#wassoulou

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"Fatou" / Fatoumata Diawara

Year: 2011

Country: 🇲🇱 (Mali)

Genre: Wassoulou / Folk / Pop

"Fatou" is an album that exudes discretion rather than ostentation, but it's in this moderation that its power lies. It doesn't seek to impress with strident virtuosity, but rather to seduce with melody, texture, and emotional depth. For anyone interested in contemporary African music, "Fatou" is an excellent starting point: it shows how a young female artist can engage with tradition while at the same time projecting herself onto an international stage with sensitivity, poetic force, and a very distinctive vocal presence.

Fave song ⭐: "Bissa"

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Malian Wassoulou musician Oumou Sangaré

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Oumou Sangare at Africa Music Festival (Delft, Netherland).

Photos by Frans Schellekens (1993)

[nofoodjustwax]

Nahawa Doumbia - Kanawa

Nahawa Doumbia – Kanawa

Released in 2021 on Awesome Tapes From Africa Format: LP Style: Wassoulou, Afro-Pop Vibe: Groovy, Dance, Sunny, Upbeat, Passionate, Catchy, Hypnotic Musical Qualities: Polyrhythmic, Percussive, Group Vocals, Technical

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[kemetic-dreams]

The banjo is a four-, five-, or six-stringed instrument with a thin membrane stretched over a frame or cavity as a resonator, called the head, which is typically circular. The membrane is typically made of plastic, although animal skin is still occasionally used. Early forms of the instrument were fashioned by Africans in the United States, adapted from African instruments of similar design.The banjo is frequently associated with folk, Irish traditional, and country music. Banjo can also be used in some rock songs. Many rock bands, such as The Eagles, Led Zeppelin, and The Allman Brothers, have used the five-string banjo in some of their songs. Historically, the banjo occupied a central place in African-American traditional music and the folk culture of rural whites before entering the mainstream via the minstrel shows of the 19th century

The modern banjo derives from instruments that had been used in the Caribbean since the 17th century by enslaved people taken from West Africa. Written references to the banjo in North America appear in the 18th century, and the instrument became increasingly available commercially from around the second quarter of the 19th century.

Several claims as to the etymology of the name "banjo" have been made. It may derive from the Kimbundu word mbanza, which is an African string instrument modeled after the Portuguese banza: a vihuela with five two-string courses and a further two short strings. The Oxford English Dictionary states that it comes from a dialectal pronunciation of Portuguese bandore or from an early anglicisation of Spanish bandurria. The name may also derive from a traditional Afro-Caribbean folk dance called "banya", which incorporates several cultural elements found throughout the African diaspora.

The Portuguese banza: a possible ancestor of the modern banjo

Various instruments in Africa, chief among them the kora, feature a skin head and gourd (or similar shell) body.The African instruments differ from early African American banjos in that the necks do not possess a Western-style fingerboard and tuning pegs, instead having stick necks, with strings attached to the neck with loops for tuning. Banjos with fingerboards and tuning pegs are known from the Caribbean as early as the 17th century. Some 18th- and early 19th-century writers transcribed the name of these instruments variously as bangie, banza, bonjaw banjer and banjar. Instruments similar to the banjo (e.g., the Japanese shamisen, Persian tar, and Moroccan sintir) have been played in many countries. Another likely relative of the banjo is the akonting, a spike folk lute played by the Jola tribe of Senegambia, and the ubaw-akwala of the Igbo. Similar instruments include the xalam of Senegal and the ngoni of the Wassoulou region including parts of Mali, Guinea, and Ivory Coast, as well as a larger variation of the ngoni developed in Morocco by sub-Saharan Africans known as the gimbri.

Early, African-influenced banjos were built around a gourd body and a wooden stick neck. These instruments had varying numbers of strings, though often including some form of drone. The earliest known picture of a slave playing a banjo-like instrument (The Old Plantation) shows a four-string instrument with its fourth (thumb) string shorter than the others. The five-string banjo, with a short fifth string, was popularized by Joel Walker Sweeney, an American minstrel performer from Appomattox Court House, Virginia

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Oumou Sangaré - Kamelemba