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Guinè Faré is a traditional Susu rhythm and dance originally played using only the "Balafon" - a 27 slated key, non tempered, wooden xylophone with guard resonators affixed to the bottom, "Bote" - a small bowl shaped drum with cow skin stretched over one side and played with a flat mallet in one hand and a bell struck with metal rings attached to the fingers in the other, and "Papa" - a small yembe (djembe).  Meaning
"Women's Dance" it is traditionally performed for the bride-to-be the night before her wedding day.  As with this arrangement, it is now popularly played with yembe and dununs.

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.

From: "Adam Rugo" <amrugo@artsci.wustl.edu>

 
Subject: Kuku, Kakilambe, Yankadi (was "Stories...?")

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 Djembe-L 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.  information on Kakilambe (Senegal)

From R Clark < clark@acceleration.net >Kakilambe was taught in this country originally by the Senegalese, I am told, that it is a variation of what is actually a Guinean rhythm. Abou Sylla, the Guinean Griot and a good friend,  told me this
and went on to play the Guinean version, for me, which is the "same" rhythm with   different "beats" (I.E. different sounds) as I recall being  mostly bass and slaps performed in a more staccato fashion than the Senegalese adaptation which has more of a swing feel to it. You may check my "Cultural Context of Djembe Rhythms"
<http://home.acceleration.net/clark/PaperVu/context.htm> for
slightly more info on the Guinean version.

Nyabinghi (Jamaica)

'Bingi' music as I over stand, it evolved in JA from Burra and an other heartbeat based styling whose name escapes me at the moment. This further evolved from Nyahbinghi into Reggae... some 'Bingi rhythms are evident in their pure forms in the occasional roots music offered up by mainstream artists like Bob Marley. A nice overview of the movement may be found here: <http://members.aol.com/PraizeJAH/Nya1.html>

The Origins of Hi-Life music

Today, this music is to be found all over Africa from Ghana in the West of Africa where it originated, to Zimbabwe in the far south. A good overview may be found at:
http://www.africaonline.com/



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
Cultural Context for Djembé Rhythms

From: Lindsay Rowlands <lrowland@metz.une.edu.au>

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
----------------------------------------------------------------------------------------------------
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.

---------------------------------------------------------------------------------------------------

From: Jean Vaucher <vaucher@IRO.UMontreal.CA>

Subject: Re: Yankadi

-----------------------------------------------------------------
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/

"Ligueba" amoung Susu in and around Conakry. (Mamamdy's people call it Liberte II) Either one is probably an acceptable answer. This sound file is from and history are from Wonbere. "Ligueba - One of a new generation of rhythms that became popular after Guinee gained it's independence from French rule in 1958. Origination in Conakry, it was used as a competition rhythm for school ballets and also
popularly at festivals."  

Beridu II - a Dununba rhythm from the Hamana region of Kurussa.  There are more than 50 Dununba rhythms. The recording is from the instructional cassette "Dunun (Jun-Jun) Rhythms 1" by Mabiba Baegne. 

Kassa : Originating from the Siguri and Kankan regions of north Eastern Guinea - An agricultural  rhythm, played to encourage farmers during planting and harvest.
  Kassa is also a harvest rhythm. In Senegal, it is played to give thanks to farmers as they bring in the harvest, with the following words sung:

Kassaneo
Lona kassaneo
Bomba eleda e ..

'' you who dig the soil, your work is of value to us..''

In Gambia, it's played to accompany men as they they tapped palm trees for sap to make palm wine, another type of harvest.

From Doug Kane:

Kassa is a traditional djembe/dundun rhythm of the Malinke people of Northeast Guinea.  Actually, like the Dununba rhythms, Kassa is a family of  rhythms.  In the different versions that I have encountered, like with the Dununba's rhythms, the djembe and kenkeni parts are the same for each Kassa rhythm. Only the sangban and dununba parts change.  All of the Kassa rhythms
are traditionally played for working in the fields to accompany the cultivation and harvest of the crops.

