapeand the way it is assembledmake this drum
a closerelative of the djembe.However, its resonance
chamberis higher and it is played differently: one hand
strikes directly while the other hand plays with a stick.

HOURGLASS
DRUHS

THE NTAMA

, n Mali, both the Bwa and the Kaado are said to

have invented this instrument.
The ntama is a double-skin drum with variable tension
made of a hollowed-out hourglass-shaped wooden
barrel.
The ends are covered by two goatskins stretched over
a stiff circle and tied togetherby flexible leatherlaces.
With its narrow center placed under his arm-hence
the designation "armpit drum"- the drummer
varies the pressure on the lacing, thereby modi-
fying the pitch and creating sliding and altered
tones.
The skin is struck with a thin curved stick. For
the ntamani(2), this technique is supplemented
by playing with the fingers on the sameskin.
All social classesare familiar with this age-old
" instrument, used by criers to announce meetings
on the public gathering areato hear urgent informa-
tion. The ntama can also beat dance rhythms when
played with the djembe.
This drum is also called the" talking drum ". Indeed,
its sliding tones recall some spokenAfrican languages.

1. Also called CU or KUNANFAN.

2. The NTAMANI is smaller.

- 12-
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 RATTLES

THE KESEKESE

O riginating in the Faranah region of Upper Guinea,

the kesekese is the favorite instrument of the
Mamara ethnic group in the Sikasso area of Mali.
These internal percussion rattles are closed containers
containing small pebbles or seeds and come in a variety
of shapes.
Generally cone-shaped, made of woven plant fibers, they
are always played in pairs, using alternating movements.
The player holds one in each hand by a small handle.
The kesekese accompany chanting and certain very
rapid dances.
They are often accompanied by another instrument, the
koro, a small piece of hollowed wood held in the palm
of one hand and struck by a small stick held in the other.

THE Y ABARA

The yabara is from the Guinea forest region inhabited

r by the Kisi, Toma and Gereze ethnic groups. It is an
external percussion rattle made from a whole, jug-
shaped gourd, whose stem serves as a handle. The
gourd is emptied and wrapped in a fairly loose string bag
studded with real snake vertebrae, cowries(l) or rounds
of wood (and sometimes "gombele" beans).
The gourd is held by its "handle" and swung back and
forth while the other hand pulls the end of the string
bag downwards. This produces a clear, dry sound. The
musician creates a rhythmic accompaniment for singing
and other percussion instruments.
In Mali, the yabara used to be played to accompany the
bolon during great ritual ceremonies honoring titular genii
or the manes, village ancestors. In the Sikasso region, the
Bamana use the yabara (also called tchitchakara) by
itself for their festivities.

1. Cowries are small shells that were used as money throughout the Mandingo world from earliest times
Today they are only used as ornaments and in magic.

- 14-
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 SCRAPEDrNSTRlJHENTS

THE KARIY AN

The kariyanis a hollow iron tubeopenalongits entire

r length.About 4 cm in diameter,and20 to 30 cm long,
it is held in the palm of the hand,a finger slipped
througha ring attachedto thetube.
Grooveson eachsideof a lengthwiseslit canal
are scrapedwith a small metal rod. A rocking
wrist movementmarkstherhythm.
This instrumentis playedprimarily by initiation
society musiciansand minstrels affiliated with
hunting brotherhoods.
It is also played by women griots during and after
singing,andaccompanies the rhythmssetby the hand
clapping of groupsof other women.

SrSTRLlHS

THEWASAMBA

W asamba<l), used in initiation rites, are made with angled

sticks, each segment being 20 to 30 cm long (hence the
name "arching sistrums"), on which several disks of dimini-
shing diameter, cut out of gourd and pierced in the middle, are
threaded. The number of discs, between 15 and 20,
corresponds to the age of each initiate.
The playing technique varies according to the
instrument's ethnic origin.
When they are played in pairs, they
, are shaken up and down and
rubbed against each other.
The sliding disks hit one
another and make a
crisp, clacking sound.
Wasamba are used mainly
during circumcision ceremonies,to ward
.. '-" off evil spirits and accompany singing
during the retreat period following the ope-
ration. Newly circumcised boys are not to be
approachedby just anyone;the wasambaannounce
their presenceto passers-byand strangers.
This instrumentis saidto datefrom theMiddle Ages.

. Also called WASAKUMBA (Susu ethnic group) and LALA (Fulbe ethnic group) (photo on the right).

