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INTERVIEW WITH BABA SISSOKO INTERVIEW WITH DJELI BABA SISSOKO
Bamako
(Mali) 8 March
1963
- 2001 session
man percussions for ex "Rith miss" Marie-Veronique Brasseur and
Myriam
Mollet - Bruxelles -Belgium.
- 2003 Baba
Sissoko Guest of Enzo Avitabile and the “Bottari di Portici” ,
-Strictly
Mundial , Marseille, France;
- 2004 guest of Enzo Avitabile and the “Bottari di Portico” for the presentation of their new CD entitled “Save the Word”. Italian Tour - 2004 guest of Art Ensemble of Chicago for the presentation of their new CD entitled “Reunion”. Europe and American Tour. - 2004 Summer tour in Italy and France with his Band “Baba Sissoko and Taman Kan” - 2004 Guest of the Musical Project “Almajaam” by Maak’s Spirit of Laurent Blondiau (Belgium) and Les Gnawas de Tanger (Maroc) - Concerts in Belgium. - 2004 recording and presentation of CD with Famoudou Don Moye and Maurizio Capone. - 2004 guest of Mamady Keita at the “Couleur Cafè” festival in Bruxelles: - 2004 drums project with Chris Joris. Concerts in Belgium;
- 2004 project and
realisation Belgium Tour with “Baba Sissoko Quintet”. INTERVIEW WITH BABA SISSOKO Griot Mandingo Being a griot: Who is a griot? There are many ways to understand who a Griot is…I myself, Baba, can talk about my family, but also on behalf of all griots in the world. Griot, in Bambara (i.e. the language of my country, Mali) is Djeliya, which means humankind; Djeliya also means nobleness and "he who has a gift for eloquence". Why is the griot considered as a natural library? A griot is
a very
clever person, from any viewpoint. The Djeli (griot) was the strength
of
the family, i.e the kind of strength which exists when respect,
understanding
and harmony are present.
He can soothe the spirits in case of war, he arranges marriages; kings and generals trust him; he educates children. The griot transfers his secrets and knowledge to one of his children; he usually teaches the traditions to his eldest son. His learning process begins during the baptism ceremony, when the selected child starts following his father and learning how to play the Tamani. His father shows him the way and teaches him how to play the tamani; the selected son will then teach his younger brothers what he learned from his father. Everything is accompanied by the music, which is always present in the griot’s family. However the father is not obliged to transfer his knowledge to his eldest son. He carefully observes his sons before making a final decision and choice. The eldest daughter spends all her time with her mother. Moreover, women learn to sing, but not to play. The mother is always accompanied by her eldest daughter when she sings during a baptism or wedding. Also the mother observes her daughters, but she usually teaches all she knows to all her daughters. The father also teaches his children to play the Ngoni and talk as a griot. After choosing his successor, he will share all his secrets with him, away from all other children. Anyway there are often in the griot families children very skilled since their birth; they have a "gift" and nothing can be kept secret to them because they are already very talented at birth (or even before). They automatically become the selected ones, even if they are not the eldest children. This is my case. Before my birth, my maternal grandfather asked my parents to give his name to their baby; they asked him the reason and he answered that the he himself will educate the child because he would be special. According to the Mali tradition, one week after the baby’s birth, a white ram is sacrificed to wish all the best to the newcomer, and 50 Kg of cola nut and dates are offered to all the participants in the ceremony, while the Immahm reads verses from the Koran and utters the baby’s name. When I was baptised, they did not sacrifice a white ram; in fact my grandfather Djeli Baba Sissoko gave my parents a white ox to be sacrificed. Moreover all the guests received a triple quantity of cola nut and dates. When my name was announced (i.e. my granfather’s name, Baba Sissoko), all the griots and griottes sang for me and the celebration went on for the whole night. Everybody brought a gift, as a symbol of respect for my parents. But my grandfather’s present was the greatest and the most important one. He gave to my parents a piece of fabric called Kasà and asked them to make a BouBou out of it when I would be seven years old; this special BouBou would protect me from anything and anyone. My father gave me a Tama and a Ngoni while my mother gave me a Tamani. Therefore my father and my grandfather have chosen me to continue the griot tradition, although I was the second son of the family. My elder brother has never played an instrument, but he is an artist because he can paint and is very good at it….. everybody has his own talent! My father (Mamadou Sissoko), my mother’s father (Baba