#wolof music

[tricksterstudies]

Currently working on a playlist of Wolof music for the fun of it, so if you have any recommendations, don't hesitate!

[zhanteimi]

Orchestra Baobab - Specialist in All Styles

Senegal, 2002, Wolof music / afro-Cuban jazz Afro-Cuban jazz from Senegal? That’s quite the genre journey, but it’s all good. “World” music is so often infuriating to me because of how… fake it sounds, no matter how good the musicianship is. This one, however, surprises me with its freshness, which helps me accept some degree of authenticity. This is how you blend music.

[kemetic-dreams]

Blues has evolved from the unaccompanied vocal music and oral traditions of slaves imported from West Africa and rural Africans into a wide variety of styles and subgenres, with regional variations across the United States. Although blues (as it is now known) can be seen as a musical style based on both European harmonic structure and the African call-and-response tradition that transformed into an interplay of voice and guitar, the blues form itself bears no resemblance to the melodic styles of the West African griots. Additionally, there are theories that the four-beats-per-measure structure of the blues might have its origins in the Native American tradition of pow wow drumming. Some scholars identify strong influences on the blues from the melodic structures of certain West African musical styles of the savanna and sahel. Lucy Durran finds similarities with the melodies of the Bambara people, and to a lesser degree, the Soninke people and Wolof people, but not as much of the Mandinka people. Gerard Kubik finds similarities to the melodic styles of both the west African savanna and central Africa, both of which were sources of enslaved people.

No specific African musical form can be identified as the single direct ancestor of the blues. However the call-and-response format can be traced back to the music of Africa. That blue notes predate their use in blues and have an African origin is attested to by "A Negro Love Song", by the English composer Samuel Coleridge-Taylor, from his African Suite for Piano, written in 1898, which contains blue third and seventh notes.

The Diddley bow (a homemade one-stringed instrument found in parts of the American South sometimes referred to as a jitterbug or a one-string in the early twentieth century) and the banjo are African-derived instruments that may have helped in the transfer of African performance techniques into the early blues instrumental vocabulary. The banjo seems to be directly imported from West African music. It is similar to the musical instrument that griots and other Africans such as the Igbo played (called halam or akonting by African peoples such as the Wolof, Fula and Mandinka). However, in the 1920s, when country blues began to be recorded, the use of the banjo in blues music was quite marginal and limited to individuals such as Papa Charlie Jackson and later Gus Cannon.

Blues music also adopted elements from the "Ethiopian airs", minstrel shows and Negro spirituals, including instrumental and harmonic accompaniment. The style also was closely related to ragtime, which developed at about the same time, though the blues better preserved "the original melodic patterns of African music"

[doyoulikethissong-poll]

Youssou N'Dour and Neneh Cherry - 7 Seconds 1994

Youssou N'Dour is a Senegalese singer, songwriter, musician, composer, occasional actor, businessman, and politician. From April 2012 to September 2013, he was Senegal's Minister of Tourism. N'Dour helped develop a style of popular Senegalese music known by all Senegambians (including the Wolof) as mbalax, a genre that has sacred origins in the Serer music njuup tradition and ndut initiation ceremonies. He is the subject of the award-winning films Return to Gorée (2007) directed by Pierre-Yves Borgeaud and Youssou N'Dour: I Bring What I Love (2008) directed by Elizabeth Chai Vasarhelyi. In 2006, N'Dour was cast as Olaudah Equiano in the film Amazing Grace.

"7 Seconds" is a song N'Dour wrote and performed together with Swedish-Sierra Leonean singer-songwriter Neneh Cherry. The song is trilingual as N'Dour sings in three languages: French, English and the West African language Wolof. The title and refrain of the song refers to the first moments of a child's life; as Cherry put it, "not knowing about the problems and violence in our world". N'Dour featured the song on his seventh studio album, The Guide (Wommat) (1994), while Cherry included it on her 1996 album Man.

It was a worldwide hit, peaking within the top 10 of the charts in several countries, including Australia, Austria, Belgium, Brazil, Germany, Ireland, the Netherlands, Sweden, Paraguay and the UK. It climbed to the top position in Finland, France, Iceland, Italy and Switzerland. It stayed at number one for 16 consecutive weeks on the French Singles Chart, which was the record for the most weeks at the top position at the time. On the Eurochart Hot 100, the song reached number two. It won the MTV Europe Music Award in the category for Best Song of 1994.