Koukou is a traditional rhythm of the Manian people of southern Guinea, and the Koyakha people of northern Ivory Coast (my understanding is that these two groups were originally one, and were split by the vagaries of colonization).  It was traditionally played on the multi-headed djembe-like drums of that region, with no dundun (one of the djembes would be tuned very low).  Koukou was traditionally played for the harvesting of fish, not
crops, but now has become a very popular rhythm played for practically all festivals.

Sofa, like Kassa, comes from the Malinke people.  However, it was not originally a djembe or dundun rhythm.  It was played on the bolon, which is sort of like a bass kora with fewer strings.  As I understand it, Sofa literally means warrior, and Sofa was played in praise of and to encourage warriors going to battle and upon their return.  Over time, other jeli nstruments such as bala and kora were added to the bolon, and finally undun and then djembe.  But this was centuries ago, so the djembe rhythm
could probably still be characterized as "traditional."  However, Sofa apparently is no longer  played traditionally as there are no longer traditional warriors in Guinea.
The traditional djembe accompaniments are quite different than those of Kassa, though I've heard ballet arrangements referred to as Sofa and incorporating accompaniments traditionally associated with Kassa, as well as Fankani (another traditional Malinke djembe rhythm).

I'm sure that "kassa" (or something very similar) does mean lizard in Sousou  or some other language in Guinea.  But that does not negate the fact that  Kassa is a traditional harvest dance and rhythm of the Malinke people.  What Jennifer says about asking different people and getting different answers  because everyone has a different level of knowledge is very true.  Anyone who has become at all serious about the study of west african percussion has n this for themselves.  My information mainly comes from Mamady Keita, who is a widely respected authority and who has dedicated his life to the reservation of traditional Mande rhythms.  To see a statement on the importance of the preservation of traditional Mande rhythms signed by Mamady and other masters including Famoudou Konate, Soungalo Coulibaly, Doudou N'Diaye Rose, Fadouba Oularé, and Adama Dramé, go to
http://www.pragmasoft.be/mamady/index_e.html

Kakilambe is a very important mask of the Baga people, that appears only once a year.   The spirit of the Kakilambe is revered as the protector against evil entities.   He appears to make important declarations about the present and the future.   When the rhythm gets fast, the priest receives the information.  Then he gives the musicians a sign, they play a break, and then the rhythm is played slower and softer.   Afterwards the priest will pass on the information given to him by the mask.

There is a lot of confusion about Kakilambe in America.  The traditional Baga rhythm is a ternary rhythm of particular beauty, both played fast and slow (and the break that moves from the fast part to the slow part, and back is particularly cool).  Somehow, a binary rhtyhm that is barely related to the traditional rhythm (if at all) has been popularized in America by Senegalese teachers, who in turn passed it on to American teachers such as Arthur Hull (from whom I learned it).  I am not aware of how this happened, but there does not appear to be any claim that it is a traditional Senegelese version (indeed the small area in Senegal where djembe was traditionally played is nowhere near coastal Guinea, where the Baga reside).
I know one highly respected Baga dancer (actually half Baga and half Susu) who danced for Les Ballet Africain for many years who told me that he cried the first time that he saw this version taught as Kakilambe (he also told me that the Senegelese teacher who taught it told him he would never do it again after they talked).  I would encourage everyone out there who has learned this binary version of Kakilambe to ask their teachers where they learned it and what they know of its history.


Chief Jolly

Komo : From the Kankan region of north Eastern Guinea - A sacred mask dance of the Numu, a cast of Maninka blacksmiths who are said to have carved the early jembe drums.

