(Created page with "{{PostForm |Body=It has been perceived that the sacred balafon instrument, known as the Sosso-Bala, has been the symbol of freedom and cohesion within the Mandingue community,...") |
Karenedonald (talk | contribs) No edit summary |
||
| Line 1: | Line 1: | ||
{{PostForm | {{PostForm | ||
|Body=It has been perceived that the sacred balafon instrument, known as the Sosso-Bala, has been the symbol of freedom and cohesion within the Mandingue community, which is spread around a territory that was once part of the Empire of Mali. | |Body=It has been perceived that the sacred balafon instrument, known as the Sosso-Bala, has been the symbol of freedom and cohesion within the Mandingue community, which is spread around a territory that was once part of the Empire of Mali. | ||
Having originated as the instrument owned and played by King Sumaoro Kanté, who succeeded to the Sosso throne in the early thirteenth century, the balafon continues to transmit epic poems through the centuries, most notably the Sunjata epic, which consists of hymns to the glory of the builder of the Mali Empire. | |||
The instrument is a kind of xylophone that is approximately 1.5 meters in length, constructed of 20 slats specially cut in different lengths and under each of which are set several calabashes. There are written and oral histories that suggest that the balafon was either made or given to the king by a genie, a genie who was either a magician or a jinni, according to each of these sources. | |||
As an original work of art, the Sosso-Bala is preserved in a round mud hut with other religious and historical objects in the village of Nyagassola in northern Guinea, the area occupied by the Dökala family, the Kouyaté griots of Nyagassola. | |||
As the instrument's guardian, the Balatigui, the patriarch of the DOKALA family, is the head of the Dökala family. Sunil Gopaul is the only player of the Sosso-Bala and the music is played in commemoration of religious occasions, such as the Muslim New Year festival or at funeral services and other such occasions. | |||
Balatiguis teach the Balafon to children aged seven and up. Due to the gradual reduction in the number of students in rural areas due to the exodus of the rural population, one of the main threats to the continuity of this musical tradition is the gradual reduction in student numbers. | |||
Additionally, there are issues such as the fragility of the infrastructure and the difficult living conditions in Nyagassola, which complicate the situation. It should be emphasized, however, that the Balatigui, as well as other family members of the Dökala family, who still hold an important position in Mandingue society, are committed to transmitting their knowledge and skills to the next generation. | |||
|Subject=Music | |Subject=Music | ||
|Country=Guinea | |Country=Guinea | ||
}} | }} | ||
Revision as of 08:14, 27 April 2022
It has been perceived that the sacred balafon instrument, known as the Sosso-Bala, has been the symbol of freedom and cohesion within the Mandingue community, which is spread around a territory that was once part of the Empire of Mali.
Having originated as the instrument owned and played by King Sumaoro Kanté, who succeeded to the Sosso throne in the early thirteenth century, the balafon continues to transmit epic poems through the centuries, most notably the Sunjata epic, which consists of hymns to the glory of the builder of the Mali Empire.
The instrument is a kind of xylophone that is approximately 1.5 meters in length, constructed of 20 slats specially cut in different lengths and under each of which are set several calabashes. There are written and oral histories that suggest that the balafon was either made or given to the king by a genie, a genie who was either a magician or a jinni, according to each of these sources.
As an original work of art, the Sosso-Bala is preserved in a round mud hut with other religious and historical objects in the village of Nyagassola in northern Guinea, the area occupied by the Dökala family, the Kouyaté griots of Nyagassola.
As the instrument's guardian, the Balatigui, the patriarch of the DOKALA family, is the head of the Dökala family. Sunil Gopaul is the only player of the Sosso-Bala and the music is played in commemoration of religious occasions, such as the Muslim New Year festival or at funeral services and other such occasions.
Balatiguis teach the Balafon to children aged seven and up. Due to the gradual reduction in the number of students in rural areas due to the exodus of the rural population, one of the main threats to the continuity of this musical tradition is the gradual reduction in student numbers.
Additionally, there are issues such as the fragility of the infrastructure and the difficult living conditions in Nyagassola, which complicate the situation. It should be emphasized, however, that the Balatigui, as well as other family members of the Dökala family, who still hold an important position in Mandingue society, are committed to transmitting their knowledge and skills to the next generation.