"7 Seconds" received a total of 45,3% yes votes. :'(

[thevampirearchive]

To the world, sincerely, a tired black artists and my fellow creatives

A lot of the weird demonization of Rema’s visuals really made me sad. I’m not surprised at the lack of cultural knowledge about Edo people and Benin City, Nigeria — virtually everywhere outside of the continent, African history, culture and traditions aren’t taught unless you are in special programs or majors. But to call something demonic and satanic because you don’t understand? The blatant xenophobia and racism has me so furious. I know we have a lot of unlearning to do, but I had imagined that the colonial ways of viewing black Africans was not alive and thriving amongst the diaspora. To see so many black Christian’s come together in the name of their white gods and forced religion to call something so sentimental, historically important and significant for Rema and many others demonic is like having a weird ‘dejavu’.

Everyday I think about how I see too many people complain about lack of representation of black people from all around the world in media; wether it be movies, tv, fiction, music genre and other industries predominantly white — and now, given visuals and such cool performance, we do as our oppressors once did. Word for word. It’s disgusting and I hope everybody who partook educated themselves and do better.

When will my people know peace when it comes to trying to share, showcase and be proud of what we’ve created? I never forgot how Fufu became a laughing stock, how so many still mock their parents pronunciations knowing that’s their third of even fourth language. And don’t let me start on Nollywood or the diasporic movie industries — why must you laugh when you don’t understand? Question things, yes, be curious and explore. But mocking?

To all my fellow Africans and black people of the diaspora— one day, we will be in a world where we’re known for more then our struggles. Where were not mocked for our ‘incorrect’ speech of languages violently forced upon us, that we adapted to fit who we are and our origins. One day we will have peace; no more silent genocides, or loud ones. No more having to hide our roots, traditions, practices, art/creations. Be ashamed of any aspects of our culture that does not warrant shame.

I ask that if you want representation, you seek it out because trust me it is out there. The continent has so many creations — sure some harder to find or consume due to language barriers but we all witnessed K-drama’s boom. You can watch French, Spanish and English films — so why are subtitles not good enough when it’s in Igbo? Xhosa? Wolof? Zulu? Bafang?

I ask that everybody, including myself, start to give africa it’s flowers. The more we pour into the good — art, creations, industries etc that inspire more to create and expand, the more we will see the uprise of what has always been within the continent but never given much thought by most of the world because it is African and the quality is regarded as ‘lesser’.

And I hope I get to witness more great artist come from all around the motherland, and be part amongst them when I eventually complete my African/Black centered work ✌🏾

[underwheres-simblr]

Vulture Club -

the most volatile band of argumentative hot heads

ft. band pic and the first time i doodled them all together hehehe

char & cc deets under da cut <3

Anthea "Ann" Scott - former bassist until she threw her bass @ Max’s head. now just sits in on practices and makes T shirts and books gigs. Max calls her their bodyguard manager.

hair, shirt (i think), skirt, bra acc, tights (i think) OR these tights, boots

Theo Peretz - Sardonic, introverted, mediator. Got roped into playing bass reluctantly when Ann left. Knows a lot about music and punk but prefers dreamy shoegaze and grunge. May quit the band in the future to focus on his studies, but doesn’t wanna put Max out. The peacekeeper. Sweet Jewish boy who speaks before he thinks.

hair, guitar case, top, pants,

Maxwell Lorenzo Leonni - Overconfident, sleazy, degenerate flirt. Frontman and rhythm guitar. Hopeless romantic clown with a lion heart for those he loves dearly. Huge snob about music and ready to talk your ear off about the classifications of ‘true punk’. Gets in fights so often his nose healed crooked and he's sustained nerve damage in his face and knuckles. His ex Vanessa is the lead singer of a world famous girl-band called 'Annie Donia' and he has declared her AND her band his nemesis. Rips up any Annie Donia tour posters he sees due to his deep seated grudge. Won't ever admit the extent of his heartbreak.

max hair, shirt, pants, boots

“Onyx” Yeggul-Non Ndiaye - Calm and collected drummer. Goes by Onyx due to his obsession with everything gothic and vampiric. Definitely has a gloomy myspace page. Overly stoic and easily irritated, a stone faced individual with a thoughtful mind. From Senegal and can speak Wolof, French, and partial English. Can play like 30 other instruments. No one knows why he sticks around this bickering group of idiots.

necklace, arm bands, pants, boots

Payton Paisley - lead guitar, songwriter 70% of the time. Extremely angry chihuahua girl. Hotheaded and volatile. Vicious with biting comebacks and venomous insults. Most practices end in her and Max hurling objects at each other, both guitarists with flaming hot egos and tempers. Probably a way better player than Max, and reminds him all the time. In love with Onyx but will never admit it, though it’s pretty blatant.

top, couldn't find skirt but probs evellsims , boots, socks, earrings

[scholarlyhobbit]

I dream of a creole cottage or a shotgun house with an old fireplace and wooden floors, full of light and lazily spinning ceiling fans, the smell of incense and coffee in the morning air, everything open and airy, plants thriving in corners and crystals gleaming in corners, where I bring coffee to my beloved at our dining table, listening to music and planning what we'll create today.

