#garba touré

[sinceileftyoublog]

Songhoy Blues Album Review: H​é​ritage

(Transgressive)

BY JORDAN MAINZER

When most bands strip down or unplug their sound, they reduce it to the bare bones. On the fourth album from Malian desert blues band Songhoy Blues, the predominant lack of electric guitar actually allows the complexity of the arrangements and their performance to flourish. Like their second and third records, their latest has a one-word title that carries weight: H​é​ritage. Songhoy Blues dive into their regional musical traditions and forebears but also those of the whole country. The quartet are one of many Malian bands effectively exiled from their home due to the country's civil conflict and the ruling power's imposition of Sharia law that makes music illegal. After over a decade in Bamako, the capital city that has proved to be a cultural hub after years of migration and displacement, Songhoy Blues finally weave in external patterns and influences from larger Mali.

A song like "Norou" exemplifies H​é​ritage. The interplay between acoustic guitar and kora resembles a dynamic, if familiar sound, until the voice of none other than Rokia Koné emerges. She's one of the star vocalists of all-female supergroup Les Amazones d'Afrique, whose modus operandi is fighting gender-based injustice through music. (Various members play the kora, an instrument traditionally reserved for men.) Songhoy Blues' inclusion of Koné is immediate evidence of their aims: balance traditionalism with progressive ideals, education with virtuosity. On "Dagabi", the band tops their palette with Senufo xylophone from accomplished musician Souleymane Traoré (aka Neba Solo); its echo provides a sense of missing electricity. "Boroterey" and "Batto" are the back-to-back electric guitar tunes, though they couldn't sound more different. The former layers the tactile on top of the abstract, kamale n'goni and flute spirtely over expansive steel guitar. On the latter, meanwhile, Garba Touré's riffing is uncharacteristically muted, the band instead giving space to its galloping Takamba rhythm, paying tribute to the Tuareg women who organize communal dances.

Of course, many of the classic Songhoy Blues elements shine on Héritage. Aliou Touré's gravely vocals provide simultaneous soul and stability to syncopated, circular, and polyrhythmic tunes like "Toukambela", "Gambary", and "Gara". Nathanael Dembélé's drums propel "Garibou". And album closer "Issa" is quintessential desert blues, impassioned picking, skittering hand percussion, and choral call-and-response. The song title means "river," and the song is a plea to keep the Niger River clean from toxic waste. Really, on Héritage, each song asks something of its local and global audience--to pay tribute to elders, be wary of the corrupting power of money, bask in your joy--such that it's clear Songhoy Blues, themselves, are attempting to leave their legacy.

[musikblog]

https://www.musikblog.de/2025/01/songhoy-blues-heritage/ Musik war und ist oft Rebellion. Es gibt aber wohl wenige Musiker*innen weltweit, bei denen Musik im wahrsten Sinne Rebellion darstellt. Garba Touré, Frontmann von Songhoy Blues, wurde 2012 von Jihadisten aus seiner Heimatstadt Diré im Norden Malis vertrieben, als diese dort die Scharia einführten und u.a. Musik verboten haben. Er floh in die Hauptstadt […]

[jungleindierock]

Songhoy Blues - Badala

Songhoy Blues are a desert blues music group from Timbuktu, Mali. The band are Garba Touré, Aliou Touré, Oumar Touré and Nathanael Dembélé. Badala is their new video and the lead track from Songhoy Blues' third album Optimisme, “ Ir Badala" in Songhai means "I Don't Give a Fuck" , and is inspired by the youth in Mali, especially young women, who are pushing back against patriarchy & societal controls.

[tasksweekly]

[TASK 186: NIGER]

In celebration of February being Black History Month, here’s a masterlist below compiled of over 160+ Nigerien faceclaims categorised by gender with their occupation and ethnicity denoted if there was a reliable source. If you want an extra challenge use random.org to pick a random number! Of course everything listed below are just suggestions and you can pick whichever faceclaim or whichever project you desire.

Any questions can be sent here and all tutorials have been linked below the cut for ease of access! REMEMBER to tag your resources with #TASKSWEEKLY and we will reblog them onto the main! This task can be tagged with whatever you want but if you want us to see it please be sure that our tag is the first five tags, @ mention us or send us a messaging linking us to your post!

THE TASK - scroll down for FC’s!

STEP 1: Decide on a FC you wish to create resources for! You can always do more than one but who are you starting with? There are links to masterlists you can use in order to find them and if you want help, just send us a message and we can pick one for you at random!

STEP 2: Pick what you want to create! You can obviously do more than one thing, but what do you want to start off with? Screencaps, RP icons, GIF packs, masterlists, PNG’s, fancasts, alternative FC’s - LITERALLY anything you desire!

STEP 3: Look back on tasks that we have created previously for tutorials on the thing you are creating unless you have whatever it is you are doing mastered - then of course feel free to just get on and do it. :)

STEP 4: Upload and tag with #TASKSWEEKLY! If you didn’t use your own screencaps/images make sure to credit where you got them from as we will not reblog packs which do not credit caps or original gifs from the original maker.

THINGS YOU CAN MAKE FOR THIS TASK -  examples are linked!

Stumped for ideas? Maybe make a masterlist or graphic of your favourite faceclaims. A masterlist of names. Plot ideas or screencaps from a music video preformed by an artist. Masterlist of quotes and lyrics that can be used for starters, thread titles or tags. Guides on culture and customs.

Screencaps

RP icons [of all sizes]

Gif Pack [maybe gif icons if you wish]

PNG packs

Manips

Dash Icons

Character Aesthetics

PSD’s

XCF’s

Graphic Templates - can be chara header, promo, border or background PSD’s!

FC Masterlists - underused, with resources, without resources!

FC Help - could be related, family templates, alternatives.

