Bara

Bara (Bala) is a rhythm originating from South-Mali. Dance of the "nobel" people. Once a year a great feast is held at the village. The king comes to the village for this occasion. Nowadays also at mariages and other party's. This is a version for two douns standing up (here named as sangban and kenkeni) , played with two sticks. The song is not specific connected to this rhythm.

Heard during dance class of Laye Diallo:
N'ganamo, N'ganamo, fantale warafama koumbafo
Koo tomatingeba fama yorode, dundunbara songa ye

Heard on song Segu Tonjon on CD Segu Blue of Basekou Kouyate and Ngoni Ba
N'ganamo, N'ganamo, fandan de manafa ma koumafo
Koo doumatingjeba make bo-o ke woro koumba kele zongo ye
N'ganamo, N'ganamo, fantale manafama koumafo
Koo doumatjingeba make bo-o ke woro koumba kele zonge ye

In the Cd-booklet it says: Da Monzon Diarra (ruled from 1808 - 1827) was one of the most powerfull and famous of the Bamana rulers (faama) remembered and admired by the griots for his generosity and his fearless slave army (tonjon), who had their own strange, grotesque dances with jerky movements. There are several well known versions of this song, otherwise known as Da Monzon. The song says: "If a poor person talkes about Da Monzon he'll sell that person for the price of one kola nut. Da Monzons children are not like any others. An orphean overhears allways the chatting of parents; a woman with no husband allways overhears the chatting of a woman with her husband; a man with no wife allways overhears the conversation of a man and his wife. Da Monzons soldiers do no good. They wait untill the men of a village are off fighting, then go in and sleep with their wives. The tonjon eat salted dogs meat (a meat forbidden to muslims). If you put fresh peanuts in the pot, and you ask a leper to pull them out with his fingerless hand, you mocking him".

Sources:
Dance and song Laye Diallo, Dance from Issa Sow, song from CD Segu Blue: track Segu Tonjon, books by Age Delbanco and Stephan Rigert

WAP-pages / Paul Nas / Last updated on 30-05-2012



Call
T T S T T S S . . . . . . . . . . . . . . . . .
2 r l 2 r l r . . . . . . . . . . . . . . . . .
1 . . . . . . . . . . . . . . T T S . B S T T S .
2 . . . . . . . . . . . . . . T T S S S . T T S S
3 . . . . . . . . . . . . . . T T S S S S T T S S
K . . . . . . . . . . . . O . O O O . O . O O O .
S . . . . . . . . . . . . O . . . . . O . . . . .

Kenkeni / Sangban combinations where the first four beats are variations and the second four beats are the same every time.

K . . . . . . . . . . . . O . O O O . O . O O O .
S O . . O . . O . . O . . O . . . . . O . . . . .

K . . . . . . . . . . . . O . O O O . O . O O O .
S O . O O . O O . O O . O O . . . . . O . . . . .

K . . . . . . . . . . . . O . O O O . O . O O O .
S O . . . O . . . . . O . O . . . . . O . . . . .

K . . . . . . . . . . . . O . O O O . O . O O O .
S O O . . . . O O . . . . O O . . . . . O . . . . .

K . . . . . . . . . . . . O . O O O . O . O O O .
S O . . . O . . . O . . . O . . . . . O . . . . .

K . . . . . . . . . . . . O . O O O . O . O O O .
S O O . O O . O O . O O . O . . . . . O . . . . .

K . . . . . . . . . . . . O . O O O . O . O O O .
S O . O . O . O . O . O . O . . . . . O . . . . .

K . . . . . . . . . . . . O . O O O . O . O O O .
S O O . . O O . . O O . . O . . . . . O . . . . .

Djembé 1
B S T T S . B S T T S . B S T T S . B S T T S .
r l r l r . r l r l r . r l r l r . r l r l r .

Djembé 2
S . T T S S S . T T S S S . T T S S S . T T S S
r . r l r l r . r l r l r . r l r l r . r l r l

Djembé 3
S S T T S S S S T T S S S S T T S S S S T T S S
r l r l r l r l r l r l r l r l r l r l r l r l


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

Thanks for taking notice of this interpretation of this rhythm but please consult some real authoroty'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.