#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!

[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. :'(

[zionfrancis1]

The Rise of African Jahva:

A New Genre that’s Changing Global EDM Forever in the ever-evolving world of Electronic Dance Music (EDM), new subgenres occasionally emerge to shake up the soundscape—but rarely does a genre arrive with the cultural weight, sonic power, and global energy of African Jahva. This groundbreaking movement is more than just music; it’s a cultural revolution, a vibrant blend of Afro House, techno, deep electronica, and something ancient—the pulse of Africa’s native languages. African Jahva is taking over TikTok, igniting dancefloors across continents, and rewriting what it means to be global in the EDM scene.

🔥 What Is African Jahva?

At its core, African Jahva is a high-energy fusion of deep Afro House rhythms, electronic synths, and techno vibes, layered with the rich textures of traditional African vocals. But what truly sets this genre apart is its Afrofuturistic identity—an intentional act of blending the past with the future, combining Africa’s linguistic heritage with cutting-edge beats.

Rather than relying on English hooks or familiar commercial patterns, African Jahva revives endangered African languages, transforming them into hypnotic, soul-charged anthems that resonate with both local and global audiences.

Whether you’re hearing the beat of Yoruba drums, a Zulu chant, or the smooth vocal rolls of Swahili, every African Jahva track is a sonic journey through time, space, and culture.

🎧 The Sound of a New Era

If you’re familiar with the global explosion of Afrobeat or the rhythmic joy of Amapiano, African Jahva picks up the torch and takes it further.

Imagine the intensity of techno, the groove of Afro House, and the depth of tribal rhythms, all wrapped around vocals in languages like Akan, Amharic, Fula, Hausa, Igbo, Kinyarwanda, Luganda, Mandinka, Oromo, Shona, Swahili, Wolof, Yoruba, and Zulu.

These are not just lyrics—they are living, breathing elements of culture turned into dance floor poetry.

🎛 The Man Behind the Movement – Iz’Angel

Behind this genre’s rise is a name that might sound familiar to rave veterans:

Iz’Angel.

A true pioneer of the UK rave scene in the ‘90s and early 2000s, Iz’Angel was the mastermind behind legendary events at Electrybe, Lazerdrome, and the iconic London Astoria. His influence extended internationally, especially across Ibiza’s superclubs like Es Paradis, Pacha, Space, and Privilege—venues synonymous with EDM history.

But Iz’Angel’s story didn’t stop there. In 2000, he founded LOVE, a 24-hour rave club in Shoreditch that became infamous for its underground energy and outrageous afterparties. After a controversial police raid, LOVE went global, finding new life in Hamburg, Ibiza, and Miami.

And now? Iz’Angel has returned—not just to remix the past, but to redefine the future with African Jahva.

🌍 A Genre Rooted in Culture, Built for the World

Africa is home to over 1,500 languages. Some of them, like Hausa or Swahili, are spoken by millions. Others are endangered, on the brink of vanishing. African Jahva offers a creative lifeline—a musical preservation tool that brings these languages into mainstream EDM spaces.

This is Afrofuturism in action. Through thumping basslines and melodic loops, ancient African voices echo through time, now paired with club-friendly production that makes them accessible to global audiences.

African Jahva doesn’t dilute African culture—it amplifies it.

🔄 Going Viral: Why African Jahva Is Blowing Up on Social Media

It started quietly, with dancers posting to TikTok and DJs dropping tracks at underground sets. But soon, the unique sound of African Jahva began to catch fire.

Today, AfricanJahva is gaining momentum across TikTok, Instagram, and YouTube Shorts. Videos featuring dance challenges to languages most people have never heard before are going viral, sparking curiosity and excitement. EDM fans are craving something new—something meaningful, and this genre delivers.

Dancers, creators, and music lovers across the globe are now discovering the electrifying experience of moving to African Jahva beats.

💫 The Spiritual Side of the Sound

At its core, African Jahva carries a message:

Peace. Love. Unity. Respect.

These aren't just words—they’re the pillars of rave culture and the spiritual backbone of this genre. African Jahva transcends the club and speaks to something deeper. Its rhythmic storytelling creates a collective trance, a kind of spiritual communion where modern beats meet ancestral voices.

It’s music that heals. Music that awakens.

It’s techno with a soul.

🌐 A Global Movement with African Roots

The best part? African Jahva is just getting started.

Already, producers, DJs, and vocalists across Africa, Europe, and the diaspora are joining the movement, creating tracks, hosting events, and building a becoming ambassadors of the culture, spreading its message and sound to new audiences every day.

From Lagos to London, Kigali to Berlin, Kampala to New York, African Jahva is connecting cultures, uniting dance floors, and redefining global EDM one beat at a time.

🚀 Ready to Feel It?

Whether you’re a DJ looking for your next killer set, a dancer craving something fresh, or just a music lover open to global vibes—African Jahva is calling you.

➡️ Subscribe to the official YouTube Channel:

African Jahva YouTube Channel

➡️ Follow the movement on social media

➡️ Share a dance, start a challenge, join the revolution

🗣 Final Thoughts

African Jahva is more than a new music genre.