16-
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 CURVEDHARPS
THE BOLON
~

The bolon is a curved harp comprised of a large

r calabash, a curved wooden pole and three strings.
At the end of the pole is a resonator(l).
The musician most often plays seated,with the instru-
ment placed facing him betweenhis legs. He holds it by
the pole, his wrists resting on the calabash,and pinches
the strings with his thumbs.
The bolon is the double bass in Mandingo music. It is
mainly played for hunting ceremonies.
Originally called soron, this instrument was man-sized
~ and was played standing. It exalted courage,exhorting
warriors to enduranceand valor. When a city was taken,
the soronplayer alwaysprecededthe military leader~
the conqueredvillage.
The Bamanahave anothercurved harp with two :..-..
three strings, called dozonkoni(2).
The dozonkoni is mainly found in Mali's Wasoulou
Belidougou regions, where young people play i
evening gatherings.

LUTES

THE NKONI

The nkoni is a Sahelianlute found among the Fulbe,

, SoninkeandMoors, a sort of small guitar with a boat-
shapedbox andthree strings.It is also now found among
the Bamana,who have addeda fourth string.
A sheepskin is stretched and nailed over a wooden
resonance chamber.
Oncemadeof horsehair,the stringsare now nylon. They
are stretched on the round wooden, notched neck and
held by sliding leather rings (like on the kora).
The nkoni is above all the griot's instrument, a perfect
support for the kora.
The Mandingo Empire's history can be discovered
through the nkoni' s music. It accompaniesthe historian
or the chronicler and is used to illustrate narratives of
brave deeds.
It is also found in traditional Maninka orchestras.

1. A thin metal sheet, decorated with rings, acts as a resonator.

2. Dozo = hunter; nkoni = string instrument.

- 18-

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1:21

The djembe belongs to the membranophone family.
r Its goblet shape resembles the mortar used for
pounding millet. Made of a single hollowed out and
sculpted piece of tree trunk, it comprises a flattened
cone "foot" whose cavity opensinto a larger resonance
chamber or "body". The connecting part in the middle
of the djembe is the "collar".
The size generally varies from 55 to 60 cm high and 30
to 38 cm in diameter(somedjembefrom the Ivory Coast
and Burkina Faso are wider). The woods used are cho-
senfor their density,tone and toughness.The worojiri(l),
lenke, dogora, gueni and calcedrat are the woods most
frequently used.
The drumheadof the djembe is made from goatskin.
The tension system is of braided nylon cords. The skin
is held with threemetal hoops(cf: Assemblinga djembe).
Originally, the djembe skin was sewn and assembled
with thin strips of braided leather or cow gut. If the ten-
sion slackenedduring playing, the musician restretched
the skin by heating it over a small wood or cardboard
fire (this technique is still used by some drummers
in Africa).

1. Jiri = tree; woro = kolo. The edible kolo nut is red or white in color. Traditionolly, it also
plays an important role on certain occasions, and is given as a sign of agreement, respect
or to obtain the cromise of a betrothal.

-22-
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5NI~I~O 511
 FUNCTION

, n West Africa, instrumental music is generally the
domain of men, vocal music that of women. The
djembe is therefore essentially played by men. With its
bright rhythms, it is above all the instrument of dance.
Traditional dances handed down from generation to
generation make up the greatest part of each ethnic
group's surviving artistic and cultural heritage. The
dancesreflect aspectsof a past epoch and life, as well
as mores and activities. The dancescan be classified in
three very distinct categories:
Ritual dances
The main characteristicof thesedancesis their religious
or magic element.They determinethe synthesisof know-
ledge to be assimilated by those seekingto be initiated,
thereby acquiring the highest social and spiritual values.
The also include mask and puppet dances.Thesedances
are reservedfor the initiated.
Castedances
During popularfestivities, thesedanceshelp identify
the dancer'scaste:ie, griots,.smithsor cobblers.
Secular dances
Thesedancesillustrate all the eventsof community life.
They can be performed by all members of the society,
each sex having its own dance steps.They convey dif-
ferent moods,like joy and sadness,and expresspopular
communal delight and the ardor of group work.
The djembe is used at the various social events that
make up traditional festivities: baptisms, circumci-
sions, betrothals, weddings and some funerals, as well
as ceremoniessuch as assembliesand mask festivals.
It is also usedby all West African dancecompaniesand
national troupes.
The djembe is played in a group of several percussio-
nists comprised of a soloist, djembe accompaniment
players and dunun players. The rhythm is generally
composed by superimposing different intertwining
rhythmic units. The interweaving produces a rich and
varied polyrhythm. In the Maninka tradition, songs
introduce the drum music. The songs vary according
to the ethnic group and the event. They can be divided
into three categories:
- songsof praise,with instrumentalaccompaniment
(stringsor percussion);
- dancingsongs,with drumssettingtherhythm;
- narrative or epic songs, accompanied above all
by strings.
Family membersare responsiblefor the organisationof
celebrations and women gnots are generally in charge
of the festivities. They lead the different songs,whose
words relate directly to the event: ie, honoring the
grooms, their families, or the parents of a child being
baptized.The other women participateeither by forming
a synchronizeddancecircle, or by clapping their hands,
creating a rhythmic link between the singing and the
instruments.
When the singing startsthe djembefola soloist gives his
group of accompanists the rhythmic support and the
speed for the intoned chant (the same rhythm can be
found in different chants).The soloist beatsthe various
rhythmic formulas correspondingto the dancers' diffe-
rent movements. His coherent, coded instructions
enable them to express themselves, to move with
the group and the assembly, they produce a perfect
simultaneity between the music and the dance. This
generally concludes with a fast finale. The drummers
follow the dance, not vice versa.
The soloist can give starting signals to change the
dancers' steps, and stopping signals to end or tempo-
rarily stop the dance.This techniquewas elaboratedby
dancecompany drummers,and is also usedfor teaching
in danceclasses.