Sissoko) and my uncle (Mama Sissoko) educated me as a griot. They taught me how to play the tamani and the Ngoni, to talk like a griot and the traditions and history of my country. Then I taught these things to my younger brothers and I am very proud of it. After completing my apprenticeship in Bamako, I went to Djumara, a village near Nioro of Sahel, at my granfather’s brother’s. In fact Djeli Makan Sissoko was the leader of the griots in that region and he would complete my education. Bamako was not sufficient to make me understand and learn all the country and family traditions; I had to go back to the origins ….. to the village. Djeli Makan played the Ngoni and explained history and traditions. Everybody called him "the king of the word"; I was always with him and we rode two horses to go to the nearby villages. He taught me the Peuls, Soninkè, Bamabra and Mandingo history and traditions. His village was located in the middle of Kargolo territories, which were inhabited by the Peuls, Bambara and Mandingos. Djeli Makan played some Bamabara rythms with his Ngoni, like the Korosekorò (today I can say that the Blues origins from Korosekorò), Yuriyare , Toh Joh and Damozo; some peuhl rhythms like N’diaro and Toungherè; some mandingo rhythms like Diaoura, Dahnsa and Sabò and the Bambara-Mandingo rhythm called Badjuru. Today I can play all these rhythms, which I learned from him in Djumara. Later I went back to Bamako and told my parents what Djeli Makan had taught me. They understood my level of knowledge and completed my education. My uncle,
Mama Sissoko,
started to take me to my granfather’s brother Basumanà Sissoko’s
concerts; he was a virtuoso of the Ngoni and taught me how to play the
national anthem of the Republic of Mali with his Ngoni,
nicknamed
"the Lion". During the concerts, at the climax of his performance, he
could
leave the instrument, which continued to play, and just sing.
My mother too contributed to my musical education. She was very proud of me and used to take me with her when she accompanied the brides to their husbands in the Ivory Coast, Sierra Leone, Gabon, etc. At the time, men moved to those countries and when they achieved a good social status, they sent money to their families so that they could find a bride for them. The griots were in charge of this activity. My father often performed this activity; …. The groom’s family asked him to find a girl who would marry their son. When he found a girl coming from a respectable family, he started to observe her behaviour and morals. When he was certain of the girl’s education, he asked the groom’s family to bring cola, an ox, some salt and sugar for the engagement. Then he organised the wedding. He used to be a good master of ceremonies; then he sent the bride (together with my mother) to meet the groom. During one of the trips with my mother, I bought a gift for my father’s father who lived with us; he trusted me because I was always with him and ready to help him, because he was very old. Almost every afternoon I accompanied him during his walk in the area. His name was Djatourou Sissoko. His favourite instrument was the Tamani, he had three Tamas: a large one, a medium one and a small one; he was very good at playing his instrument and was considered the "king of tamani" from Nioro in Sahel to Djumara, to Bulonkono and to Kolokan. I learned the history of this instrument from him. The tamani has a very fascinating history; it comes from Mali, from the home city of my paternal grandfather Djatourou, the village of Bulonkono. The original instrument was the Tanka: it is made of a small calebasse (pumpkin) covered with balloon fish skin. A small hole is made in the calebasse and some water is poured into it in order to obtain a lively sound. People used to say that this instrument can talk because multiple sounds are obtained thanks to the movement of the wind in the water, if the hole in the calebasse is properly oriented. The present shape of the tamani is completely different. One of my ancestors, i.e. my grandfather Djatourou ’s grandfather had the idea. One day
Djki
Sissoko (my ancestor) went to the blacksmith of the village of
Bulonkono;
his name was Numu Balà, because he was the only one who could
work
not only with iron, but also with wood. He asked him to help him in
creating
an instrument which could have the same magic sound of the Tanka,
without
making any holes or adding any water. Numu Balà decided to
create
a wooden box and showed it to my ancestor who said that it could not be
used as a musical instrument but as a kitchen utensil and called it
Mure
(this wooden box is still used to measure millet). Then Numu
Balà
carved another wooden shape, a wedge-like object, upon which my
ancestor
placed some goat skin. He used to play this instrument with his hands
during
important ceremonies: summoning people when the king wanted to talk to
everybody, announcing weddings or somebody’s death.
