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Mali: From Timbuktu to Washington PERFORMANCE TRADITIONS Ali Farka Toure Group, Niaftmke Ali Farkti Toiire, clcclrk fiuitar/voccili Omnar Tourc , coin;as /chorus rcr.i/j Ali KoiHiI Soidcyinath' Kiiiic, djenibe Haiihuioiiii Bocomii Mainadou Kelly The "Blucsinan of Africa," All Fark.i Toiire's highly distinctive style ot his homeland of Niafunke blends M.ilian sounds with American blues reminiscent ofJohn Lee Hooker, Lightnin" Hopkins, and Big Joe Williams. After wiiimng a Granuny for his Talkii{^ Timbuktu CD with Rv Cooder, Ah Farka Toure chose coming out to stay in his village and is of retirement for an extremely rare performance at the Festival. Baba Larab, Gao Guilcmikoye M'bani /. , lijiucr Amwaidou Yaconha, gtiitar Salif Maiga, giiildr Zciimhj Assotnoi, diiiiar known for This Sonrai group is Takamba music, which is used for dances of love, inviting the lover to come out and have flin. It is danced in pairs with reciprocal gestures. Dogon Masked Dance Group, Bandiagara Itiogo Dolo. iiiigt-r Soinoit Dolo, dinner Yiiitousisou Dolo, diiticer Btissti Dolo, diiiuer Amatigtic Dolo. drummer Alemelou Dolo. diiuier Ogodaiui Dolo, drumiiur Baiso Dolo, singer Aly Dolo, singer Dogon dancers on stdts or with m.isks and accompanied by drumming and song evoke the exploits ot hunting. Donso N'goni SekoubiJ Triiorc, Koulikoro, singer and donso n'goni Dramane Traore. Koulikoro, donso n'goni Numankoro Diorrii. Koulikoro, guiros Sekouba Traore is generally recognized as the greatest interpreter of hunters' music. Hunters play a fundamental role in Mande society; they are fi-equently the ones who found communities, defining the character of the society and serving as guardians of tradition and peace. Their songs serve to galvanize hunters by recounting their exploits and exhorting them to accomplish even greater teats. The donso n'goni IS a seven-string harp reserved tor hunters' music. Ensemble Instrumental MiissiVnbou U'cle Diollo, ortisric director Souadou SoUHhino, singer Soranling Kouyate, singer Niifissatou Maiga, singer Djeneba Doundna, singer Adiuiia Soumono Sacko, singer Bcihily Kanoutc. kora Mamadou Kouyate, kora Bincfou K'cufd, n'goni Modiho Didbdte. balafon Moliamed Tounkora, djenibe The National Instrumental Ensemble members are national representanves ot traditional griot music. Most of the smgers are women, jeliinusiiw, who sing legends and pnuse-singing in arranged pieces adipted from traditional chor.J niirsic. Groupe So Fing, Markala Miiriam Tliiero, singer /dancer Aishala Niono, backup singer Almamy Tliiero, percussionist Oumar Traore, percussionist Yaya Famanla, percussionist Moliamed Klialita Tliicro, percussionist Puppets are a communicating link between water spirits and the fishing Somono and Boso peoples. These puppets are grouped into tour categories: those used during the day, those used at night, those from the water, and those from the earth. Mariani Thiero sings with a strong, clear voice accompanied by drummers. The large water animal puppets, hippos, manatees, and large river fish, are manipulated to their rhythms. Groupe Sogonikun, Wassoulou Amadou Diakite, dancer Bakary Diakite, dancer Kassoum Diakite, dancer Brehima Diallo, percussionist Mamaourou Doumbia, percussionist Almamy Traore, percussionist Kadie Traore, singer Doussouha Traore, singer Amadou Diakite has been without question the greatest dancer in the Wassoulou for the past 3$ years. Here, with his two sons Bakary and Kassoum, he performs two styles of traditional masked performance: Sigui, the water buffalo dance, and Sogonikun. a popular dance. The whole face is covered with a decorated veil. A mask or statuette, painted black, is placed on the head and supported by a mass ot fibers. Kanaga de Mopti Djeliba Kone, trumpet Kaniha dit Demba Kone, guitar Issa Kone, guitar Maki Kone, singer Sada Traore, drummer Sekou dit Torni Kone, saxophone, balafon Bourima Diabate, singer Papa Kone, bass guitar Mamadou Traore, hand leader Sekou Diankoumba, singer Kanaga was recently named the National Orchestra of Mali. The group's members are from all over the country and work to re-interpret various musical traditions using Western instruments. Krin de Birgo, Kita Demba Sidibe, singer, calabash Mooro Sidibe, djembe Teneinba Diallo, calabash Bakary Sidibe, calabash, caniale n'goni This music is pl.iyed for male circumcision as the rainy se.ison approaches. "Krin" is the noise that the gourd ladles make when hitting the calabashes. The songs are sung by aunts and sisters of those to be circumcised to give them courage. This music, originally from the Wassoulou region, is normally plaved with up to 6 to 10 calabashes. Musical Storytellers Moctar Kone, n'goni, Mourdiah Alamary Diabate, n'goni, Bamako These two men are griots who tell history through song. They play the n 'goni. a three-or-four stringed lute.
