Kawa

"Like the Söliwoulen, the Kawa is a masker who tracks down wizards and other "people of the shadow", marabouts or evil sorcerers of the fetish cult. He is armed with the börö, a sack that allows him both to detect and to strike them. His task is nevertheless difficult, for the wizards defend themselves. As is the case with most of the malinké maskers, the Kawa is exclusively masculine and dances alone, accompanied by the singing and the handclapping of the women." (text from leaflet CD Mögöbalu by Mamady Keïta). The rhythm comes from the Faranah area, and is often supported by a balafon, a talking drum and / or Malinke-flute (according to Serge Blanc).

Eéé, ééé, ni ibara börö ta thié woli man dii !
Hé! he! if you have taken the börö, your work will not be easy!

Sources:
Written material:
Ushi Billmeier (from Mamady Keïta), Serge Blanc, Rafaël Kronberger (also djembé solo 1) and Moritz Köppen

WAP-pages / Paul Nas / Last updated on 05-09-2014



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

KAWA (Mamady Keïta)
Kenkeni
. . 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 . O . O . C . . C . . C . . . O .
x . x x . x x . x . x . x . x x . x x . x . x .

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

KAWA (Serge Blanc)
Kenkeni
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 . O . O . C . . . C . . . C . O .
x . x x . x x . x . x . x . x . x . x . x . x .

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

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

KAWA SANKARAN (Famoudou Konaté according Moritz Köppen)
Intro
O O . O O . O O . O O . O O . O O . O O . O O .
. . x . . x . . x . . x . . x . . x . . x . . x

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

Sangban variation 1
. O . O . . . O 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

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

Doundoun ending the echauffement
. 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

Djembé solo 1; phrase 1
T T S S B S T T S S B S . . . . . . . . . . . . .
l r l r l r l r l r l r . . . . . . . . . . . . .

phrase 2
T T S T T S B . S B . S T T S T T S B . S B . S
r l r l r l r . r l . l r l r l r l r . r l . l

phrase 3
T T S T T S T T S T T S S . . . . B S . . B . .
2 r l 2 r l 2 r l 2 r l r . . . . l r . . l . .

phrase 4
S . T T . T T . T T . B S . . . . B S . . B . .
f . r l . l r . r l l r . . . . l r . . l . .

phrase 5
S S S S . . T T T T . . S S S S . . T T T T . . S S
2 2 r l . . 2 2 r l . . 2 2 r l . . 2 2 r l . . r l

echauffement
T T S S S S S S S S S S S S S S S S S S S S 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

Djembé 2 solo phrase 1
. . . . . . . . . . . . . . . . T T T T S . . .
. . . . . . . . . . . . . . . . 2 r l r l . . .

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

phrase 2
S S . S S S . S S S . S S . S . T T T S T . . S
r l . l r l . l r l . l r . r . f r l r l . . l

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

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

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

phrase 3
B B S B B T B B S B B B B B S B B T B B S B B B
r l r l r l r l r l r l r l r l r l r l r l r l

phrase 4
S . S . S . S . S . S . T T S . S . S . S . S .
r . r . r . r . r . r . r l r . r . r . r . r .

phrase 5
S S . . S S . . S S . . B T . . S S . . S S . .
r l . . r l . . r l . . r l . . r l . . r l . .

phrase 6
S S T T S S S . S S T T S S S . S S T T S S S .
r l r l r l r . r l r l r l r . r l r l r l r .

phrase 7
T T S S T T T S S . T T S S T T S . T T T T S .
f r l r l r l r l . f r l r l r l . f r l r l .

Another KAWA from one of the Hamana villages with djembé solo
Kensedeni
O . . O . . O . . O . . O . . O . . O . . O . .

Sangban first time
O . . . O . . . O . O . O . . . C . . . C . . .
x . . . x . . . x . x . x . . . x . . . x . . .

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

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

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

Djembé solo 3; phrase 1 (with variation)
s s . . t t s s . . t t s s . . T T S S . . t t
r l . . r l r l . . r l r l . . r l r l . . r l

phrase 2 (with variation)
t . s t . s t . s t . s t . S T . S T . S T . s
r . r l . l r . r l . l r . r l . l r . r l . l

phrase 3
T T S S . S T T S S . S T T S S . S T T . . . .
r l r l . l r l r l . l r l r l . l r l . . . .

phrase 4
S S . S . S . . S . S . s S . S . S . . S - S .
r l . l . l . . r . r . r l . l . l . . r . r .

phrase 5
. S . T . S . T T . S . . S . T . S . T T . S .
. l . l . l . l r . r . . l . l . l . l r . r .

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

Djembé echauffement
T S T T S S S S S S S S T S T T S S S S S S 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

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

ending the echauffement 1
S S T T . S T . S T . . . . . . . . . . . . . .
r l r l . l r . r l . . . . . . . . . . . . . .

ending theechauffement 2
S S . S S . S S . . T T . . . . . . . . . . . . .
l r . r l . l r . . l r . . . . . . . . . . . . .

ending the echauffement 3
. S . S . S S . S S . . . . . . . . . . . . . .
. l . l . l r . 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.