It’s a cultural resurrection.

It’s a techno prayer.

It’s the future of global dance music built on the shoulders of African legacy.

In a world craving connection, authenticity, and deeper meaning, African Jahva is

the beat that brings us together.

So turn up the volume.

And let the ancestors dance through you.

Welcome to African JahVa

community around this genre. Fans are not just consuming the sound—they’re

[whatisthisblogevenabout]

on LinkedIn

Olivia Senghor, born in 1978 in Senegal, Dakar, is a musician and makeup artist living in the Bronx. She is of the Serer ethic group, and her primary languages are French and Wolof. She was raised as a Catholic, and is the granddaughter of the first president of Senegal, Leopold Sedhar Senghor. At the age of 8, her family moved to Paris, where she lived in a neighborhood primarily inhabited by Jews and Asians. Both of her parents were very well educated—her father had a law degree, and her mother held an MBA. Consequently, they expected Olivia and her siblings to take education seriously and to become professionals in their own right. Olivia first discovered her talent for art when she was in public school in France. She began entering competitions and winning prizes for her work. At the same time, she became involved in music. She was surrounded by music from a young age—her parents favored an eclectic mix of West Indian, Portuguese, soul, and jazz, and her older siblings were interested in American and European hip-hop and R&B. Olivia began singing with some other girls her age, and eventually they formed a group called Baby Norton. The group was signed to BMG Arista (the same label that had signed Whitney Houston and TLC), and their debut album met with moderate success. The group was dropped soon after, however, in the wake of much more popular female groups such as Destiny’s Child and the Spice Girls. Despite this short-lived success, Olivia remained deeply involved in hip-hop culture. She would attend hip-hop parties and get-togethers throughout Paris, where she would make contact with other devotees and scene members.

After a while, Olivia grew tired of living at home. After graduating high school, instead of going to college, she moved to England, as she was too apprehensive to move to the US. She was intimidated both by the US’s distance and the international association with gangland violent crime that surrounds US hip-hop culture. In London she worked some jobs on the side while attending a beautician’s school and perfecting her English. She had first become interested in makeup art during her time in Baby Norton, and she discovered that she was something of a natural with cosmetic tools. She thus decided that she wanted to pursue cosmetics as a career. She soon grew tired of London life, and she moved to Miami, both to find new opportunities and to see if she could jump start her singing career. In Miami she immediately found work as a cosmetician for a number of performing artists, including Jacki-O, a Dirty South rapper of considerable notoriety. However, the culture she was living in was alienating, cutthroat, and dangerous. Most people she lived and worked with abided by a “law of the street” in which every person selfishly sought their own interests above everyone else’s. Her coworkers and clients were frequently suspicious, avaricious, and prone to violence, and Olivia did not feel safe or welcome in her occupation. In addition, even though she was black, African-Americans resented her and treated her as if she did not belong in Miami, since she was of foreign descent. People preyed upon Olivia because she was trusting and did not carry herself like a thug. In fact, once she decided that she’d had enough of being mistreated, one of her clients robbed her of everything she owned and threatened her life. She thus moved to New York, where she works as a makeup artist today. She has plans to own her own salon some day, and at the time of interview, was executive producing a documentary about African immigrants in New York.

on Fordham University

[demdread]

The Africans who built Louisiana’s plantations were not just laborers—they were bearers of knowledge and culture.

Originating primarily from West and Central Africa, including the Wolof, Fulbe, Bambara, Mandingo, and many others, enslaved people brought expertise that was essential to the colony’s survival.

Their agricultural skills laid the foundation for Louisiana’s rice and indigo industries, transforming the region’s economy.

Most enslaved people in Louisiana came from Senegambia, near the Senegal and Gambia Rivers, where rice cultivation was a deeply ingrained part of their heritage.

But their contributions went far beyond labor. In the kitchens and quarters of the plantations, they preserved their cultures through food, traditions, music, and storytelling.

The creativity of these individuals were integral to the development of Creole culture, leaving an indelible mark on Louisiana’s history.

#AmericanHistory #CreoleCulture #AfricanDiaspora #WhitneyPlantation #LouisianaHistory

📷: Bambara Woman, Fulbe Man, Mandingo Woman, Wolof Woman with Child – Esquisses Sénégalaises, David Boilat (1984). Courtesy of @smithsonian_africanart

[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.

[soundgrammar]

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

[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.

[theparanoid]

Orchestra Baobab - Nijaay

From The Album: Made In Dakar (2007)

[Wolof Music, Son Cubano]

[thewaxtaanproject]

Brilliant Cheikh Lô on KEXP, live performance in Seattle (13/05/20)

[zionfrancis1]

The Rise of African Jahva:

A New Genre that’s Changing Global EDM Forever In the ever-evolving world of Electronic Dance Music (EDM), new subgenres occasionally emerge to shake up the soundscape—but rarely does a genre arrive with the cultural weight, sonic power, and global energy of African Jahva.

