Percussions.org

[The Boss]

The key character in the Mandingo culture, the djeli or griot brings together functions that would remain separate in a Western context. Both historian and genealogist, he is also a "living library"; he is the conservator of an immense repertory of proverbs and sayings that regulate how life is Iived, of anecdotes about absolutely everybody, of stories that are either epic or historic and that deal with both the mythical and the real pasf of the Mandè Empire. He is also a singer and musician as well as a spokesman for whoever employs him, often also serving as counsellor and confidant. His mediation is often needed between groups or individuals, for although he was born into a class situated at the bottom of the social ladder, his words give him real power. He can make or break the honour and reputations of those about whom he sings. Although Djeli are usually spoken of as being masculine, there are just as many male as female Djeli. They fulfil their apprenticeship within the family and their functions are hereditary.

The most highly regarded djeli in pre-colonial society were in service to a "boss" who could be a king, the village or clan chief, or someone of high standing who could guarantee his welfare. Other djeli who were either less lucky or were more independent would offer their services to whoever needed them for rituals, ceremonies and festivals where their presence was obligatory. Because of the changes of structure in traditional society imposed by colonisation and then by the ordered patterns of modem life, "bosses" have become scarcer and poorer. The majority of djeli today are independent and put their talents at the service of several employers.

It will be clear that a dieli's repertoire is both large and varied. The song of praise makes up a great part of it, its object being to honour, to compliment and to boast ot the merits of those present and of those who had initiated the occasion at which the djellis appearing. Its form is borrowed from the instrumental music of which it is an inseparable part. When it is not concerned with a set dance rhythm such as the Djagbe or Dunungbe, the instrumental parts themselves have a meaning for the listeners, evoking events, people and clans or lineages that are linked to those to whom the songs are dedicated.

The texts are improvised and draw on a vast reservoir of proverbs, descriptions of the context of the festival, commentaries, advice and criticisms that range from panegyric to mockery. The griot adapts it to each circumstance, lengthening it or shortening it and also catching the audience's interest anew or calming down too great an exuberance.

The song "Mamady Léé" is a good example of this genre. Mamadi Mansaré uses both his voice and his instrument in a way characteristic of flute players during a free introduction. When the song begins, it is perfectly framed in a melodic and rhythmic structure. The verse is repeated with small variations by female singers and acts as a base for the musicians' improvisations. Affer five and a half minutes of passages alternating between chorus, vocal solo and instrumental improvisation, Domany Kouyaté begins a "flattery" made up from long phrases in a characteristic declamatory style; she concludes this "flattery" by taking up the theme of the first verse once more. This process is also used by Djely Kani Diabaté in "E! Madamule"; its basis is the Djagbe rhythm. The "flattery" and text of the verse for these two songs are praises to Mamady for one and to Véronique Keita for the other. Lolé is a song of praise in another style, that of the gongoma ensembles.

The alternation between soloist and chorus that binds together or accompanies the instrumental sections is to be found in the other pieces also.


This new album of Mamady, is the album described by the Master with his pupils in training course (stage) in the whole France. As indicated through the small pocket of this disc made up of 9 titles, Mamady invites you to discover the universe of Djeli, and proposes marvellous examples to us (with "Mamady Lèè" or "Lolé") where the griot carries out the praises of the Keïta couple. An album rich in songs, where the percussions create a unit, without given the priority to the single solos of Mamady.

Available september 2001