CONSTRUCTION

The djembe is not mass produced. Each djembe is and finish that areof major importancein making a good
r handmade and therefore unique. The craftsman is instrument.
frequently a sculptor, specializing in woodwork(l) and The djembe'spitch (cf: Assemblinga djembe-The skin)
in fabricating everyday objects such as mortars, chairs dependson the balance and harmony of its forms. The
etc. Very occasionally, the musician is also the sculp- nature and thickness of the wood determine its weight.
tor. His assorted tools, including gouges, crowbars, Certain proportions, which the craftsman knows, must
machetesand adzes,allow him to achievea construction be respectedbetweenthe "body" and the "foot".

1. Called "smiths".

- 24 -
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 PLAYING POSITIONS

Usually the djembe is played standing.

This position, more suitablewhen playing for dancers,gives greaterfreedom of movementand allows one to move
about while playing.
It also amplifies the volume of the djembe and facilitates better collaboration and a more harmonious dynamic
between the drummers and dancers.

When moving around, it is better to shift the djembe's foot to the side of your leg.

The djembemaybe carriedin two differentways:

The most common method is using a long shoulder strap (4 meters long
maximum). To prevent the drum from sliding, the strap is crossedin back.
The djembe restsbetween the drummer's legs.

It is important to choosea sturdy strapwide enoughnot to dig into the

shoulders.A judo belt works well.

For a good position, the strap should be precisely adjusted.If it is

too short, the djembe will be too high. If it is too long, you will
stoop. The djembe's collar should be mid-thigh level.

provides greater ease of movement in the upper body but can cause lower back problems: beating the
The
second
method,
most
currently
used
in
Mali,
is
strapping
the
djembe
around
the
waist.
This
has direct repercussions on the spine.

-26-
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 ORAL SOURCES

W estern musicians have inherited a long writtenin rhythm and simplifies the task of "keeping the
musical tradition, an important memory aid. It tune in one's head".
enables them to separate the music from its context. For this reason,eachsoundcorrespondsto a syllable.
In Africa the reverse is true: oral tradition remains the It is advisableto keep this in mind as a complement
most important and most frequently used source. to Western notation when singing all of the parts
African drummers traditionally use the "drumming played.
language", a literal translation of the spoken language. It is also very important to develop your ear
The drum's music is therefore always based on
spoken phrases, on meaningful series of words. - by listening to recordings (cf: Selected Re-
The drummer plays them, varies and ornaments cordings).
them, or combines them as he chooses and according - by listening to yourself and the musicians you play
to precise dance phrases. with, in order to respect what happens in a group, ie,
Songs in onomatopoetic form are reworked on the the harmony.
drum. Precise ways of beating the drum are used, The ear, hands, feet, the voice - the whole body is
corresponding to distinct sounds. called upon and stimulated by this comprehensive
The phonetic method undeniably facilitates singing instrument.

,}J

PUL~~J'ON

.I'"'J ontrary to Western musicians, the traditional better cohesion among the players.
'-.; African musicianfeelsno needfor anexternalized A metronomeor a drum machine(less:
mightbehelpfulto ensureevenness
in the1..- ,
temporal guide.
The beat designates evenly spaced reference exercisesthat follow.
points in time. Learning or "having" the beat Tempo has a major role in djembe music. Once
is indispensable for learning and mastering the be possible to play them at different tempos.
exercises
are
mastered
and
assimilated,
it
~
following exercisesand rhythms, in which several
instruments play. Do not try to acceleratetoo quickly at first, as
Marking time with the foot requires the upper will lose precision and maybe the sound
and lower limbs to be independent of each other. gether. Going beyond a certain speed
This is difficult to master at first, but it is indis- additional difficulties, such as: keeping
rhythm while striking with precision, ..
pensable. fatigue, bad posture, or lack of stamina,
This action allows you to keep a steadyrhythm. The
musician relies on it during a piece and it creates and energy.