Written Guides.

and whatever else you can think of / make!

MASTERLIST!

F:

Bouli Kakasi (1937) Nigerien - singer.

Tina Turner (1939) African-American [including Bamileke Cameroonian, Hausa Nigerian, Mbenzele Congolese, Tuareg Nigerien, Turkana Kenyan] - singer-songwriter, actress, producer, dancer, choreographer, and author.

Zalika Souley (1947) Nigerien - actress.

Hamsou Garba (1958) Nigerien - singer.

Fati Mariko / Fatimata Gandigui Mariko (1964) Nigerien - singer.

ZM / Zara Moussa (1980) Nigerien - rapper and singer.

Safiath / Safia Aminami Issoufou Oumarou (1982) Tuareg Nigerien, Zarma Nigerien / Sudanese - rapper-songwriter and singer.

Toulou Kiki (1983) Nigerien - actress and singer.

Fatimatou Marou Amadou (1995 or 1996) Nigerien - model.

Miriam Abdou Saleye (1997 or 1998) Nigerien - model.

Verostina Amadou (1999) Nigerien - model.

BoubacarNanaAmina (2000 or 2001) Nigerien - model.

Rosette NanaFrema Korateng IV (?) Nigerien, Ghanian - actress and singer.

Hajia Nadia Issa (?) Nigerien - model.

Funmi Okusi (?) Nigerien - model.

Fatou Seidi Ghali (?) Tuareg Nigerien - singer, guitarist, and tende player.

Ahmoudou Madassane (?) Tuareg Nigerien - singer and guitarist.

Mariama Salah Aswan (?) Tuareg Nigerien - singer.

Alamnou Akrouni (?) Tuareg Nigerien - singer and calabash player.

Fatimata Ahmadelher (?) Tuareg Nigerien - guitarist.

Abdoulay Madassane (?) Tuareg Nigerien - bassist.

Aida Alhassane (?) Nigerien - instagrammer (aida_alhassane).

Meerah Sidi (?) Nigerien - instagrammer (sameera_sidi).

Fareedah Idrissa Boubacar (?) Nigerien - model (instagram: fareedah_boubacar)

Ramah Dioffo (?) Nigerien - instagrammer (ramahdioffo).

Aissara (?) Nigerien - instagrammer (aiss_sfarama).

F - Athletes:

Rachida Mahamane (1981) Nigerien - long-distance runner.

Haissa Ali Garba (1981) Nigerien - sprinter.

Balkissa Ouhoumoudou (1983) Nigerien - swimmer.

Lailatou Amadou Lele (1983) Nigerien - taekwondo practitioner.

Salamtou Hassane (1987) Nigerien - sprinter.

Mariama Souley Bana (1987) Nigerien - swimmer.

Rachidatou Seini Maikido (1988) Nigerien - sprinter.

Celia Diemkoudre (1992) Nigerien / Dutch - volleyball player.

Nafissa Souleymane (1992) Nigerien - sprinter.

Aminatou Seyni (1996) Nigerien - sprinter.

Nafissatou Moussa Adamou (1997) Nigerien - swimmer.

Mariama Mamoudou Ittatou (1997) Nigerien - sprinter.

Roukaya Mahamane (1997) Nigerien - swimmer.

M:

Ismaël Lô (1956) Nigerien / Senegalese - actor, singer-songwriter, guitarist, and harmonicist.

Spike Lee (1957) African-American [including Cameroonian, Nigerien], distant English - actor and filmmaker.

Russ Parr (1959) African-American [including Nigerien] - actor, tv presenter, radio host, DJ, director, and writer.

Ronnie Turner (1960) African-American [including Bamileke Cameroonian, Hausa Nigerian, Mbenzele Congolese, Tuareg Nigerien, Turkana Kenyan] / Creole - actor.

Anana Harouna / Aboubacar Harouna (1978) Tuareg Nigerien - singer and guitarist.

Bombino / Omara Moctar (1980) Tuareg Nigerien - singer-songwriter and guitarist.

M.dou Mouktar / Mdou Moctar (1986) Tuareg Nigerien - actor, singer-songwriter, guitarist, and synth player.

Abraham Amkpa (1987) Nigerien - actor.

Fadel Moussa (1996 or 1997) Nigerien - model.

Ismo One (?) Nigerien - singer-songwriter.

Swabib / Seyni Dingo Habiboulaye (?) Nigerien - rapper-songwriter.

Alhousseini Anivolla (?) Nigerien - singer and guitarist.

Rissa Ag Wanaghli (?) Nigerien - guitarist.

Moussa Ag Keyna (?) Tuareg Nigerien - musician.

Yacouba Moumouni (?) Songhai Nigerien - singer and flutist.

Abdoulaye Alhassane Touré (?) Songhai Nigerien - guitarist.

Housseïni Namata Chibakou (?) Songhai Nigerien - molo lute player.

Adamou Daouda (?) Songhai Nigerien - kalangou player.

M - Athletes:

Issake Dabore (1940) Nigerien - boxer.

Issoufou Habou (1945) Nigerien - boxer.

Harouna Lago (1946) Nigerien - boxer.

Inni Aboubacar (1948) Nigerien - long-distance runner.

Mayaki Seydou (1949) Nigerien - boxer.

Moussa Daweye (1958) Nigerien - middle-distance runner.

Abdou Manzo (1959) Nigerien - long-distance runner.

Hassan Karimou (1959) Nigerien - long-distance runner.

Adamou Allassane (1960) Nigerien - middle-distance runner.

Moumouni Siuley (1964) Nigerien - boxer.

Djingarey Mamoudou (1964) Nigerien - boxer.

Hassane Illiassou (1966) Nigerien - sprinter.