My ancestor was still looking for his instrument, an instrument which could meet his needs. Therefore he asked the blacksmith to carve another wooden shape…. He created the Mokodounou , similar to the djembè, but once again it was not what Djki was looking for. One day his brother, Djimbi Sissoko, was coming back from the fields; he was very thirsty and saw many birds flying over an area of the savannah. When this happens, the birds are usually attracted by the carcass of an animal or some water. He headed in that direction, hoping to find some water. While walking along the path, he found a particular tree branch, which was completely hollow, and took it. Immediately after he saw a Kana (similar to an iguana), killed it with the branch that he had just collected, skinned it and ate its meat. He went home with the Kana skin and the following day went to see Numu Balà to show him the piece of wood that he had collected in the savannah and ask him to carve it a little bit more; he finished the piece and they placed the skin of the Kana on both sides of the wood. Djimi took this new instrument to his brother Djki; when he tried to play it, people from the village arrived, because they had been attracted by this new sound. Djki told his brother :"Fakolì modè, djamundjan kolì folì baramà e ani folì barantà" which means "I knew that all Fakolì’s descendants always discover something new". If someone is always at home (in Bamabara Tama means "to walk"), he will never find what the road hides… there is always something to be discovered on the road. This is how the instrument was created and this is the origin of its name, Tama. That is why we, the Sissokos, the descendants of Fakolì, do not eat the meat of the Kana, because thanks to this animal we could create our instrument! This is the story that my paternal grandfather told me to explain the origin of his favourite instrument, which became my favourite instrument, too. The Tama is the first instrument that we learn to play in my family, because it is linked to our origins. Nowadays the Tama is a widespread instrument. I myself carried out extensive research on the Tama to obtain all the eight notes. Thanks to its versatility as a percussion, people say that it is a bewitched instrument. Even when a full orchestra is playing, the sound of the Tama will always strike your attention among all other sounds. There is a ceremony in my family, which I cannot describe, which takes place in the forest; the sound of the Tama is crucial and the ceremony does not take place if this sound is missing. Thanks to all these teachings and to the secrets revealed to me, I have found the necessary enthusiasm and strength to continue my research and develop the potentials of this small but extraordinary instrument. To go back to my story, I would like to say that I started to play the tamani when I was five; at the age of ten people called me to play during the ceremonies in the area. Every Thursday, Saturday and Sunday I played for the girls in the district and they soon started to call me in advance to have me play at their parties, because I was always very busy. This is how I became known also to important people, who asked me to play during the official ceremonies, like baptisms and weddings, until my reputation of tamani player expanded even abroad. I travelled with my tamani everywhere in Africa: I played in Burkina Faso, Ivory Coast, Senegal, Guinea, Sierra Leone, Gambia, Niger, in Mauritania, etc.. When I was 22, I joined Mali Instrumental Group to replace my father, who was a retired Tamani and Ngoni player. I stayed in the Mali Instrumental Group from 1985 to 1991. During that period of time, I met Habib Koite in1987. Habib and I have worked together for 12 years. As a percussion player I have accompanied many artists like Ami Kiota, Kandja Kouyate, Nagnini Diabate, Babani Kone, Dialou Damba, Toumani Diabate, Hadja Soumano. I have been the first griot who included the Tama sound in the modern music in Mali. I have also been the first person who played the Tama while standing; people used to play it while sitting, also in the instrumental group. I was the first person who playid the tamani while standing in Mali during a Nagnini Diabate’s concert. Since that moment, everybody considers me like the "Master of Tamani" in Mali. In fact I am famous especially as a tamani player. I have travelled all around the world with my instrument, accompanying "modern griots and griottes " and also Habib Koite. My value has increased even more with Habib; I have had the opportunity to play the Ngoni, the Balafon, the Calebasse and the Caragna. I have acquired a remarkable experience with Habib Koite, but have also received important advices on music by Youssou N’dour, Toumani Diabate, Salif Keità, Oumou Sangare: Ali Farka Toure, Boubacar Traore Kare Kare. I have also had the opportunity to play with and receive advices from Souleymane Koli of Koteba in Abidjan, and have been lucky enough to meet international stars like Yuossou N’Dour, Santana, Sting, Angelique Kidjo, Fela Asson Kuti etc. I have been very lucky in my life; I have received a traditional, complete and profound education and met important African and non-African artists who contributed to my training as a