This groundbreaking movement is more than just music; it’s a cultural revolution, a vibrant blend of Afro House, techno, deep electronica, and something ancient—the pulse of Africa’s native languages. African Jahva is taking over

TikTok, igniting dancefloors across continents, and rewriting what it means to be global in the EDM scene.

🔥 What Is African Jahva?

At its core, African Jahva is a high-energy fusion of deep Afro House rhythms, electronic synths, and techno vibes, layered with the rich textures of traditional African vocals. But what truly sets this genre apart is its Afrofuturistic identity—an intentional act of blending the past with the future, combining Africa’s linguistic heritage with cutting-edge beats.

Rather than relying on English hooks or familiar commercial patterns, African Jahva revives endangered African languages, transforming them into hypnotic, soul-charged anthems that resonate with both local and global audiences.

Whether you’re hearing the beat of Yoruba drums, a Zulu chant, or the smooth vocal rolls of Swahili, every African Jahva track is a sonic journey through time, space, and culture.

🎧 The Sound of a New Era

If you’re familiar with the global explosion of Afrobeat or the rhythmic joy of Amapiano, African Jahva picks up the torch and takes it further.

Imagine the intensity of techno, the groove of Afro House, and the depth of tribal rhythms, all wrapped around vocals in languages like Akan, Amharic, Fula, Hausa, Igbo, Kinyarwanda, Luganda, Mandinka, Oromo, Shona, Swahili, Wolof, Yoruba, and Zulu.

These are not just lyrics—they are living, breathing elements of culture turned into dance floor poetry.

🎛 The Man Behind the Movement – Iz’Angel

Behind this genre’s rise is a name that might sound familiar to rave veterans:

Iz’Angel.

A true pioneer of the UK rave scene in the ‘90s and early 2000s, Iz’Angel was the Ymastermind behind legendary events at Electrybe, Lazerdrome, and the iconic London Astoria. His influence extended internationally, especially across Ibiza’s superclubs like Es Paradis, Pacha, Space, and Privilege—venues synonymous with EDM history.

But Iz’Angel’s story didn’t stop there. In 2000, he founded LOVE, a 24-hour rave club in Shoreditch that became infamous for its underground energy and outrageous afterparties. After a controversial police raid, LOVE went global, finding new life in Hamburg, Ibiza, and Miami.

And now? Iz’Angel has returned—not just to remix the past, but to redefine the future with African Jahva.

🌍 A Genre Rooted in Culture, Built for the World

Africa is home to over 1,500 languages. Some of them, like Hausa or Swahili, are spoken by millions. Others are endangered, on the brink of vanishing. African Jahva offers a creative lifeline—a musical preservation tool that brings these languages into mainstream EDM spaces.

This is Afrofuturism in action. Through thumping basslines and melodic loops, ancient African voices echo through time, now paired with club-friendly production that makes them accessible to global audiences.

African Jahva doesn’t dilute African culture—it amplifies it.

🔄 Going Viral: Why African Jahva Is Blowing Up on Social Media

It started quietly, with dancers posting to TikTok and DJs dropping tracks at underground sets. But soon, the unique sound of African Jahva began to catch fire.

Today, AfricanJahva is gaining momentum across TikTok, Instagram, and YouTube Shorts. Videos featuring dance challenges to languages most people have never heard before are going viral, sparking curiosity and excitement. EDM fans are craving something new—something meaningful, and this genre delivers.

Dancers, creators, and music lovers across the globe are now discovering the electrifying experience of moving to African Jahva beats.

💫 The Spiritual Side of the Sound

At its core, African Jahva carries a message:

Peace. Love. Unity. Respect.

These aren't just words—they’re the pillars of rave culture and the spiritual backbone of this genre. African Jahva transcends the club and speaks to something deeper. Its rhythmic storytelling creates a collective trance, a kind of spiritual communion where modern beats meet ancestral voices.

It’s music that heals. Music that awakens.

It’s techno with a soul.

🌐 A Global Movement with African Roots

The best part? African Jahva is just getting started.

Already, producers, DJs, and vocalists across Africa, Europe, and the diaspora are joining the movement, creating tracks, hosting events, and building a community around this genre. Fans are not just consuming the sound—they’re becoming ambassadors of the culture, spreading its message and sound to new audiences every day.

From Lagos to London, Kigali to Berlin, Kampala to New York, African Jahva is connecting cultures, uniting dance floors, and redefining global EDM one beat at a time.

🚀 Ready to Feel It?

Whether you’re a DJ looking for your next killer set, a dancer craving something fresh, or just a music lover open to global vibes—African Jahva is calling you.

➡️ Subscribe to the official YouTube Channel:

African Jahva YouTube Channel

➡️ Follow the movement on social media

➡️ Share a dance, start a challenge, join the revolution

🗣 Final Thoughts

African Jahva is more than a new music genre.

It’s a cultural resurrection.

It’s a techno prayer.

It’s the future of global dance music built on the shoulders of African legacy.

In a world craving connection, authenticity, and deeper meaning, African Jahva is

the beat that brings us together.

So turn up the volume.

And let the ancestors dance through you.

Welcome to African Jahva.