Ibrahim Chaibou (1966) Nigerien - footballer.

Harouna Doula Gabde (1966) Nigerien - footballer.

Badie Ovnteni (1967) Nigerien - boxer.

Mamane Sani Ali (1968) Nigerien - sprinter.

Ibrahim Tankary (1972) Nigerien - footballer.

Karim El-Khebir (1974) Nigerien - footballer.

Mohammed Muyei (1975) Nigerien - footballer.

Moussa Yahaya (1975) Nigerien - footballer.

Issoufou Idrissa (1976) Nigerien - footballer.

Moussa Ouwo (1976) Nigerien - footballer.

Zakari Lambo (1976) Nigerien - footballer.

Hamadou Djibo Issaka (1977) Nigerien - swimmer.

Mohamed Alhousseini Alhassan (1978) Nigerien - swimmer.

Idrissa Laouali (1979) Nigerien - footballer.

Abdou Alassane Dji Bo (1979) Nigerien - judoka.

Siradji Sani (1980) Nigerien - footballer.

Alhassane Issoufou (1981) Nigerien - footballer.

Fankélé Traoré (1981) Nigerien - footballer.

Ibrahim Maliki (1981) Nigerien - swimmer.

Moussa Alzouma (1982) Nigerien - footballer.

Abdoul Aziz Hamza (1982) Nigerien - footballer.

Zakari Gourouza (1982) Nigerien - boxer.

Hervé Lybohy (1983) Nigerien - footballer.

Kassaly Daouda (1983) Nigerien - footballer.

Pascal Anicet (1983) Nigerien - footballer.

William N'Gounou (1983) Nigerien - footballer.

Karim Bare (1983) Nigerien - swimmer.

Ismaël Alassane (1984) Nigerien - footballer.

Délis Ahou (1984) Nigerien - footballer.

Seidou Idrissa (1985) Nigerien - footballer.

Karim Oumarou (1985) Nigerien - footballer.

Ibrahim Tondi (1985) Nigerien - hurdler.

Ghani Animofoshe (1985) Nigerien - footballer.

Hamidou Djibo (1985) Nigerien - footballer.

Sulliman Mazadou (1985) Nigerien - footballer.

Moussa Narry (1986) Nigerien - footballer.

Rabo Saminou (1986) Nigerien - footballer.

Harouna Garba (1986) Nigerien - hurdler.

Kourouma Fatoukouma (1986) Nigerien - footballer.

Jimmy Bulus (1986) Nigerien - footballer.

Kamilou Daouda (1987) Nigerien - footballer.

Issiaka Koudize (1987) Nigerien - footballer.

Souleymane Dela Sacko (1987) Nigerien - footballer.

Karim Lancina / Lassina Abdoul Karim Konaté (1987) Nigerien - footballer.

Boubacar Talatou (1987) Nigerien - footballer.

Ahmed Goumar (1988) Nigerien - boxer.

Noel Djondang (1988) Nigerien - footballer.

Rabiou Guero Gao (1988) Nigerien - middle-distance runner and long-distance runner.

Moussa Maâzou (1988) Nigerien - footballer.

Amadou Aboubakar Zaki (1988) Nigerien - basketball player.

Kader Amadou (1989) Nigerien - footballer.

Mohamed Chikoto (1989) Nigerien - footballer.

Koffi Dan Kowa (1989) Nigerien - footballer.

Madjid Albry (1990) Nigerien - footballer.

Donald Djoussé (1990) Nigerien - footballer.

Issoufou Boubacar Garba (1990) Nigerien - footballer.

Olivier Bonnes (1990) Nigerien - footballer.

Moustapha Hima (1992) Nigerien - boxer.

Yacouba Ali (1992) Nigerien - footballer.

Mohamed Bachar (1992) Nigerien - footballer.

Issa Modibo Sidibé (1992) Nigerien - footballer.

Losseny Doumbia (1992) Nigerien / Ivorian - footballer.

Djibril Moussa Souna (1992) Nigerien - footballer.

Mahamane Cissé (1993) Nigerien - footballer.

Mossi Issa Moussa (1993) Nigerien - footballer.

Yousef Mohammed Omar (1994) Nigerien - footballer.

Abdoul Razak Issoufou (1994) Nigerien - taekwondo practitioner.

Ousmane Diabaté (1994) Nigerien - footballer.

Zakariya Souleymane (1994) Nigerien - footballer.

Abdoul Madjid Moumouni (1994) Nigerien - footballer.

Seybou Koita (1994) Nigerien - footballer.

Mohamed Soumaïla (1994) Nigerien - footballer.

Amadou Moutari (1994) Nigerien - footballer.

Ousmane Zeidine Ahmeye (1994) Nigerien - footballer.

Albachir Mouctar (1995) Nigerien - swimmer.

Adamou Moussa (1995) Nigerien - footballer.

Soune Soungole (1995) Nigerien - footballer.

Abdulfattah Adam (1995) Nigerien - footballer.

Ali Mohamed (1995) Nigerien - footballer.

Victorien Adebayor (1996) Nigerien - footballer.

Yacouba Diori Hamani Magagi (1997) Nigerien - footballer.

Ousseini Djibo Idrissa (1998) Nigerien - sprinter.

Yussif Moussa (1998) Nigerien - footballer.

Abdoulaye Karim Doudou (1998) Nigerien - footballer.

Emaniel Djibril Dankawa (?) Nigerien - footballer.

Dary Dasuda (?) Nigerien - boxer.

Mamane Ali (?) Nigerien - footballer.

Chibou Amna (?) Nigerien - boxer.

Frederic Costa (?) Nigerien - footballer.

Boubagar Soumana (?) Nigerien - boxer.

Cheick Omar Diabate (?) Nigerien - footballer.