-32-
 THE DJEMBE'S DIFFERENT SOUNDS

pefore you start to learn the rhythms, here are
l> some simple exercisesto loosen up the hands and
practice the different strikes described above.
To really feel the length of the notes and the diffe-
rent soundsproduced on the drum, begin by practising
slowly with the voice. Use the onomatopoeiae given
or make up your own.
Holding both hands in the correct position helps you
find the skin's optimal tones with flexibility and
ease. Be careful to balance the two hands per-
fectly (neither should strike harder than the other).
Next try playing the exercises, first with the right
hand, then with the left.
1
A good percussionist is not content to play the
same rhythmic formulas repeatedly but knows
how to vary them. He alsotries to get the richest and
most varied soundsfrom his instrument.By playing
with the different pitches, you can also give the
rhythm a melody.
After you have executed and assimilated the
following exercises perfectly, invent your own.
Change the sound, use muffled and "touched"
strikes...
And discover the pleasure of sharing with other
musiciansclear, airy playing andrhythmscomposed
of distinct and precise notes.

'~-r ri'--i'--:.j I I I .

r rl~l~ ..

- 34-
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 The following rhythms have
r been chosen from among
thosemost frequently used.The
versions presented are neither
rigid nor immutable. They are
interpreted differently according
to the country or region of origin, the
soloist and the event: wedding feast, recording,
danceperformance, dance class, etc.
In Guinea, the kesereni and sangba can be sup-
plemented with the dununba, and in Mali there
can be a seconddunun. It is not necessaryto limit
the djembe accompaniments to two per rhythm.
The ones below are the most representative, the
most common.
A soloist with Ii particular way of playing might
prefer a single accompaniment, or he might add
three or four instruments.
A soloist will have as many different accompa-
niments as there are accompanists.
To interpret and understand the repertory well, it
is indispensable to master each of the rhythms
and all of the djembe and different dunun motifs
alone, before playing with a group.
The Diembe
- Keeping a steady tempo, repeat the starting
signal slowly several times.
- Do the same thing for the first djembe
accompaniment.
- Then play the seconddjembe accompaniment.
- After the starting signal, go back to the first
accompaniment, then do a stopping signal.
- Repeat this with the second accompaniment.
- After the starting signal, play the first
djembe accompaniment, then, without stopping
or repeating the starting signal, play the second
For "Jansa", for example:
Starting Signal
11-
13EJ=:
In some cases- "Dununba", for example - the stop signal is different from the start signal:
Starting Signal
42-
~
djembe accompaniment. Repeat, alternating
these accompaniments several times, in 8-measure
cycles, for example, adding signal to stop.
The Dunun
- Work gradually in the same way as for the
djembe,but this time one instrumentplays after the
other, starting with the first dunun,then the second
alone, then with the bell, and finally the dununba
alone and then with its bell.
To start each combination correctly, sing the
djembe starting signal.
Only when these stages are accomplished and
when each percussionist is perfectly at easewith
all of the rhythmic formulas can the group work
start. Eachmotif may appeareasyto drum by itself,
but combining the different rhythms is difficult,
becauseof the interweaving.
- At first, begin with one other musician and
practice the two djembe accompaniments. The
two can switch parts during playing, working
together without a starting or stopping signal.
- Next you can practice the different dunun ac-
companiments with one or two other musicians,
one after the other, being careful to respect
the cycle: 8-measures,for example. ~
Once these different stagesare accomplished,the
group can play the whole rhythm together.
In order to keep perfect stability and :.
harmony, it is essentialto use the different
as reference points: they are the "heart of ..
rhythm".
The startingsignalsetsthe tempoandrhythm,--
follow. It is given by the first djembe player.
To stop the rhythm, the samesignal is .
into a "signal to stop". To do this, one extra beat
added,which canbe playedasa slapand
Signal to stop
)1-
Signal to stop
 JANSA .

F rom the Kasonke ethnic group, originating in
the Kayes and Kita region of Mali.
The jansa is undoubtedly the most popular enter-
tainment dance in Khasso. It takes place in the
evening or at night, in the public square. It is for all
people and all occasions: the full moon, the end of
winter and good harvests. It starts slowly, picking
up speed when a talented dancer goes into the
middle of the circle. Great dancers sometimes
manipulate a rifle or pestle while dancing.
The following version is the most popular in the
cities.