I dream of a desk tucked under a window where I can look out on our street as I pause, thinking of how to put the pieces of research together or what colour comes next in a painting, the dappled light sending shivering shadows across the floor for the kitten to chase, and for Jellybean to sun herself in as queen cat of her realm, a candle burning to focus inspiration and my attention as I look at it in its glass holder, shining by photos of my family and art I've collected, my books lined up like soldiers by my inkwell and pen rest.

I dream of a bedroom permeated with the scent of perfumed oil and lush flowers, pointe shoes draped on a hook on the wall, mosquito netting hanging around the bed, linen sheets smooth against our skin, listening to cicadas and windchimes and music in the night breeze, the whispers of trees and the hum and chatter and rattle of the city, our familiar ghosts creaking the floorboards as they patrol the house, keeping watch as they learn the rhythms of the ghosts of this house, generations of people meeting in the small hours, speaking French and Spanish and English and Kreyol and Wolof and Igbo and Fon and Bambara and Ede and Kabiye and German and Chitimacha and Choctaw and Houma, all sacred, all respected, all welcome.

[byneddiedingo]

Tabata Ndiaye in Ceddo (Ousmane Sembene, 1977)

Cast: Tabata Ndiaye, Alioune Fall, Moustapha Yade, Mamadou N’diaye Diagne, Ousmane Camara, Nar Sene, Makhouredia Gueye, Mamadou Dioum, Oumar Guèye, Pierre Orma, Eloi Coly, Marek Tollik, Ismaila Diagne. Screenplay: Ousmane Sembene. Cinematography: Georges Caristan, Bara Diokhane, Orlando Lopez, Seydina D. Saye. Art direction: Alpha W. Diallo. Film editing: Dominique Blain, Florence Eymon. Music: Manu Dibango. 

In Wolof, ceddo means something like "outsiders" or "others," but the subtitles for Ousmane Sembene's film translate it as "pagan." Which is appropriate in that Sembene's film is about that essential precursor to colonialism: the obliteration of an indigenous religion by a proselytizing religious authority. Ceddo is set in a village in Sub-Saharan Africa in precolonial times -- Sembene said that he imagined it to be the 17th or 18th century. The colony of French West Africa was established in 1895, but the colonizing vanguard was there much earlier in the form of Islamic and Christian missionaries. In Ceddo the village has been mostly converted to Islam, which the village king has accepted. But the ceddo resist the new religion, and kidnap the king's daughter, Dior Yacine (Tabata Ndiaye), who is supposed to marry a Muslim, in conflict with suitors upholding tribal tradition. The struggle to return the princess is bloody. Two white men, a slaver and a Catholic priest, observe the action like eager scavengers. Sembene tells the story with a mixture of straightforward narrative and touches that evoke the future under colonialism. The music track, for example, at one point contains a gospel song sung in English, suggesting the diaspora of slavery. And we see the Catholic priest with what appears to be his sole parishioner in his makeshift chapel, but Sembene cuts to a vision of what the priest longs for: a large congregation with nuns dressed in white and an image of black men rising into heaven. At one point, when the Islamic villagers have won a victory over the ceddo, the imam gives the forced converts their new names. The first one is called Ibrahim, but the second is tellingly given the name Ousmane. Ceddo is an ambitious film, made under difficult circumstances -- the dailies, for example, had to be sent to France to be processed, resulting in a lag of some weeks before Sembene and his crew could know if what they had shot was acceptable. But Sembene's achievement is a remarkable portrait of a continent in transition.   