N'Goussonn, Koulikoro Salif Keita, Bamako PUPPETRY Mtiriam Bagayoko, singer /dancer Djeneba Bagayoko, chorus singer Dognan Coiilibaly, balafon Alou Diarra, balafon At the age of 67 and barely 4 foot 6 inches tall, Mariam Bagayoko may be one of Mali's most dynamic performers. She can proudly claim to be the only woman to actually dance on the balafon. N'goussoun is court music, generally praise-singing and encouragement. Neba Solo Group, Sikasso Souleymane Traore (Neba Solo), balafon Yacouba Traore, keregne Siaka Traore, balafon Oumar Coulibaly, percussion Zantien Gonsogo, percussion Mahamadou Traore, percussion Bocary DembeU, dancer Ibrahim Traore, dancer SaliJ Keita, lead vocals/guitar Djely Aloussa Kouyate, electric guitar Harouna Samake, camale n'goni Drissa Bagayoko, djembe Mamadou Kotie, calabash Adama Kouyate, tama Souleymane Doumbia, African congas Souleyman Kouyate, n'goni Abdoulaye Diakite, keyboards Aminata Doumbia, background vocals Assitan Diarra, background vocals Jean-Marie Avisse, technical crew babel Bonvalet, technical crew Timor Cardenas, technical crew Johnson Mensah, technical crew David LunardeUi, technical creiv One of the most celebrated Malian singers, Sahf Keita was a lead musician with the Rail Band and the Ambassadeurs du Motel in the '60s and '70s. Then he went on to international superstardom with his own band. He Yaya Coulibaly, puppeteer, Bamako Yaya Coulibaly is a graduate of the Nanonal Art School of Mah where he studied sculpture and performance. He also studied string marionettes in France. Coulibaly has combined Malian traditional puppet masquerades with Western string marionettes to create a new contemporar)' form drawing inspiration fi-om traditional theater. www.theatredelamarionnette.com CRAFT TRADITIONS Carding v Fatoumata Maiga, Segou Fatoumata Maiga, who cards wool and cotton, is a member of Association Yeleni, in Segou, which makes tapestries. l/Sp/ tpinmng 125 Neba Solo is an international celebrity. His group consists of balajons, haradunu, keregne (a metal scraper), and inexhaustible dancers. Neba Solo is also an accomplished woodworker and makes plays solo guitar and sings as well as performing with his group. Tabital Pulaku, Mopti Aminata Keita, Segou Armnata Keita, a member of the Association Gatex. spins threads in Segou for narrow and wide looms. his own balafons. Boureima Dicko, flute ) /Zotton Weaving Oumou Sangare, Wassoulou Dinda Sarre, n'goni Gabdo Cisse, dancer Ousmane Sarre, Badalabougou Oumou Sangare, lead vocals Sapa Kouyate, singer/dancer Zoumana Terela, sokou (traditional violin) Abdoulaye Fofana, flute Nabintou Diakile, singer/dancer Mouneissa Tandina, drummer Goro Hamadoun, calabash Aminata Coulibaly, dancer Hamadoun Biga Cisse, drum Yehia Dicko, violin Ahma Barry, dancer Aminata Salmana Traore, singer Ousmane Sarre is best known for his blankets and pagnes (women's wTapsldrts) and head bands worn by godmothers at weddings. Wool Weaving Salah Baha, guitar Hamane Toure, bass Ousmane Haidara, manager Brehima Diabate, camale n'goni Cheikh Oumar Diabate, djembe Alama Diakite, yabara (percussion) Oumou Sangare is the leading female star of the Wassoulou sound, which is based on an ancient tradition of hunting rituals mixed with songs about devotion, praise, and har\'est played with pentatomc (five-note) melodies. In addition to the flute and ^oHn, she is accompanied by scraping keregne, and women playing fie, a calabash strung with cowTie shells, The essential instrument of the nomadic herder Fulam is the flute, evoking nostalgia for and harmomous existence in the rural areas. The dances are restrained and gracefiil, and the dancers" feet barely leave the ground, as if they were constrained by the undergrowth. Tartit, Kel Antessar Mohamed Al Ansari, leader Issa Amanou, n'goni Mohamed I. Ag Oumar, n'gom Idwal Ag Mohamed, n'goni Fatoumata Mohomadoun, dancer Kola Kasse, Mopti Kola Kasse is a master weaver who now resides in Bamako. He makes blankets and tunics woven from sheep's wool. He is He is also trained in cotton weaving. particularly known for his multicolored blankets given to newly married women. U^cogolan /Mudiloih Nakounte Diarra, Kolokani Nakounte Diarra is one ot the masters in the art of making bogolan, a cotton which they spin and throw into the air in rime to the music. Sangare most often Tafa W. Alhousseini , violin Aboubacrine Ag Mohamed, singer fabric dyed with mud. She uses old motifs learned from her mother and sings about love and the importance of Abdallah AI Housseini, guitar grandmother alongside new ones that freedom of choice in marriage. Tartit, meamng "union." was originally formed as a group ofTuareg women hving in Mauritaman refiigee camps during the Tuareg rebeUion in the 1990s. Their music is performed seated, with a languorous grace e.xpressed in gestures of the arms and eyes.The men she invents. Her cloths are worn as women's wrap-around skirts and used for clothing for traditional hunters and healers. Her artistry is featured in the National Museum of Natural History e.xhibition African Voices. This famous artist trained Founemousso Sakihba. in the group also dance with swords.