Moussa Kanfideni (?) Nigerien - footballer.

Problematic:

Morgan Freeman (1937) 7/8 African-American [including Angolan, Congolese, Igbo Nigerian, Shong Guinean, Tuareg Guinean, Tuareg Nigerien], 1/8 English - actor, producer, and narrator - Accused of 8 counts of sexual harassment and said that racism doesn’t exist today (plus that people can “look at him” as an example to show that).

[piasgermany]

[Video] Songhoy Blues teilen Video zu “Badala”!

Songhoy Blues teilen einen Monat nach VÖ des Albums "Optimisme" (23.10. über Transgressive Records) ein Video zum Song "Badala"!

Der energiegeladene Albumopener mit dynamischen Stoner-Rock-Riffs ist inspiriert von den Jugendlichen in Mali, insbesondere von den jungen Frauen, die sich dort gegen das Patriarchat und gesellschaftliche Kontrollen wehren und auflehnen. "Badala", das übersetzt "Ich gebe keinen ****" bedeutet, feiert diese Furchtlosigkeit und die Entscheidungsfreiheit durch die Geschichte einer Frau, die für ihr eigenes Schicksal in der Zukunft kämpft.

"’Badala” is a video that we have dedicated to the freedom and validation of the young", berichtet Bandmitglied Garba Touré. "We encourage you to watch the video and share your experiences of freedom and validation in 2020 to inspire others."

Das von der Band und Mr. Haidara inszenierte Video wurde in Bamako im Mali gedreht und porträtiert Tänzer*innen, Models sowie eine Biker-Gang (Motards Team Bamako) aus der lokalen Szene.

[ericfruits]

“Rebel Sounds” explores the politicisation of music in wartime

IN 1943, when the Gestapo turned up at Hans Otto Jung’s home in Frankfurt, he quickly nudged the dial on his radio. Listening to Allied broadcasts was an illegal act: those found guilty of tuning in to an international station could be imprisoned or even executed for treason. As a member of the Frankfurt Hot Club, a group of young jazz enthusiasts, Jung often found transmissions from London, Switzerland and America, for they played the music deemed “degenerate” and outlawed in Germany. When the secret police inspected his radio, they were confused. “They said: ‘the needle is pointing between Prague and Lisbon. Which of these radio stations have you been listening to?’” Jung recalled in an interview in 2002. “To which I said, ‘I couldn’t possibly comment. But, as you’re asking, well...Prague!’ Because Lisbon would have been forbidden.”

A recording of that interview features in “Rebel Sounds”, an exhibition at the Imperial War Museum in London. It is part of “Culture Under Attack”, a programme of shows, performances and lectures demonstrating “how war threatens not just people’s lives, but also the things that help define us” (“Art in Exile” explores how the artefacts and artworks held in Britain’s institutions were protected during the second world war, while “What Remains” reveals the architectural cost of conflict). “Rebel Sounds” focuses on the politicisation of music in Germany in the 1930s, in Northern Ireland in the 1970s, in Serbia in the 1990s and present-day Mali. It tells the stories of ordinary people and, through music, interviews, photographs and memorabilia, shows the extraordinary lengths they went to to preserve the culture they loved.

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In war, culture is often caught in the cross-fire; oppressive regimes have also clamped down on freedom of expression and sought to bend the arts to their will. Yet members of the Frankfurt Hot Club played secret gigs with the help of a lookout. Aliou Touré, Garba Touré and Oumar Touré fled the civil conflict in northern Mali, where Islamist groups imposed sharia law, and formed Songhoy Blues, a desert-blues band, in 2012. Militants had banned the playing and enjoyment of music—with harsh penalties for those who disobeyed—but Songhoy Blues saw “music as our weapon, our songs as our resistance”.

That was true, too, for the hosts of Radio B92, a radio station based in Belgrade. From May 1989 onwards, they were open in their criticism of Slobodan Milosevic’s presidency and policies. They reported live on the clashes between government forces and demonstrators in 1991, which they could see from their window. Thereafter, when officials limited the station’s broadcasts to music, hosts sent coded messages to listeners with songs such as “Fight The Power” and “White Riot”. “We were always showing we were looking for some kind of alternative way to bypass the oppression and create a positive effect,” Gordon Paunovic, B92’s music editor, said.

For Teri Hooley, music was not so much about resistance as simply an essential and meaningful part of everyday life. Violence in Belfast during the Troubles had created a cultural wasteland, with bands dissuaded from playing there. The music scene suffered, and people were angry: when The Clash, an English punk band, cancelled a gig in 1977, would-be concert-goers rioted. To address this Mr Hooley founded Good Vibrations, a record shop, in 1976—it was located on Great Victoria Street, one of the most heavily bombed areas in the city, yet it did not stop music fans from dropping by. “We had all sorts of people in the shop,” Mr Hooley said, “we had IRA men, we had loyalists, all sorts of nutters.” He went on to organise concerts in contested areas and take bands on tour despite intimidations from parliamentary leaders.

“Rebel Sounds” captures not just the immediacy and the emotiveness of music but also the emptiness of a life without it. For the figures featured here, music symbolised freedom—and it is hard not to be stirred by the same passion. In the final room, visitors are faced with a question on a touch screen: “Is it worth risking prison in order to protect music?” Almost two-thirds of voters said yes.

