DJEMBE-L FAQ Background Info on Rhythms v6d
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From: Lindsay Rowlands <lrowland@metz.une.edu.au>
March 10, 2000
Patricia the Kali Woman <Kali226@aol.com>
writes:
>hello - does anyone know stories about the rhythms ku ku, kakelama and yankadee?
I would like to have more knowledge about their meanings as soon as
possible.
Do you mean cultural info about these pieces? While there is no official correct way of
spelling these names I think most people, in the West, would know these as:
Kuku
Kakilambe
Yankadi
This is what I've got:
------------------------------------------------------------------------------------------------------
Kuku - is a rhythm from the Konianka people in the forest region of
Guinea. It was originally done by parents to welcome home their initiated sons from
their initiation training. It was originally played on Krin. However, the rhythm has
been adapted for djembe and dun-dun and has been quite popularized. It is now done
for all types of
celebrations. From: SOURCE: LAURIE SYLLA <SYLLAL@NU.COM>
"Rhythm of the forest part of the Guinea, in the region of Beyla. Although not part
of Mandeng, this region was peopled by Malinke many centuries ago and still today, the
languages are rather similar for comprehension to be possible. Kuku, during the feast
after the harvest, is played all the night..." SOURCE: Mark Szymanski
From the Koniagi ethnic group of the Beyla and Kérouané regions in the Guinea forest
area. This rhythm is played for the end of the harvest festivities and during celebration
festivities. It is played only on the djembe, as the dunun does not exist in this region.
Two small drums are added to the sides of the soloist's djembe. The whole is called a
three-headed drum. Another drummer keeps up an accompaniment on a small djembe. The kuku
has been modified and adapted with dunun and djembe solos for the National Ballet Company.
SOURCE: Serg Blanc, Les Tambour
Djembe PLEASE EVERYONE BUY THIS WONDERFUL RESOURCE.
------------------------------------------------------------------------------------------------------
Kakilambe - I was told by Epizo Bangoura that this is a welcoming
song/dance. We actually performed it for him at a Drum Camp on his birthday and he was
visibly moved by our thoughtfulness. SOURCE: Lindsay Rowlands <lrowland@metz.une.edu.au>
------------------------------------------------------------------------------------------------------
Yankadi
Med-slow. I'm not much of an expert on this, but my understanding is that Yankadi is
a rhythm which is played for a social dance/party which is refered to as "A
Yankadi" (kind of like how we refer to The Prom). In the dance 4 couples at a
time dance with each other (and briefly with other partners) and the essential elements
are eye contact, flirtatious movements and touching your hand to your partner's heart.
SOURCE:Michael Wall < drum@aloha.net
>
From: Adam Rugo <amrugo@artsci.wustl.edu>
It's great that we are sharing our knowledge about the cultural context of the rhythms we
play. I have a couple of things to add to Lindsay's wonderful post.
Kuku: Lindz mentions that this is from the Konyanka or Koniagui people of
Guinea. One of the somewhat confusing facts we encounter when studying about West African
ethnic groups is that they can be referred to by several different names. The Konya are
also called Konyanka, Koniagui (this is a French spelling, but still sounds like
"Konyankee"), and Manian. Mamady Keïta teaches a rhythm he calls "Soli des
Manians."
"Soli" is the name in his language (Malinke) for the dance done
when the boy-initiates return from the circumcision ritual. Mamady, then, is saying that
that particular rhythm is the "Soli" of the "Manians." Manians are
what the Malinke call the Konyanka. Same people, different name.
(My favorite example of this variety of names for the same people relates to the Soninke.
They call themselves "Soninke," the French call them "Sarakole," and
the Bamana call them "Maraka.")
So far, I am aware of three rhythms from the Konyanka repertoire: Kuku,
Siwé, and Soli des Manians.
Kakilambe: There has been extensive discussion about this rhythm on the
list some time back. Mamady taught us Kakilambe and explained the cultural context. I
wonder if those post are still in the archive? You might check the Djembe-L FAQ.
Yankadi: As I understand it, this is a dance of the Susu people of
coastal Guinea. The word "yankadi" translates to "yan" (here) +
"kadi" (is sweet). When you taste some food and you like the way it tastes, you
say "a kadi," meaning, "it tastes sweet (or good)." You can also use
this expression for some music that you like. If the drummers play well, our dance
instructor says "a kadi!" So, "yan kadi" means "a good time
is happening here." In this context, "ka di" can also mean
"interesting." So "yan kadi" also can be translated as
"here something interesting is happening."
------------------------------------------------------------------------------------------------------
From: "R Clark" <clark@acceleration.net>
On my websight I've created a page
<http://www.acceleration.net/clark/PaperVu/context.htm>
to address this
recurrent thread interest. You will find all three of these rhythms there
under alternate spellings. (Lynzz points up the "proper" spelling) After the
page loads (it is understandably large) I suggest clicking on "Index" just below
the title of the page or scrolling near to the bottom... the index section. Once you are
there you may see an alphabetical index of the rhythms hotlinked to the text.
I hope this helps, R
Post Script: Lindsay Rowands covers this very well in his excellent post written
about the same time as this one. I persist in sending this as there might be other
rhythms that ya'll are curious about. Also if ya'll have any thing to add...
comments, questions, ...whatever, please come forward this is a facinating facet of
the drumming stuff to me, obviously. Blessings, R
------------------------------------------------------------------------------------------------------
From: Jean Vaucher <vaucher@IRO.UMontreal.CA>
Yankadi:
According to Robert Lepine from Takadja who teaches at "Afrique en mouvement"
Montreal's dance and percussion cultural center, it means:
"Ici, il fait bon".... Here, things are fine
Prof. Jean Vaucher | Dep. informatique et ro
Tel: (514) 343-7092 | Universite de Montreal
WWW: http://www.iro.umontreal.ca/~vaucher/
------------------------------------------------------------------------------------------------------
From: "BoumBoum" <boum.boum@virginnet.co.uk>
Monday, April 03, 2000 6:27 AM
Yankadi:
Just to say, with reference to Yankadi, is that it is used in
Guinea to call people together for an event - hence the name and its meaning. While
staying with a Guinean troupe in Gambia recently, I saw Yankadi used
again and again by different troupes as the first rhythm to be played, bringing everyone
together - it would often then move into Kuku and out again as a link
between different dances/rhythms.
Sorsonet:
My Guinean teacher, Mamadu Seouroba (sic), told me
that Sorsonet is played each year by all the tribes of Guinea at the
Sacred Forest. On hearing it a dragon comes out of the forest, and the longer the
music plays the larger that dragon gets. It curls around and around, its points
directed out at the people. Each tribe must cover a point of the dragon with a cloth of
its particular colour, so that no bad luck will come in the year ahead. If the dragon's
scale remains uncovered, there will be misfortune.
Mamadu also spoke of mermaids, of bees presaging the arrival of a stranger - the magic of Guinea is still a living thing. His stories had the hairs on my neck standing up, so strong was his sincerity.
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