Bandogialli / Bando Djeï / Gbandon

Bandogialli is a Dununba-rhythm from the Malinke in the Hamana-region in Guinea. It is also known as Bando Djeï. Bandogialli is the name of some kind of ape-family (Bando Djeï) with a white tail. The baranti dancers have a ring around their neck with white hair, crests or "sheeps-beards" attached to it, that remember to the white tail of the ape. As the shoulders of the dancer move up and down the white sheep-beard seesaws along. Drew Ravey names 'Gbandon' as the same rhythm.

From the Mögöbalu-CD from Mamady Keïta:
Amidst all the praises adressed to Nīna Dödö, the goddess known as Nakouda or Koudaba is now honoured in the song below Worshipped by the people of Hamana, mother Kouda is particulary invoked during the feast of Bölèh pond in Baro, a village situated between Kouroussa and Kankan. This is the occasion to thank her with offerings for whishes granted or to implore her for succes in the future.

N,na Dödö nin né, Bomba la Dödöö, N,na Dödö nin né, N'na gbadon Dödöö
Ina moyi ni lolo lé laa, Baatèmah loloh, Djitèmah loloh
Ibaa kouma, koulé kouma kodjon,
Ibi imakoun, koulé djanda ni founoukéya Döö,
Kouma yé sondja lé dij, Makoun ködö tè lon, Kerèn-könöni kassi daa
N'na konda ééé, N'na konda ya naa, Hamana dia daa !
Noulou nani donkan néma ééé !, Sila yèlèni bandan né la ééé !
You, mother Dödö, Dödöö of the great house, you mother Dödö, cook Dödöö
Your mother gave birth to a star, a star in the midst of waters
a star in the depth of the waves
if you speak, they say that you talk to much
if you are silent, you who are young, they say that you are pretensious
words become suffering for you
but the depths of silence cannot be measured
Kèrèn-Könöni* has sung
O, mother Kouda, let mother Kouda come
the living is good in Hamana
it was for the dancing that we came
the path leads to the kapok-tree**
(* a smal bird, known for itīs chattering)
(** the kapok-tree is often planted in the centre of the bara, space for dancing)

Sources:
Lessons: Mamadou 'Delmundo' Keïta, Ponda O'Bryan
Written material: Mamady Keïta, Famoudou Konaté, Åge Delbanco


WAP-pages / Paul Nas / Last updated on 17-05-2012



Call
. . . . . . . . . . . . S S T S S S . . . . . .
. . . . . . . . . . . . r l r l r l . . . . . .
K . . . . . . . . . . . . . . . . . . . . O . O O
S . . . . . . . . . . . . . . . . . . . . O . O O
D . . . . . . . . . . . . . . . . . . . O O . O O

Kenkeni
. . O . O O . . O . O O . . O . O O . . O . O O
. x x . x x . x x . x x . x x . x x . x x . x x

Sangban
. . . . . O . . O . O . . . . C . C . . O . O .
x . x x . x . x x . x . x . x x . x . x x . x .

Sangban alternative
. . . . . O . . O . O . . . C C . . . . O . O .
x . x x . x . x x . x . x . x x . x . x x . x .

Doundoun
. . . . O O . O O . O O . . . . . . . O O . O O
. x x . x x . x x . x x . x x . x x . x x . x x

Sangban variation 1
. . O . . O . . O . O . . . . C . C . . O . . O
. x x . x x . x x . x . x . x x . x . x x . x x

Sangban variation 2
O . . . O . . . O . O . . . . C . C . . O . . .
x . x . x . x . x . x . x . x x . x . x x . x .

Sangban variation 3
. O O . . O . . O . O . . . . C . C . . O . O .
x x . x x . x x . x . x . x x . x . x x . x .

Sangban variation 4
O O . . . O . . O . O . . . . C . C . . O . O .
x x . x . x . x x . x . x . x x . x . x x . x .

Sangban variation 5
. O . . O . . . O . O . . . . C . C . O . . O .
x x . x x . x . x . x . x . x x . x . x . x x .

Sangban variation 6
. . . O . . . . O . O . . . . C . C . O . . . O
. x . x . x . x x . x . x . x x . x . x . x . x

Sangban variation 7
. . . . . O . O O . . . . . . C . C . . O . O .
x . x x . x . x x . x . x . x x . x . x x . x .

Sangban variation 8
. . . . . O . O O . O . . . . C . C . . O . O .
x . x x . x . x x . x . x . x x . x . x x . x .

Sangban variation 9
. . O . . O . . O . O . . . . C . C . . O . O .
x . x . x x . x x . x . x . x x . x . x x . x .

Doundun variation
O O . O . O . O O . O O . . . . . . . O O . O .
x x . x . x . x x . x x . x x . x x . x x . x .

Sangban echauffement
O . . O . O . . O . O . . . O O . . . . O . O .
x . x x . x . x x . x . x . x x . x . x x . x .

Doundoun echauffement
. O O . O O . O O . O O . O O . O O . O O . O O
. x x . x x . x x . x x . x x . x x . x x . x x


index | legenda (nl) | legend (en) | inleiding (nl) | introduction (en)

Thanks for taking notice of this interpretation of this rhythm but please consult some real authority's (like Famoudou Konaté and Mamady Keïta) or genuine TEACHERS for further study. Check also the other SITES WITH RHYTHM-NOTATIONS on West African Percussion on the Internet. And share your knowledge and ideas to these WAP-pages and to others.