CD Track 16
Starting
signal and

2nd
djembe

1st dunun

2nd dunun

KL/RL/Ef

F rom the Jula ethnic group, originating in Ivory Coast and Burkina Faso
(Bobo Dioulasso).
This rhythm is played during festivities towards the end of Ramadan, the
27th night.
It is the last big fling for the young girls who will be married the
following year.

CD Track 17

- 44-
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 D(DAD(

F ro~ the Bamana ethnic group, originating in the Bougouni circle, of Mali's Sikasso
regIon.
The didadi is organized during the end-of-the-year holidays or to celebratethe arrival of an
important person. It is an easyrhythm to danceto, and everyonecan interpret it as they like.
In the Sikassoregion, the dunun called didadidunun is the instrument played for the didadi.
The hand plays the drum on the skin opposite the one hit by the wooden drumstick,
complementing the stick's playing.

CD Track 24

. .
HAND HAND

KASA

Co rom the Maninka ethnic group, originating in the Kouroussa region of Upper Guinea.
r The kasais played at all eventslinked to the harvest.This rhythm is played to encourage
farmers during sowing and harvesting. There are severalkasa.Konkoba, soro and dub on
are other rhythms played along with the kasa.

CD Track 25

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 ~ SAgAR

- " F rom the Wolof ethnic group,
the Dakar region of Senegal.
In this country, the most common instrument is
the sabar,a skin drum played with one hand and a thin
wooden stick. It is set on the ground or strapped to
the side of the body. The rhythm and dance stepswere
named for this drum. There are several styles of
in sabar dancing. The best known are the "air condi-
tioner", consisting of unveiling the pentelu(l) to the
musicians and the audience, and the "fan", where
hip rolls provoke a circular movement of the buttocks.
This rhythm is very popular in Senegaland in the rest
of West Africa, where several variations have been
transposed for the djembe.

CD Track 28

50C;OLON

F rom the Bozo ethnic group, in the Mopti region of Mali.

at the end of the fishing season. Currently, the sogolon is played with the djembe i~ the"
Traditionally,
this
rhythm
is
played
with
three
bongolo
and
a
bara.
It
celebrates
Bamako district, during popular celebrations and festivities.

CD Track 29

1. Pente/uare underskirts worn only by married women. They are of different colors and can be embroidered with provocative phrases.

-50-
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 -"""", KUKU

F rom the Koniagi ethnic group of

the Beyla and Kerouaneregions
,
in the Guinea forest area.
This rhythm is played for the end of the harvest
festivities and during celebration festivities.
It is playedonly on the djembe,asthe dunundoesnot
exist in this region.Two small drumsareaddedto the
sidesof the soloist's djembe. The whole is called a
three-headeddrum. Another drummer keepsup an
accompanimenton a small djembe.
The kuku hasbeenmodified and adaptedwith dunun
and djembe solos for the National Ballet Company.

CD Track 32

5ANJA

F rom the Maninka instruments accompanythe sanja, played to

ethnic group, in
the Kayes region of Mali. men and women griots. On these occasions,
This piece traditionally openedthe ceremoniesfor griots sing each other's praises and execute
the death of a king or a very important man. very graceful dancewith circular movements,
Recountingthe Mandingo epic, this predominantly arms spreadout. Today, someassociations
vocal rhythm was interwoven with "Fasa"(l). zing "Ambianci Foli"(3) ask the djembefola
Traditionally, the real sanja is not played on the the sanja.He canonly do so in
djembe, which is not a griot instrument like the circumstances.This rhythm is
bala, the ntama and the jalidunun(2). Only these In Guinea, it is called lamban.
CD Track 33

1. Songsof praise.
2. Griot dunun.
3. Neighborhood
festivities.
4. Danceof the
griots.

-52-
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 I<AWA

F rom th,e Maninka ethnic group, originating. in the Far~nah region o.f Upper Gu~n.ea.
Kawa IS above aillhe rhythm of the medecme man. It IS played durIng CIrCUmCISIon
periods to contain evil spirits and protect the young initiates from them.
For this rhythm, the djembe is accompanied by the bala, the ntama and the file.

CD Track 36

HENJANf

F rom the Maninka ethnic group, played throughout the

Maninka country.
This rhythm is mainly played by young pubescentgirls to celebrate
good harvests.
In Guinea, this rhythm is also called denadon.