“Rebel Sounds” continues at the Imperial War Museum, London, until January 5th

https://ift.tt/2zHnNgz

[rollingstonemag]

Un nouvel article a été publié sur https://www.rollingstone.fr/songhoy-blues-rock-secoue-mali/

Songhoy Blues : le rock secoue le Mali

Aliou Touré, leader charismatique de Songhoy Blues, s’est confié à Rolling Stone sur la nécessité de faire de la musique dans notre société. Rencontre

Ils sont quatre et ont le monde de la musique à leurs pieds. Le destin des Songhoy Blues – Fab Four maliens – était pourtant loin d’être tracé. La fratrie Touré – Aliou au chant, Oumar à la basse, Garba à la batterie – et Nathanaël Dembélé (à la batterie) grandit dans le Nord du Mali. Une région qui fait malheureusement la Une de l’actualité en 2012. « Le nord du Mali s’est fait envahir par les djihadistes…  explique Aliou Touré. Les trois grandes villes étaient occupées. Moi et mes camarades, nous étions contraints d’aller vers le sud. » Un exode forcé qui mènera les quatre jeunes hommes à former Songhoy Blues. Animés par l’énergie du survivant et pleins de l’espoir d’un monde meilleur, le groupe écume les cabarets, insufflant son dynamisme punk à un pays en quête de reconquête.

L’idée était de créer quelque chose de positif pour continuer à véhiculer un message d’espoir autour de nous

Un message qui sera entendu et écouté dans le pays par l’industrie musicale. Avec la complicité de Nick Zinner, guitariste du groupe Yeah Yeah Yeah et membre du projet Africa Express, Songhoy Blues se fait repérer par « un certain Monsieur Albarn ». Damon, de son prénom, prend les gars de Bamako sous son aile. Dans le cadre du projet Africa Express, il les invite à venir jusqu’à Londres : « Lorsque Damon est rentré à Londres, il a réécouté tout ce qui avait été enregistré pour l’occasion. Il a écouté notre morceau et nous a invité à faire Africa Express là bas. Dans la foulée, notre label Progressive Records nous a contacté pour que l’on commence à travailler. »

Au téléphone, Aliou évoque avec fierté et une pointe d’humour ce destin de comète : « C’est vrai que c’est allé assez vite (rires). » Mais le chanteur à l’énergie débordante n’oublie pas le rôle premier du groupe : insuffler de l’espoir et de l’espérance à des populations qui en manquent. « A l’époque, il fallait se dresser contre ces séparatistes qui prétendent faire des choses au nom d’une religion. C’est notre combat à nous. » Un combat qu’ils mènent maintenant depuis cinq ans sans relâche. Avec leur deuxième album, Résistance, c’est un cri du coeur qu’ils lancent. « La musique a un rôle dans une société. Chez nous, la musique peut être qualifiée d’instrument de résistance, ou d’instrument de propagande, » nous explique Aliou Touré. Le quatuor a opté pour la résistance afin d’unir les peuples : « Vous sortez à Bamako dans n’importe quel cabaret, vous trouverez de la musique live. Toutes les ethnies sans exception sont rassemblées autour de cette musique. »

La musique, pour Aliou Touré et pour tant de Maliens, occupe un rôle majeur dans la société. Pour preuve, cette interdiction d’écouter de la musique annoncée en 2012 par les djihadistes dans le nord du Mali. Un moyen de supprimer toute liberté à une population oppressée, mais également un signal d’alarme pour la communauté internationale : « Le monde entier a pris connaissance de la situation lorsque l’interdiction de la musique a été proclamée. Il fallait quelque chose comme ça pour attirer l’attention. La musique s’est soudainement auto-déclarée nécessaire. » Et surtout, ce qui était un divertissement est devenu une arme.

En 2015, la réalisatrice Johanna Schwartz va à la rencontre de Songhoy Blues pour le documentaire They Will Have to Kill Us First. Un film qui se penche sur la délicate question des musiciens en exil. Interrogés sur leur rôle, Songhoy Blues n’hésitera pas à affirmer : « Nos instruments sont des kalachnikovs. » Un message important pour le groupe, comme l’explique Aliou Touré : « Une arme ce n’est pas seulement un instrument pour faire du mal. C’est aussi à usage défensif. »

Plusieurs années après l’invasion du Mali par les djihadistes, le pays est actuellement en pleine renaissance. Fort de sa culture, ce « carrefour musical » est devenu un élément incontournable de la musique actuelle. Une influence qui a dépassé les frontières. M a consacré tout un album à son pays d’adoption en sortant Lamomali. Dans son morceau « DKR », le rappeur Booba rend hommage à l’Afrique et collabore avec Sidiki Diabaté, célèbre musicien de kora. Aujourd’hui menée en partie par les énergiques Songhoy Blues, la culture rock malienne a de beaux jours devant elle.

Découvrez l’interview, dans son intégralité, avec Aliou Touré. Le leader explosif de Songhoy Blues se confie sur l’histoire du groupe et l’utilité de la musique dans notre société.

Comment le groupe s’est-il formé ?

Songhoy Blues est né à Bamako en 2012 suite à la crise politique qui a eu lieu au Mali à ce moment-là. Le nord du Mali s’est fait envahir par les djihadistes, les trois grandes villes étaient occupées… Moi et mes camarades, nous sommes tous des nordistes. Donc nous étions tous contraints – parmi tant d’autres – d’aller vers le sud pour être à l’abri en attendant que les choses s’arrangent. C’est dans cette foulée-là que l’on s’est croisés à Bamako, dans des cabarets. On a commencé à jammer ensemble. L’idée est venue de créer quelque chose de positif pour continuer à véhiculer le message autour de nous.

Quel message ? 

Le message d’une musique qui ne doit pas être bannie. Et encore moins dans un pays comme le Mali où le noyau même de la culture est la musique. A cette époque-là la musique n’était pas autorisée au nord du Mali et dans les zones occupées. Donc c’était une question d’actualité qu’il fallait aborder. Il fallait se dresser contre ces séparatistes qui prétendent faire des choses au nom d’une religion alors que nous savons tous que toutes les religions prêchent la paix et l’unité. C’état notre message à nous.

