Toccarra Thomas Poster

Musicianship in Mali: Social and Political Influences

Abstract

In 1960, the West African country of Mali gained independence from French colonial rule. The new socialist government of President Modibo Keita invested heavily in young people’s participation in music and theater as an important arena for creating a new modern society.

Modernizing the society involved honoring precolonial history and cultural heritage as authentically Malian while simultaneously deconstructing and undercutting certain traditional practices such as the gerontocracy and the caste system. Mali's traditional musical landscape, once heavily shaped by caste rules, was redefined. During government sponsored festivals, young people from every caste were offered the opportunity to become musical performers.

My research at the 37th Annual Folklife Festival held on the National Mall in Washington, D.C. analyzes the ways that three contemporary music groups speak about the authenticity of their music, and the ways that each group consciously places themselves on a continuum between “tradition and modernity”.

My analysis concentrates on interviews with three singers/groups: Neba Solo, Tartit, and Miriam Bagayoko and highlights their biographies, their attitudes towards their music, their notion of different audiences and performances contexts, and their aspirations as musicians.

Materials and Method

Pre-Fieldwork

In preparation for the fieldwork at the Smithsonian 37th Annual Folklife Festival, I conducted a literature review of major books and articles on Malian culture. Two important sources for developing the framework for the study of Malian music are Susan Rasmusssen, "Between Several Worlds: Images of Youth and Age in Tuareg Popular Performances," Anthropology Quarterly, and Eric Charry, Mande Music.

Field Research

For my research on music, I conducted a series of interviews with musicians and documented dozens of public performances at the festival, as well as more intimate jam sessions at the participants' hotel. I alternately used a Sony digital-8 and Hi-8 camcorder, as well as a Canon Coolpix 3100 digital 35mm camera for interviews and to document performances. The interviews were conducted in French and Bambara through the use of a translator.

Post Festival Research

During the post-festival period, I analyzed the taped interviews and the performance videos. In addition, I continued a more focused reading specifically on studies of Mande music and performance.

Observations and Discussion

The research was intended to locate the groups/singers along a continuum between tradition and modernity within a Malian social field.

Miriam Bagayoko defines herself as a traditional performer. Her definition of tradition guides her choice of songs and her conscious exclusion of western instruments in her orchestra. However, Miriam’s own musical biography shows that she has also embraced modernity. Miriam was not born a jeli, or griot, a Mande caste that traditionally dominated musical performances in the Beledougou, her home region. Like many non-griots, Miriam benefited from new attitudes towards music and musical practice that the Socialist regime promoted following independence among young people. This allowed her a legitimate avenue to develop her talent and to establish herself as a performer.

Tartit, a Tuareg group that was established in a refugee camp in Burkina Faso, is both self-consciously “traditional” and “modern”. Their musical style draws heavily upon traditional Tuareg music, as do many of the themes of their songs, which speak of love, family and marriage. However, they also have more contemporary themes that speak of current social and political issues. The group includes a griot, a member of Tuareg musical caste, who plays the ngoni, a traditional string guitar. Yet, they have embraced a certain modernity in that they have incorporated a non-griot acoustic player into the group. They have also ignored certain caste categories. Noble women in the group play the tende drums, instruments once reserved for casted or servile women.

Neba Solo, born Souleymane Traoré, and his group of the same name also play on the tension between modern and traditional, articulating contemporary urban issues conveyed through the use of traditional and contemporary instruments. Solo is renowned for having modified the balafon, a traditional instrument similar to the xylophone. By (re)tuning the instrument, the artist distinguishes himself by being able to play the baseline, accompaniment, and solo simultaneously. Hence, the band succeeds in its efforts to produce a sound of great international appeal.

Results

Mariam Bagayoko, Tartit, and Neba Solo all contend that their music is of an authentic Malian style, regardless of their incorporation of western instruments, contemporary themes, or modified playing styles. Authenticity is clearly an issue for these musicians, although it is understood differently among Malian audiences and international audiences.

Future Research

Defining more precisely what constitutes authentic Malian music for Malian musicians and their local audiences.

Acknowledgements

My sincerest appreciation goes to all who contributed to the completion of this project, most especially: The National Science Foundation, My advisor Mary Jo Arnoldi, RTP program director Mary Sangrey, Micah Boyer, Jessica Lee, Candace Keller, Elisa Maldonado, Kyleelise & Terry Thomas, Lee Holmes, Teri Thomas, Toussaint-L’Ouverture Thomas, Terrance Thomas, Thomas Rogers, Rabiyah Carter, Sarauna Moore, Brenda Allen, Connie Peterson, Amy Rhodes, Nancy Mithlo, Alex Keller, Elizabeth Hopkins, Eric Hurley, Maria Vallejo, Kathleen Simms Mosley, Susan and Edmund Gordon, Sandra Terry, Robert L. Hahn, Sheila Gregory Thomas, Wendy Wilson, Dalia Palchik, and the performing artists of Mali at the 37th Annual Folklife Festival.

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The information presented here represents preliminary research as the result of ten-weeks of investigation in-residence at the National Museum of Natural History. This is not an official publication of the information.

As preliminary information, results and/or findings should not be cited as part of conclusive work. Please contact the authors first if you wish to utilize the information presented here.


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Research Training Program VIRTUAL POSTER SESSION 2003

Research Training Program
VIRTUAL POSTER SESSION
2003