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SMITHSONIAN FOLKLIFE FESTIVAL SCOTL
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The annual Smithsonian Folklife Fes
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Table of Contents The Festival: Doi
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The Festival: Doing the Public Good
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— a singular, global, mass coniii
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The 2003 Smithsonian Folklife Festi
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— Appalachia Heritage and Harmony
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Virginia, is one of the best known.
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A mural by Tim White, in Bristol, T
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string bands of note were Charlie P
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Carolina, who learned many of her s
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— 1 riate •KM ''&L'X^'Ttyi«iFi
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- 26 Appalachia, Where Tradition an
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28 and Latin America. They are addi
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Native American Traditions in Appal
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32 OF APPALACHIA of cultural histor
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^, — 34 or "Dive for the Oyster."
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36 Pnolo by Jirri Higgins Library o
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. 2000. . ^^FORMATION Blue Ridge Mu
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Mali From Timbuktu to Washington /.
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universities in the United States,
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A woman [ in Timbuktu. Knotograpn b
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— From Golden Age Empires to Inde
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The French had hardly been welcomed
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\ constitution brought about the Th
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Burkina Faso. It is played on diffe
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Malian crafts are a legacy from the
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the garment, and ornamentation 56 s
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4 *^ '*
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ack into the Sahara and Sahehan zon
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increasing popularity of television
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— Certain dishes are linked to pa
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ft J ncK DjeDje, Jacquehne Cogdell,
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I Scotland at the Smithsonian is pr
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— John o'Groals OUTER HEBRIDES {W
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Scottish History: The Culture and t
Page 77 and 78: Much of contemporary Scottish tradi
Page 79 and 80: — 1 Traditional Song and Music in
Page 81 and 82: . . throughout occasional dance in
Page 83 and 84: j^ ,. V ẏ 7 Traditional Scottish
Page 85 and 86: — Panto in Scotland JOYCE MCMILLA
Page 87 and 88: — 85 The prehistoric Callanish St
Page 89 and 90: The makars ar also pairt o a proces
Page 91 and 92: have a direct connection with worki
Page 93 and 94: (Outer Hebrides) can still visit sn
Page 95 and 96: Moore, Maggie. Scottish Step Dancin
Page 97 and 98: General Festival Information FESTIV
Page 99 and 100: ^^1:30 S^ 3:00 Talking Tree 12;00 Y
Page 101 and 102: Scotland at Smithsonian the 3:00 Sc
Page 103 and 104: Scotland at Smithsonian Feis Stage
Page 105 and 106: Kora players perrorm at 6 p.m. at t
Page 107 and 108: Malian Foodways
Page 109 and 110: Scotland at Smithsonian the Feis St
Page 111 and 112: Dogon dancers at 12:30 p.m. at ttie
Page 113 and 114: Scotland at the Smithsonian Feis St
Page 115 and 116: 2:45 Growing Up m Mali 113 3:30 Bab
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Page 119: [ ] ) \ I I i ; i 117 NATIONAL MUSE
Page 123 and 124: — Saturday, July 5 Beautiful Beyo
Page 125 and 126: Festival Participants Laura Boosing
Page 127: The New Southern Ramblers (with Ral
Page 131 and 132: Pottery Shoemakiiig TRADITIONAL MED
Page 133 and 134: Fiti Moore, Diitikeld DANCE POETRY/
Page 135 and 136: Tapestry Weaving Dovecot Tapestry W
Page 137 and 138: Special Tixanks Sam Adams. Tiie Mou
Page 139 and 140: staff SMITHSONIAN INSTITUTION Lawre
Page 141 and 142: Tourism Task Force Special thanks t
Page 143 and 144: • III SMITHSONIAN FOLKWAYS RECORD
Page 146: Smithso >lklife Festiv,
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