Comment passe-t-on aussi rapidement de concerts dans des cabarets à une collaboration avec Iggy Pop ? 

C’est allé assez vite. Lorsque l’on jouait dans des cabarets, nous ressentions le besoin d’enregistrer nos chansons sur des supports. On s’est rendus dans un studio. L’ingénieur du son du studio en question s’appelle Barou Diallo. Il faisait à l’époque le son pour African Spread. C’est lui qui nous a fait savoir qu’un certain monsieur Damon Albarn lançait un projet vraiment intéressant, qui s’appelle Africa Express. Il nous a dit qu’il était nécessaire qu’on se fasse connaître pour organiser une éventuelle collaboration. C’est comme ça que l’on a participé au casting. Parmi toutes les personnes que Damon avait amené avec lui, il y avait des producteurs, des arrangeurs, des managers etc… Il y avait quelqu’un qui s’appelait Nick Zinner qui est le guitariste d’un groupe de rock qui s’appelle Yeah Yeah Yeah. Il a dit au régisseur qu’il voulait faire quelque chose avec nous. On s’est enfermés en studio pour réaliser le premier single, que l’on a lancé avec Africa Express  et qui s’appelle « Soubour ». C’est ce single qui a été la goutte d’eau qui a fait déborder le vase. Jusqu’à Londres. Lorsque Damon est rentré à Londres, il a réécouté tout ce qui avait été enregistré pour l’occasion. Il a écouté le nôtre et nous a invité à faire Africa Express là bas et dans la foulée, notre label Progressive Records nous a contacté pour que l’on commence à travailler ensemble entourés d’une belle équipe. Et c’est parti (rires)

Qu’est ce qui vous plaît dans la ville de Londres ? 

C’est surtout les Londoniens. Londres est une sorte de plateforme culturelle. ce sont des gens qui sont ouverts à tout et à tout le monde. Toute sorte de musique, de culture… C’est multi-culturel. Et c’est vraiment un endroit où n’importe quel artiste pourra se sentir à l’aise.

En France, le Mali et sa musique reviennent à la mode. Est-ce que la musique malienne se démocratise ? 

Il faut noter que la musique malienne a toujours été démocratisée. Quand vous prenez la position géographique du Mali, vous êtes au coeur de l’Afrique de l’Ouest. Le Sénégal qui chante, de l’autre côté, la Mauritanie avec ses guitares. L’Algérie au nord qui est un désert. Il y a le Niger, la Côte d’Ivoire, le Burkina avec ce coupé-décalé, la Guinée… Donc ça fait du Mali un carrefour en matière de musiques. Tous les musiciens du monde se retrouvent là bas. Tu as tous les musiciens que tu veux, toutes les couleurs… Les musiciens du monde entier ont longtemps collaboré avec des artistes maliens, comme M [avec Lamomali NDLR].

Votre deuxième album s’appelle Resistance. Est-ce que vous considérez que résister c’est le rôle principal de la musique aujourd’hui ? 

Je ne dirais pas que c’est son rôle principal. Mais la musique a un rôle de toute façon, quelle qu’en soit sa nature. La musique a un rôle dans une société. Chez nous, la musique peut-être qualifiée comme un instrument de résistance, ou un instrument de propagande. C’est un porteur de message, un trait d’union entre les peuples. Vous sortez à Bamako dans n’importe quel cabaret, vous trouverez de la musique jouée en concert. Toutes les ethnies sans exception sont rassemblées autour de cette musique. Ce qui signifie quelque part que la musique reste le trait d’union entre les peuples.

Vous avez dit dans le documentaire They Will Have to Kill Us First que vos instruments étaient des kalachnikovs. Pourquoi avoir associé votre musique à ces armes ?

Parce qu’une arme ce n’est pas seulement un instrument pour faire du mal. C’est aussi à usage défensif. Et comment se défendre ? En faisant passer des messages. Il faut noter qu’en 2012 au Mali, lorsque les djihadistes sont arrivés, le monde entier a pris connaissance de la situation uniquement lorsque l’interdiction de la musique a été annoncée. Ça a été une grande première. Un petit pays comme le Mali ne peut pas occuper une grande place dans les médias. Il fallait quelque chose comme le fait d’interdire la musique pour attirer l’attention des gens. La musique, en quelque sorte, s’est auto-déclarée nécessaire.

  Interview et adaptation par Louise-Camille Bouttier

[hatimtanger]

regarder africable HD en direct gratuitement en streaming sur pc avec free maintenant aujourd'hui

regarder africable HD en direct gratuitement en streaming sur pc avec free maintenant aujourd'hui

regarder africable HD en direct gratuitement en streaming sur pc  avec free maintenant aujourd'hui

Africable is a free-to-air, French-language, pan-african TV-channel headquartered in Bamako, Mali. The channel launched on June 26th 2004, born from the desire of young cable operators in Francophone-Africa.[1]

Programming[edit]

Africable's programming focuses on the African unity and pride. Their slogan is "La Chaîne du Continent". The channel broadcasts news programmes ("Journal") from ORTM (Mali), RTI (Ivory Coast), RTS 1 (Sénégal), RTB (Burkina-Faso), ORTB (Benin), Télé Sahel (Niger), CRTV (Cameroon), RTG1 (Gabon) and RTG (Guinea).[2]

Availability[edit]

Via MMDS-antenna

Benin

Burkina Faso

Cameroon

Chad

Gabon

Guinea

Mali

Niger

Sénégal

Togo

Via UHF-antenna

Burkina Faso

Niger

Sénégal

Via Satellite Intelsat 707

Africa

Europe

Via Satellite Eutelsat W3A

Europe

North Africa

Middle East

See also[edit]

Television in Mali

References[edit]

Jump up ^ "Archived copy". Archived from the original on 2010-06-08. Retrieved 2010-06-11.