[byneddiedingo]

In Wolof, ceddo means something like "outsiders" or "others," but the subtitles for Ousmane Sembene's film translate it as "pagan." Which is appropriate in that Sembene's film is about that essential precursor to colonialism: the obliteration of an indigenous religion by a proselytizing religious authority. Ceddo is set in a village in Sub-Saharan Africa in precolonial times -- Sembene said that he imagined it to be the 17th or 18th century. The colony of French West Africa was established in 1895, but the colonizing vanguard was there much earlier in the form of Islamic and Christian missionaries. In Ceddo the village has been mostly converted to Islam, which the village king has accepted. But the ceddo resist the new religion, and kidnap the king's daughter, Dior Yacine (Tabata Ndiaye), who is supposed to marry a Muslim, in conflict with suitors upholding tribal tradition. The struggle to return the princess is bloody. Two white men, a slaver and a Catholic priest, observe the action like eager scavengers. Sembene tells the story with a mixture of straightforward narrative and touches that evoke the future under colonialism. The music track, for example, at one point contains a gospel song sung in English, suggesting the diaspora of slavery. And we see the Catholic priest with what appears to be his sole parishioner in his makeshift chapel, but Sembene cuts to a vision of what the priest longs for: a large congregation with nuns dressed in white and an image of black men rising into heaven. At one point, when the Islamic villagers have won a victory over the ceddo, the imam gives the forced converts their new names. The first one is called Ibrahim, but the second is tellingly given the name Ousmane. Ceddo is an ambitious film, made under difficult circumstances -- the dailies, for example, had to be sent to France to be processed, resulting in a lag of some weeks before Sembene and his crew could know if what they had shot was acceptable. But Sembene's achievement is a remarkable portrait of a continent in transition.   

CEDDO (1977) — Dir. Ousmane Sembène

[momaie]

Mo Maie estreia 'Leket, canto cabaça ', no Festival de Cabaçaria de Tradicional, Sereiau

leket, canto cabaça a cabaça, chamada “leket” na Língua Wolof, do senegal, é útero do som, onde nascem as vibrações do coração mundo. desta inspiração nasce ‘leket, canto cabaça’, uma performance musical que propõe narrativas visuais/sensoriais a partir de um mergulho em melodias, ritmos e sonoridades de instrumentos musicais feitos a partir da cabaça. concebida pela compositora mo maie, com a…

[metaphysakilbuild]

Todays class.

Lesson of the day: learn Wolof!!!

Stop eating Western GMO physical and mental food!

- Only eat halal/ farmers market foods

Don’t listen to THEIR HARAM MUSIC!

- Filled with sex, death, drugs, violence

Don’t wear their clothing!

-remember to respect and look for modesty.

-your clothing should respect your consciousness

Anytime spent praying, reading, reflecting Arabic breaks the European system.

PRACTICE ISLAM TO THE FULLEST OF YOUR ABILITY and this breaks all!

— grooming and hygiene/ shave and groom every 40 days

Bwa mahiadine’s grave is the most holiest place in America.

[musicdiscoveryapp]

Born: November 26, in Banjul, West Africa The Gambia. Nationality: Gambian Genres: AfroBeat, AfroFusion, Nigerian Street Music, DanceHall etc. Label: Matkiz Worldwide Entertainment Trending Song: Cover U, I'm Sorry and Long EP|Albums: It's My Time (2020) Matkiz is a West African (The Gambia) musical artist, body builder, entrepreneur and also a model. He's the CEO of (MWE) which stands for Matkiz Worldwide Entertainment which is a (Record Label | Talent Management | Event Planner| General Equipment Dealer |Advertising and Marketing Agency| Software and Hardware Dealer |Branding and Rebranding Company). He is known for his unique relationship with people and appearance (dressing) and singing in the English languages, which is a universal tongue (language), pigeon English, little Wolof and Mandinka language. In 2010 he released his first song title Dance. In 2012 he released a song title Who Am I, till early 2016 when he released a song title For Love. Booking: matkizbooking@gmail.com

[hardynwa]

Download Audio + Video: Raquel Hage - Abule

Raquel Hage started singing at an early age of six but didn’t have her first studio experience until 2019. The Liberian who partly grew up in Lebanon where she took dance and music lessons in high school, was determined to get quality education so she traveled to Chicago, Illinois where she lived for four years and obtained a Bachelor’s degree in Psychology. Raquel speaks Arabic, English, the West African Senegalese dialect (WOLOF), and a bit of French. She recently signed a management deal with one per cent international management. She is looking forward to working with other artists in Nigerian and across Africa. Raquel has potential and believes there’s room for improvement. Her new single Abule was inspired by growing up in red-light Liberia. Listen, stream, and share https://youtu.be/LDEv4FaHZno DOWNLOAD HERE Read the full article

[delcastro]

Divine Style Music - SoundCloud

Découvrez Divine Style Music sur #SoundCloud

[soundgrammar]

Orchestra Baobab performing in Brooklyn, New York, in June 2008.