CD Track 37

NOUMOUDY KElT A

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 UPPERGUINEA (continued)

SIGUIRI FARANAH

Denadon Mamaya Kala

Ja Menjani Kankamba
Soboninku Kawa
Jagbe
Fankani Sofa Konjan
Koso Soli Konkoba
Koma Soliwule Sac
Konde We'ima Soko
lamban Soli
Toro

GUINEA FORESTREGION MIDDLEGUINEA

NZEREKORE LABE

Kuku Fulani Rhythms

5 headed drums

LOWER GUINEA

CONAKRY, KINDIA, BaKE

In this region, we find mostly Susu rhythms such as:

Kakilembe Yencadi Makuru

Sorsone Guinefare Yokui
Tiriba Mane
Yole Sintie

-56-
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 l1NrSON'DRl1HSrGNAL

U ere is one of many "drum signals"
~ - n composed by the "Ballets Koteba
de Cote-d'Ivoire"(l), a company created
and directed by Souleymane Koly. Many great
drummers, including Fofana Georges Kemoko,
Mamady "Kargus" Kelta and Mamady "N'Toman"
Kelta, have belonged to the troupe.
This starting signal is presentedmainly becauseit
is played in unison by a troupe of djembeand dunun
drums.To interpretit well, it is necessaryto work on
the group's orchestration and homogeneity.
Memory also is important, as are the song and
the different sounds.
- The first drummer plays the first starting signal
measure, and the troupe immediately joins in.
- The djembe group plays the first staff; the dunun
group plays the secondstaff.

CD Track 40
2

Djembe

Dunun

1. Thisversion is by Fofana Georges Kemoko and Mamady "N'Toman" Ke"ita

-60-
 -~9-
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gqrugfa U 'BUIIqrugssy.
. . . . . . . . . . .. .,. ... . . . . .. . .
.9
, n Africa, it is customary for a percussionist to result. You don't get a good soundthe first time you
change the skin of his drum himself, just as a play your drum. Likewise, the first djembe you
guitarist changesthe stringsof his or her guitar. The redo won't be your best.
operation is in fact long and difficult. Get help the first time from someonewho alreadyhas
The procedure advised here, which I learned someexperienceto avoid getting discouraged.The
through repeated experience, will facilitate your task will seemeasier.
work, and you will learn other little tricks as you go And it is so satisfying to play an instrument
along. It will take three or four tries to get a good assembled with your own hands!

The instrument

O nce the skin is off, verify that there are no
cracks in the wood. If there are, round them down
completely, and fill them in using a dense mixture
of wood glue and fine sawdust (more efficient than
ready made wood putty.) Check that the wood is
not pock-marked with little holes. If you see a fine
wooddust in the drum, an anti-termite treatment is
imperative. If necessary, even out the upper edge of
the djembe. To do this use a wood rasp; then sand
it down to get a perfect finish. It is important to
eliminate all irregularities on the perimeter:
they can cause cuts in the skin when you shave
it. Also, a rounded edge will hurt your hands less.
To protect, preserve and nourish the wood, grease
the entire drum inside and out with sheabutter (or
linseed oil, which is easier to find.)

The djembe has three iron hoops (generally

r made of cement rods), 6 or 8 mm in diameter
(depending on the djembe's diameter). They are
wrappedaroundthe drum barrel and then soldered.
Two are tension hoops, a larger and a smaller one.
It is on thesetwo tensionhoopsthat the knotsaretied
to hold the lacing which tightens the skin.
The third hoop is the support hoop. It goes inside
the skin, which will be pulled up over it during
the assembly.This supporthoop is the largestof the
three, being slightly larger than the tension hoop
which it supports.
The two larger hoops are placed on the upper
perimeter of the drum body.
The small hoop goes on the collar.

-66-
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1/ To takeoff the old skin, undothe lacing. Startwith
the horizontal lacing and then undo the vertical
lacing. If the skin doesnot comefree easily, tap the
upper hoops with a hammer. To remove the inner
hoop, you can let the skin soak in water for an
hour. This avoids tearing. It will then be possibleto
use the skin to make a dunun.

2/ Determine the best placement for the upper

hoops (neither djembe nor hoops are perfectly
round!). Mark the drum body with the felt-tip pen at
the place where the hoops are soldered so that you
can find this placement easily once the skin is in place.

3/ Tie an identical numberof "lark's headknots" (as

shown below) on the two tension hoops. Spacethe
knots evenly, about two fingers apart on the larger
hoop (closer together on the smaller hoop.) For
example, a hoop 35 cm in diameter should have
no more than 30 knots.

./

~ l

Finish this step by tying a squareknot to join the ends

of the cord (on each of the two tension hoops).