Jump up ^ "Archived copy". Archived from the original on 2010-07-02. Retrieved 2010-06-12.

Programming[edit]

Africable's programming focuses on the African unity and pride. Their slogan is "La Chaîne du Continent". The channel broadcasts news programmes ("Journal") from ORTM (Mali), RTI (Ivory Coast), RTS 1 (Sénégal), RTB (Burkina-Faso), ORTB (Benin), Télé Sahel (Niger), CRTV (Cameroon), RTG1 (Gabon) and RTG (Guinea).[2]

Availability[edit]

Via MMDS-antenna

Benin

Burkina Faso

Cameroon

Chad

Gabon

Guinea

Mali

Niger

Sénégal

Togo

Via UHF-antenna

Burkina Faso

Niger

Sénégal

Via Satellite Intelsat 707

Africa

Europe

Via Satellite Eutelsat W3A

Europe

North Africa

Middle East

See also[edit]

Television in Mali

References[edit]

Jump up ^ "Archived copy". Archived from the original on 2010-06-08. Retrieved 2010-06-11.

Jump up ^ "Archived copy". Archived from the original on 2010-07-02. Retrieved 2010-06-12.

Media regulation and restrictions[edit]

In Mali, Freedom of speech and freedom of the press are guaranteed by the constitution and generally observed by the government. The Superior Council of Communication regulates the media. URTEL is the agency responsible for regulating television and radio transmission operations in Mali.[1]

Newspapers must register with the Ministry of Communications, but registration is routine. During election campaigns, the constitutionally mandated Committee of Equal Access to State Media is charged with guaranteeing that all political parties have equal access to government-controlled media.[1]

The government does not restrict access to or use of the Internet, but in practice Internet use is very limited because of the cost of computers and licenses to operate servers.[1]

Publications[edit]

Mali has several daily and weekly newspapers. Their circulation is limited due to high illiteracy rates. Mali remains a country of oral tradition.

French language publications[edit]

L'Essor (national daily), created in 1961, this is also the government's daily news publisher on the Internet: [3]

Info-Matin (fr) (daily), created in 1997. It publishes online (http://ift.tt/2wMnP30)

Le Républicain (fr) (daily), created in 1992 and also publishes on the Internet ([4])

L'Indépendant (fr) (daily),[2] created in 1994

Nouvel Horizon (daily), created in 1992

Soir de Bamako (daily), created in 1996

Les Échos (daily),[2] created in 1989

Aurore (biweekly), created in 1990

Le Scorpion (humour weekly), created in 1991

Le Courrier (weekly), created in 1996

Le Malien (biweekly), created in 1991

Liberté (weekly), created in 1999

Le Continent (Weekly), created in 2000

La Nouvelle Tribune (weekly), created in 2002

Le Patriote (weekly), created in 2000

Le Challenger (weekly), created in 2002

Grin-Grin (monthly youth magazine)

Le Ségovien first newspaper of Ségou, also publishes online : [5]

Le Combat, daily[2]

Indigenous languages[edit]

Radio Jamana in Koulikoro, Mali

Kibaru (Monthly) general news coverage in Bambara), created in 1972

Kabaaru (Monthly) general news coverage in Fulfulde), created in 1983

Xibaare (Monthly) general news coverage in Soninké) created in 1993

Jèkabaara (Monthly) general news coverage in Bambara) created in 1986

Niche publications[edit]

Graine d’espoir, is a monthly review published by Mahamane Garba Touré, who is thé Director of Publication and Editor in Chief, supported by Ousmane Mamadou, an agricultural engainer and directoire of thé Centre de formation professionnelle pour la promotion de l’agriculture au Sahel (CFP-PAS) in Gao, an organisation for professional agricultural training. The publication's goal is to inform rural agricultural business owners and to "echo national initiatives for the development of the agricultural world in Mali ". The first issue was published in June 2007. The circulation is around 1000.[3]

Radio[edit]

See also: List of radio stations in Africa: Mali

Office de Radiodiffusion Télévision du Mali (ORTM) is the national broadcasting entity. It offers two radio stations, a national format radio station and Station 2 created in 1993 and transmitting on FM.

Around 150 private radios stations exist, accessible on the FM band.

The rural radio network has grown rapidly. Access to information in local languages has a considerable impact for the people in terms of quality of life and the implications for the management of local affairs affecting their communities.[4] More and more radio stations have begun broadcasting on the Internet.[5] The challenge is the economic return needed to sustain these media centers and the costs of technical maintenance services for radio stations themselves. Through the network of the Union of Free Radio and Television of Mali (URTEL) radios can be connected together to cover major events such as football or track the 1997 legislative elections.

Radio stations include:

Office de Radiodiffusion Television du Mali (ORTM) (public network of national and regional stations)

Radio Bamakan (community station, Bamako)

Radio Benkan (Bamako)

Radio Canal 2000 (Bamako)

Radio Frequence 3 (FR3) (commercial, Bamako)

Radio Guintan (Bamako)

Radio Kaira (Bamako)

Radio Kledu (commercial, Bamako)

Radio Liberte (commercial, Bamako)

Radio Patriote (commercial, Bamako)

Radio Rurale (network of community stations)

Radio Tabale (Bamako)

Voix du Coran (Islamic station, Bamako)

The president of URTEL, Moussa Keïta, recalls that "We like to say that the 'Office de Radiodiffusion Télévision du Mali (ORTM) is the Voice of Mali and the local radio stations are the Voice of Malians.[6]"

Radio France internationale (RFI) is especially popular with listeners. Its news programs are broadcast by many local radio stations. BBC and Voice of America are also available in French in partnership with local radio stations.

