Konden


There are different explanations about the cultural background of the Malinke rhythm Konden (Konen, Konde, Kunde, Konding). Some people claim it'sa mask-dance, others say it's a dunumba (this is not necessarily conflicting). The typical dundunmba-kenkeni-pattern is not there, but the kenkeni-part of Konden II could be interpretated as a "half-speed" kenkeni of a dunumba. It could be that Konden II is the dununba-piece and Konden I is the mask-piece. Because some of the great drummers have a different ideaīs about the meaning / background you will find some of their interpretations here:

I. Konden is a (Malinke) mask which walks fast and dances. Konden is a mask-dance staged for young men between the age of fifteen en twenty years. Konden runs after the guys, and when he catches them hits them with a rod. In earlier times the dance was only accompanied by singing and clapping. The mask-dancer holds twigs with leaves in his hands. The mask looks truly frightening and the little children get scared, their fear intensified further because of threats made by the adults."If you are not nice the Konden will come and get you!". Each region has changed the rhythm somewhat, especially the dunun.
(from "Mamady Keita; a life for the djembe")

II. Konden is the mask that protects the older bilankoro in the days leading up to their circumcision. Very handsome, he is also a fine dancer, which accounts for his popularity amongst the young. The best Konden are to be found in the current prefecture Siguiri (upper Guinea) and the village of Banfeleh in particular. There is a reputation of inventing the finest dancemovements, but also of being quick to strike out with his riping crop to punish naughty children. He is somewhat like the "bogeyman".
(part from text from Mogobalu-CD from Mamady Keita)

III. Konden (Konding) is a Doundounba rhythm
(sais Koungban Konde Master Drummer and Leader of Percussionist De Guinee according to Baba Aidoo)

IV. Konden is most definitely *not* a Dununba rhythm, It is a mask dance,
and was performed as part of traditional end-of-Ramadan festivities.
(according Jim Banks who asked Famoudou Konate).

V. Mamoudou "Delmundo" Keita, who teaches in the Hamana-style from Upper
Guinea, has made one CD "House of Roots". Track 3, "Yaya" (Doundoun gbe,
Konden, Bandogialli, Bolokonondo)
is dedicated to his father Fa Daman Keita:
".....He was also reknown as a great dancer of the traditional dance of the
strong men / warriors. Here itīs brought together in four different doundounba-rhythms...." Delmundo also sais: "Konden is the only Dununba that is played fast".

VI. Serge Blanc's book, 'Le Tambour Djembe' lists Konde as a member of the
Dununba group from Kouroussa.

VII. Youssouf Koumbassa on his video 'Wongai' also states in the introduction to the Doundoumba that it is called Konde.

VIII. In the book Traditional West African Rhythms from Åge Delbanco, the rhythm
Konde is annotated. Sources are different members of the Konate-family. It sais : "Dununba from Guinea (Malinke).

Banfeleh, Banfeleh, Konden de wa banfeleh,
Konden Fadima djy karo bada böö, Konden de wa Banfeleh


"Banfeleh, banfeleh, the Konden will go to Banfeleh
the time has come for the circumcision of Fadima Konden
the Konden will go to Banfeleh.


Sources:
Lessons from Famoudou Konaté
Written material: Mamady Keïta, Mamoudou 'Delmundo' Keïta, Åge Delbanco, Serge Blanc.

WAP-pages / Paul Nas / Last updated on 20-10-2014



Konden I (from Wassolon)
Call
T . T T . T T . T T . .
f . r l . r l . r l . .
D . . . . . . . . . . . O

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

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

Djembé 2
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

Konden II (from Kouroussa)
Call
T . T T . T T . T T . .
f . r l . r l . r l . .
D . . . . . . . . . . O O

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

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

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

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

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

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

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

Sangban variation 6
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
. 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 variation 1
. 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

Doundoun variation 2
. 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

Doundoun variation 3
. 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 1
S . T S . . S . T S . . S . T S . . S . T S . .
r . r l . . r . r l . . r . r l . . r . r l . .

Djembé 2
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

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

repeat
. O . O . . . O O . O . . O . O . . C . C . . O
. x . x . . . x x . x . . x . x . . x . x . . x

transition to second echauffement
. O . O . . . O O . O . . O . O . . C . C . . .
. x . x . x . x x . x . x x . x . x x . x . x .

repeat
O . . O . . C . . C . . O . . O . . C . . C . .
x . x x . x x . x x . x x . x x . x x . x x . x

last time
O . . O . . C . . C . . O . . O . . C . . C . O
x . x x . x x . x x . x x . x x . x x . x x . x

Sangban ending the echauffement
. O . 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 . O O
. x x . x x . x x . x x . x x . x x . x x . x x

ending
. 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

Djembe solo phrases
phrase 1
T T . S . S T T . S S . T T . S . S T T . S S . T T
r l . l . l r l . l r . r l . l . l r l . l r . r l

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

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

phrase 4
S S S T . . S S S T . . S S S T . . . . . . . .
2 r l r . . 2 r l r . . 2 r l r . . . . . . . .

phrase 5 /6
. S T T . s . S T T . s . S T T . S . S T T . .
. f r l . r . f r l . r . f r l . r . f r l . .

echauffement
T T S T T S T S T T S S S S S S S S S S S S S S
2 r l 2 r l r l r l r l r l r l r l r l r l r l

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


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.