- 68-
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 III. ASSEMBLY

-_&&&r.r.r.r.r."""~&&
9/ Preparethe 16 meter long vertical tension cord by burning its ends so
they won't unravel.
Begin lacing by locating the middle of the cord, thereby ensuringthat it will
have the samelength at both ends.Lace to either side by weaving the ends
of the cord around each of the knots successively.

Be careful not to missany knots or you will haveto start over!

101Once you have laced and knotted all around the djembe, graspthe ends
of the skin. Holding the lower part of the instrument with your feet, pull the
skin upward strongly to stretch it.
This part is essential.It keepsthe skin from being too low on the drum body
when you finish assemblingand tautensthe skin.

11/ Now check one last time that the skin has no holes in it. Look through
it towards a bright light from the foot side. If you seea flaw, you may be
ableto shift the skin, placing the flaw on the edge.Otherwise,you will need
to use anotherskin.

IV. TENSION
12/ Removethe three metersof string used to hold the hoops in place
(cf.8).

13/ Do a preliminary tightening of the cord. Place it correctly on the knots,

bringing the skin down 1 cm all around the djembe. At the same time, be
sure that the two hoops stay parallel to each other. Eliminate any wrinkles
that might form in the skin between the two top hoops. Pull gradually,
without forcing at first, or the skin will drop too quickly and too low on
one side.

14/ Once the cord's slack has been taken up, attach the two ends with a
knot as shown below.

~
-70-
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VI. DRYING AND FINISHING

19/ Lay the djembe on its side to keep the wood from splitting during drying. Let the skin dry for at least three days
in the sun or in a dry, well-aired place.

201Verify that the skin is perfectly dry. To get rid of any slack in the vertical tension cord causedby drying, pull
it firmly one last time and redo the overhandloop.

21/ Now do the crosswiseweaving which doesthe final stretching. Pulling this cord is very hard on the hands(and
also on the back), so wrap it around a thick wooden stick which gives you leverageto make the pulling easier.
It is often necessary to weave two turns to get the most out of the skin. Shown below are a few ways of weaving
which produce various tensions and designs.

1 2

3 4
- 72-
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 - A dunun can be assembledwith metal hoops, like the djembe, but it can also be sewn. The djembe
was originally madethis waJ]as well. The readercan practice either the hoop or cord method on
either instrument. The secondmethod, trickier and less common, is more traditional.

In the sewing method describedbelow, the metal hoops are replacedwith nylon cord. The skins are attachedto the
cord by meansof nylon thread rather than by knots. Then more cord weavesthe skins to each other.

You can employ two used djembe skins to make a dunun. This savesmoney and also makes sewing easier,as the
skins are already shavenand therefore thinner.

I. PREPARATION

Materials

- a 30 or 56 litre oil barrel

- two goatskins
- solvent,rags
- two sheetsof sandpaper
- 1/2 litre of oil paint
- 20 metersof nylon cord, 4 mm in diameter
- 4 metersnylon thread,3 mm in diameter,for sewing
- 3 metersof string

Tools

- a pair of metal shearsor ajigsaw

- a long, sturdyneedlefor leather
- a largepair of scissors
- two rectangular,double-edgedrazorblades
- a screwdriver
- a hammer
- a lighter
- pliers andleatherstitchingpalm
- a flat paintbrush

25/ Drill a hole in the top and bottom of the barrel. Then, using the jigsaw or the pliers, cut out the two ends.Be
sure not to use a barrel that has held toxic or inflammable products.

Using the hammer, flatten the cut edge against the inside. Carefully remove any metal shavings.

With abundantamountsof solvent, wash the inside to eliminate any grease.Sandthe outside, removing old paint
or advertising. Make it look like new with two coatsof oil paint, decorating it as you like.

-74-
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 32/ Sew the next stitch at a distanceof threefmgers from
the first. (Use your hand as a measureto make the spa-
cing even).What's difficult is to keep the skin from slip-
ping off the barrelbeforehaving sewnall the way around.
When you have finished, tighten the thread and tie a
squareknot with the 10 cm part you left at the fIrst stitch.

33/ When the first skin has been fitted, turn the barrel
over, setting the skin on the ground. This skin can also
be pulled off gently, and then repositioned after the
second skin is sewn.

34/ Fit the other skin on the other end, following the
sameprocedure.Be sureto makethe samenumberof
stitcheson both skins.

!Y.:.J::A£!Jig
351When the second skin is sewn, place the barrel on
its side. To hold the two skins in place and prepare for
the cord lacing, cross the 3 meters of string tightly
between the two skins (cf. 8).

36/ Weavethe 15 metervertical tensioncord between

the two skinsby passingback andforth undereachof
the stitchesfrom oneskin to the other(cf. 9).