It is also possible to listen to French radio through a subscription with French-owned CanalSat Horizons.

Children watching television in a village in Mali

Television[edit]

See also: Television in Mali

The Office de Radiodiffusion Télévision du Mali (ORTM) operates a national public television channel: ORTM Télévision nationale. Since being introduced in February 2007, this channel can also be received in Europe via satellite W3A of Eutelsat, positioned at 7 degrees east.

TV5MONDE, the French channel broadcasting to the countries of la francophonie (French-speaking countries worldwide) is transmitted to satellite and in hertz almost everywhere in Mali. It is relatively accessible with a simple antenna.

A new channel was recently introduced in Bamako: "Africable, la chaîne du continent".

Two Mali businesses are proposing a selection of channels through MMDS reception, with channel offerings specializing in formats such as sports, children's programming, news, movies, and so on, through monthly subscription.

It is also possible to subscribe to CanalSat Horizons through live satellite reception (RDS, different from MMDS). This way it is possible to watch a large number of channels from Africa as well as Europe, in English and in Arabic.

Television stations include:

Office de la Radiodiffusion Television du Mali (ORTM) - public, programmes in French and local vernacular languages

Multi Canal stations (multichannel operator)

Tele-Kledu stations (multichannel operator)

Internet[edit]

Main articles: Internet in Mali and Internet Freedom in Mali

Internet services underwent much testing before being introduced to Mali in 1997. There are five Internet service providers, who operate through the intermediation of the SOTELMA (société des télécommunications du Mali). The Internet infrastructure remains costly and difficult to maintain. The dominant private telecommunications company is Ikatel (called Orange). Its services include Live Box, evry were, and 3g plus. Since the beginning of 2011, rival company Malitél was launched to be price competitive.

Bamako hosted an international conference "Bamako 2000 : les passerelles du développement" on information technology, during which the former president of the republic of Mali, Alpha Oumar Konaré, promoted Internet access to all communities in Mali. Mali also presided over preparations for the Sommet de la Société de l'Information.

A number of cybercafés, and telecommunications centres (public, community or privately owned) have emerged since 1997 in the capitol Bamako. Many have had to close their doors due to difficulties in management and high fixed costs for network connections. Today, those that are surviving are those that support or develop a certain critical mass (access to a large number of computers, a regular customer base) and that offer complimentary activities like training or equipment sales.

Many students have at least an email address and can benefit from access to relatively accessible prices for Internet research. Many businesses have access to the Internet through telephone. The costs of permanent connections to the radio broadcasting network remain high, but have tended to progressively diminish (100,000 Fcfa per month for an organisation, 30,000 Fcfa per month for an individual).

Internet is reaching a progressively larger territory. Regional capitols all have Internet access, as well as a number of mid-sized towns along principal roads.

The skills needed to publish on the Web are increasingly available, but Internet hosting and support for Websites remains highly variable.

Togunet (national politics, training, workshops with agricultural themes, health): a network for the promotion of information technology in the development of Mali ([6])

Campus numérique francophone de Bamako de l'Agence Universitaire de la Francophonie (offers information technology training, and bursaries for researchers and students): ([7])

Initiatives Mali Gateway: An organization for local development activities in Mali ([8])

Geekcorps au Mali: Radio and internet installation and other activities ([9])

Afribone ([10])

Malikounda ([11])

See also[edit]

Telecommunications in Mali

Cinema of Mali (fr)

Human rights in Mali

References[edit]

^ Jump up to: a b c d e Mali country profile. Library of Congress Federal Research Division (January 2005). This article incorporates text from this source, which is in the public domain.

^ Jump up to: a b c "Mali Profile: Media". BBC News. Retrieved 11 June 2017.

Jump up ^

from Blogger http://ift.tt/2wLNLvQ via IFTTT

[musicofmigration-blog]

Songhoy Blues on FB / @SonghoyBlues Songhoy Blues - Should I stay or should I go? (Mali) When the islamists conquered the north of Mali guitar player Garba Touré was threatened. They wanted to destroy his guitar. That is when he decided to leave his home town Gao in the North of Mali and flee with a bus to Bamako. At every check-point he was afraid they might discover his guitar he was traveling with. Together with his brother they found after arrival, their new band in a bar in Bamako. Here they performed for many refugees. That is why their album is called „Music in Exile“. Songhoy Blues are the newcomer band from Mali. They have added elements of Indierock and Postpunk to the classical repertoire of Songhai Pop, of the likes of Ali Farka Touré, Kaira Arby and Baba Selah. Damon Albarn saw them perform in Mali and brought them together with Nick Zinner of the Yeah Yeah Yeahs, who ended up producing their album. When they performed at this years Roskide Festival 2015 they played an encore, the Clash's classic: „Should I stay or should I go“ and turned it into an anthem about African migration.

[jungleindierock]

Songhoy Blues - Worry

We don’t post nearly enough world music on the site. New video from Songhoy Blues for the song Worry, this is the first time band have sung a song in English, but they are a band we have posted a few times in the past, if you like them, just search the site archive for more.

Songhoy Blues are a desert blues music group from Timbuktu, Mali. The band are Garba Touré, Aliou Touré, Oumar Touré and Nathanael Dembélé.

[jungleindierock]

Songhoy Blues (Ft. Iggy Pop) - Sahara

Sahara comes from the album, Résistance, which was released on the 16th June 2017, via Transgressive Records. It also includes vocals from Iggy Pop. This video was directed & animated by Alden Volney

Songhoy Blues is a desert blues music group from Timbuktu, Mali. The band was formed in Bamako after they were forced to leave their homes during the civil conflict and the imposition of Sharia law. The band are Garba Touré, Aliou Touré, Oumar Touré and Nathanael Dembélé.