From Taylor:

NAME OF RHYTHM: Kuku

COUNTRY: The forest part of Guinea, in the region of Beyla. (Wassolon, Journey into Rhythm, Numayakayi, Les Ballet Africains, Bamidele, Konate liner notes)

The forest region of Beyla and Macenta in Guinee (Mandeng Djeli liner notes)

A forest rhythm from the Beyla region of Guinea.  (Liner notes Mabiba Baegne, Dunun Rhythms I)

The Beyla and Kerouane regions in the Guinea Forest area (Le Tambour Djemb)

OTHER NAMES:

REGIONAL/ETHNIC GROUPS:  Konianka (Abdoulaye Sylla liner notes)
                         Konianke (Master of the Forest, Bamidele liner notes)
                         Konyaka   (Konate liner notes)
                         Koniagi   (Le Tambour Djemb)
PURPOSE/BACKGROUND:

Kuku comes from Beyla, a town in Guinea where Konyaka, a Malinke dialect,
is spoken but this rhythm has spread throughout the Malinke region. Today
there are many ways of playing Kuku. The rhythm is often played in the
evening. Men and women join the musicians and ask them to play Kuku for
their enjoyment. While dancing to the music, they forget their troubles and
return home content.

According to Famadou Konate, Kuku wasn't originally played with djun djun
accompaniment. The first djembe pattern (note by AP: s.oo..s.s.oo..s.)
gives Kuku its distinctive musical flavor. This pattern was transposed in a
characteristic way to the djun djuns and this arrangement gave rise to the
standard, modern way of playing Kuku.

Famoudou Konate found this way of playing Kuku somewhat "corny" and trite
and composed his own djun djun melody. He also composed the song sung on
this recording. However, the solo patterns are, in his words, from "the
real Kuku.

(From the German liner Notes, Rhythmen und Lieder aus Guinea, Professor
Thomas Ott Translated by Albert Prak, Johannes Schya and Tom Daddesio)

Kuku is traditionally played on krin (hollowed wood logs also known as
Kolokolo) with sticks. Jembes / Dununs are recent additions. (Yves Goulik)

A celebration dance for the fisherman (Michael Markus liner notes)

A celebration dance  (Bamidele Liner notes)

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 accompanyment on a small djembe. The kuku has been
modified and adapted with dunun and djembe solos for the National Ballet
Company.  (Le Tambour Djembe)

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. This piece is played only by the djembe of
which two give the accompanying rhythm, while the solo is beaten on a big
low djembe. (Wassolon liner notes)

Mandingo dance for children. The children take vigour and physical power
from the dance in order to become vigourous children. (Liner notes Les
Tambours Goree)

A Sorcerer's dance (Les Ballet Africains liner notes)

A rhythm of rejoicing... often played after harvesting the rice (Mandeng
Djeli liner notes)

Liner note:  "Coucouba" is a rhythm found in several ethnic peoples (the
Koyagas,  the Dioulas,  and the Maoukas) in the Ivory Coast and Burkina,  a
striking combination of ternary and binary rhythms.  (Liner notes, Adama
Drame)

Kuku is the rhythm of celebration after the harvest.  (Liner notes Mabiba
Baegne, Dunun Rhythms I)

RELATED RHYTHMS:

SONG LYRICS:

Oh iya!    I te kuku fö n´yè.
Oh iya!    I te kuku fö n´yè.

Oh yes!    Play the Kuku for me.
Oh yes!    Play the Kuku for me.  (Liner Notes Rhythmen und Lieder aus Guinea)


Call:      Ah yey ku wey bo ji yamma doo wey    (Abdoulaye Sylla, Guinee)
Response:  Ahhh, ku wey bo yamma doo wey

Call:      Zio na mayo zio ley ley              (Abdoulaye Sylla, Guinee)
Response:  Zio, zio ley ley ley

Ah, Ah, Ah Si Sayango
Ah Si Sayango, Ah Si Sayango  (Malik Sow, Senegal)

Amana Tage Dabuse Amana
Amana Dabufa Dabuse Amana     (Malik Sow, Senegal)

A Ah A, A Djia Molawu         (Maimouna Camara, Guinea)
Djahamu Solada
Ah Djia Molaiay

RECORDED EXAMPLES INCLUDE:
   TR)aditional, (BA)llet, (MO)dern or (PO)p arrangement
 

Source: Holy Goat Percussion
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