Djansa

Djansa (Dansa, Yansa, Diansa) is origianally coming from the Kassouke-people from Southern Mali (Kayes-region), Originally it was a competition dance for the young men; nowadays a populair rhythm, played all over West Africa.. In Mali in earlier days, only two bass-drums were used. A third pattern was added (here kenkeni-pattern) and its logical that different kenkeni-patterns on different occasions were improvised. Farafina's song 'Moroman Wouele' is a piece with Djansa as basic rhythm:.

I yee mama woule dounja, a-yee moroman toro san dounja
iyo moroman torra man nanna yerela kolela moggo ten ya mie
ee moroman wouele, ee moroman wouele
ee moroman woule, na na yella folila moggo tie do
no yaye dounja die ten allala,
fanta den nouko ten nan minya
no yaye dounja de tan wollo,
so man den nou fo te sa dounja
no yaye dounja die tan alla
farafju na nu kuma ten nan dounja
aye moroman nenne manna yerela folela moggo ten ya mie
ee moroman wouele, ee moroman wouele,
ee mogoman woule, na na yella folila moggo tie do

Sources:
Lessons from Martin Bernhard and Ponda O'Bryan
Written material: Åge Delbanco, Ponda O'Bryan, Stephan Rigert, Larry Morris, Paul Janse and Rafaël Kronberger.

WAP-pages / Paul Nas / Last updated on 14-03-1999



Call
T . T T . T . T T . S S S . . .
f . r l . l . l r . r l r . . .
S . . . . . . . . . . . . . . O .

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

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

. . O O . O . O O . O . . . . .
x . x x . x . x x . x . x . x .

Kenkeni 1
O . . . O . . . O . . . O . . .
x . x . x . x . x . x . x . x .

Kenkeni 1a
O O . . O O . . O O . . O O . .
x . x . x . x . x . x . x . x .

Kenkeni 2
. . O O . . O . O O . . . O . .
x . x x . x x . x . x x . x x .

Kenkeni 3
O . . . . O O . O . . . . O O .
x . x x . x x . x . x x . x x .

Doundoun variation 1
o . . . . . . . o . O . . . . .
x . x x . x x . x . x x . x x .

o . . . . . O O . O O . . . . .
x . x . x . x x . x x . x . x .

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

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

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

Solo accompagnement 1
B . S S . B S S B . S S T T S S
r . r l . l r l r . r l r l r l

Solo accompagnement 2
B S S S T T S S B S S S T T S S
r l r l r l r l r l r l r l r l

Solo 1 ; use the next elements:
S S . . . . . B S S S . . . . B
r l . . . . . l r l r . . . . l

S S . . . . . B S S S . . . T T
r l . . . . . l r l r . . . r l

S S . . . . T T S S S . . . T T
r l . . . . r l r l r . . . r l

S S . T T S T T S T T S T T S B
r l . 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 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.