V. TENSION

37/ Pull the skins gently, eliminating the cord's

slack. This will move them down to about 2 cm
below the edge.
Pull them evenly, turning the drum two or three
times to get the desired result.

38/ When you have finished tightening the cord,

attach the two ends with an overhand loop. The
tension is much looser than for the djembe.

VI. FINISHING

39/ Turn up the ends of the skin and cut the excess
with the scissors (cf. 16).
401Shavethe skins if necessary(cf. 17).

41/ Finish the edges of the skins by folding

upward, using the first method (cf. 18).

42/ The drying and finishing are the same as for

djembe (cf. 19 & 20).

43/ Weave the horizontal tension cord (cf. 21).

- 76-
 Here is a list of WestAfrica's major musicians.Someare listed with their nicknames.
Theyare eminent musicians,whosework truly embodiestraditional Mandingo percussion.

Aboubakar "Abou Batteur" Ke"ita Guinean

Former soloist,"Grands Ballets d' Afrique Noire de Paris"; lives
in France.
Adama Drame Burkinabi
Lives in Ivory Coast, founded the "Ensemble Instrumental Foliba"
in 1990.
Alhusseini "Solo" Cherid Guinean
Lead soloist of 'Wassa"; lives in Guinea.
Amara Kante Malian
Former 18t soloist, "Sabougniouman" Troupe of Bamako, foun-
ded in 1972; lives in Mali.
Arafan Toure Guinean
Former lead drummer, "Ensemble National des Ballets Africains
de Guinee"; lives in Holland.

"Ex EnsembleNational desPercussionsde Guinee"

Koumgbanan Conde Guinean

Former lead drummer, "Ballet National Djoliba de Guinee", ADAMADRAME
sangba specialist; lives in Guinea.
Noumoudy Ke"ita Guinean
Former lead drummer, "EnsembleNational desBallets Africains
de Guinee"; deceased.
18t soloists:
Aboubakar "Fatou Abou" Camara Guinean
Former1st soloist, "Ballet National Djoliba de Guinee"; lives in
Guinea.
Lamine "Lopez" Soumah Guinean
Former soloist, "Ensemble National des Ballets Africains de
Guinee"; lives in Guinea.
Lance".. Kante Guinean
Dunun specialist; lives in Guinea.
pd soloists:
Aly "Kanya" Sylla Guinean
Mamadou "Mohamed" Camara Guinean
Also 1st soloist of "Wassa"; lives in Guinea.

Fadouba Oulare Guinean

Former 1st lead drummer, "Ensemble National des Ballets
Africains de Guinee", founded in 1958; lives in Guinea.
Famoudou Konate Guinean
Former lead drummer, "EnsembleNational desBallets Africains
de Guinee"; lives in Guinea, where he founded his own group in
1988.
Fode "Fade Marseille" Youla Guinean
Former soloist, "GrandsBallets d' Afrique Noire de Paris", lives
in Guinea. FAMOUDOU KONATE

-78-
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 SELECTEDRECORD(NQS

This selectionof Mandingo music is not exhaustive.

The recordingslisted here are among the most representative.

Adama Drame Rythms of the Manding (LP) Philips 6586042

Tambour djembe (LP) Auvidis 4510
Foliba (CD) Playa Sounds 65122
Percussions mandingues (CD) Playa Sounds 65085
Djeli (LP) Auvidis 4519
Great Masters of Percussions (CD) Auvidis 6126
30 ans de Djembe (CD) Playa Sounds 65177

Africa Soli Sali (CD) Sango Music 007

(Netherlands)

Bamba Dembele et Ie groupe Djoliba Vol 1 (K7) Syliphone 8350

Percussions Vol2 (K7) Syliphone 8351

:::isse Sima Farev (LP) Nubia SA 300021

Famoudou Konate Rythmen der Malinke Guinea (CD) Museum collection 18

Staatliche Museen. Preubische
Kulturbesitz.
Stauffenbergstrabe 41
1000 Berlin 30 (Germany)

Fode Youla Percussions Music from Africa (LP) SAJ 19

Kaloum (LP) SAJ 26
Basikolo (LP) SAJ 48
Ne Ne (LP) SAJ 50
Yancadi (LP) SAJ 54
Free Music
Behaimstrasse 4
1000 Berlin (Germany)

Kassoum Diarra Kassama percussions (CD) Playa Sounds 65170

. Ladji Camara Africa, New-York (LP) Lyrichord LLST 7345

Les Ballets Africains Vol1 (CD) Buda Records 82513

de la Republique de Guinee Silo (CD) Buda Records 92579

Louis Cesar Ewande Cano (CD) Bleu Citron OMD 545

80
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