musician. Thanks to this wealth of (traditional and modern) knowledge, I create my music, which fully reflects the variety of my life. Themes like friendship, trust, respect for tradition and love for children play a crucial role in my pieces. I define my musical style "Amadran", "tales", because I am an "Orognan", i.e. a man of his word, who respects and does not forget his traditions. I started to compose my music in 1991, when I created my band Taman Kan. Together with this band, which is formed by Mali musicians, I recorded my first album called Taman Kan. In 1998 I decided to devote myself full time to music, without accompanying other musicians and thanks to my experience I created once again Taman Kan band, together with some European musicians. When I accompanied other artists, I never sang. With my group, I sing. One night I dreamt of my mother, who asked me to sing. The following day I got up and composed the piece called Sumale and sang for the first time. This part is now included in a record dedicated to my daughter Djana. I told to myself that my mother’s spirit, through my daughter, has allowed me to become a complete musician: author, composer, arranger and singer. I hope that my daughter becomes a musician and that the inspiration she gives me every day gives me the strength to continue my musical research until, once day, she will replace me. Good luck Djana! May God guide your steps along your father’s path. THE "The Niimakala and his N'goni"
INTERVIEW WITH DJELI BABA SISSOKO. Malinet: Father, who are you? Djèli Baba: Ha! I am Djèli Baba, our djèliya, who are now called djèli, in the past were called Niamakala. If you are a Djèli you are first and foremost a Niamakala. Malinet: What does it mean to be a Niamakala amongst us? Djèli
Baba: It means uniting people so that they understand one another.
Binding
them, what does bamanan means in our language?
Malinet: What else does Niamakala mean? Djeli
Baba: When there is a dispute between two people, Niamakala intervenes
to end the argument.
We are called Niamakala. We intervene to put a stop to disputes: this is what has been transformed and is now called Djeliya Djèli. It is no more than this. All those who continue this tradition are called djèli. Malinet: How did Djèliya start? Djèli
Baba: Djeliya started with the Niamakalaya. We call those who sing
"djèli".
All those who ask for charity, even if they do not speak, are already
djeli.
The Traore can do this. The Keita can do this. For us, anyone who talks a lot or who sings is called a djèli. Djèliya and Niamakala are two different acts. The djeli asks for charity, but not the Niamakala. I am a Niamakala, I am Djèli Baba. I do not travel through the country and amongst people to ask for charity. If I am called out for a task I will go and perform that task. They call us Niamakala and we survive from this activity recognised by society. Malinet: Are there family names at the origin of the Niamakala? Djèli Baba: The names that are at the origin of the Niamakala, are rare, very rare, although they can be found in all races. Niamakala means uniting people so that they can understand one another better and reconciling those involved in controversies. The djèli praise all, sing for all and ask for payment in money. I am Djèli Baba and I live in this town, Bamako: here they call me Djèni Baba, I am not a djèli - I tell tales or facts to please people. I play the N’Goni (a kind of guitar), I tell tales or facts, they call us Niamakala. We visit great men, respected people, those who have always known how to reconcile nations. Talking to bring reconciliation between people, this is Niamakalaya. The djèli is a derivation of the Niamakala, djèliya is not a privilege, it is a race, anyone can become a djèli. Malinet: Where do you come from? Djèli
Baba: I am Djèli Baba, I came from Nioro, my village is
Djoumara:
about 70 years ago. I came as a young man from Bamako, I married here
and
had children. Nioro is a town in Mali: it is my capital. I was born in
Sanamkoro-Djoumara. There are many kinds of Niamakala, there are
blacksmiths,
cobblers, etc… A cobbler works with leather, a blacksmith works
with
iron, the Niamakala arrange weddings for nobility, takes the bride to
her
new family, asks the members of that family to consider her one of
their
own. This is our work. I am at ORTM, I talk on the radio every Monday
evening.
There are many kinds of Niamakala, there are blacksmiths, cobblers …
They
do not ask for charity. Sometimes some of them do and they return to
the
ranks of the Djèli, they lose the status of Niamakala, as
intended
by the previous definition. Today I am here, I greet everyone, whether
white or black, I want everyone to be united because we all come from
the
same mother and father, Adam and Eve. White is not better than black,
and
black is not better than white. We have the same soul, the same blood.
I greet everyone, whether their skin is black or white. I want to add
that
one is born a Niamakala. I, Djèli Baba, inherited this from my
father,
who inherited it from his and from our ancestors. When a father has
good
work and you carry it on, you have followed the blood line. Our
bloodline.
The reason of our Niamakalaya.
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