Mamaya

The old Mandingo-dance Mamaya (Mamayah) was very populair in Guinea during the 1940 - 1960 period. Traditionally it was a very stately dance, that was performed in a club or a group where one was part of. Dressed in gouba's and embroded shirts, male and female dancers could express their beauty, while dancing in two circles (men in outer circle, women in inner circle). Dance-steps were made in a majestic way and a handkerchief or decorated stick was used as an attribute. The rhythm started with the singing of a Griot and/or music made with the Balafon, Bolon or Tama. Mamaya is traditionally without an echauffement. Mamady Keïta, Mamoudou 'Delmundo' Keïta and Famoudou Konaté have their own interpretations of Mamaya, but the melody compares.

Sources:
Lessons from Martin Bernhard, Mamoudou 'Delmundo' Keïta
Written material: Famoudou Konaté, Mamady Keïta, Åge Delbanco, Paul Janse, Rafaël Kronberger

WAP-pages / Paul Nas / Last updated on 1-1-2015



Interpretation of Mamoudou 'Delmundo' 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 . . O
x . x x . x x . x x . x x . x x . x x . x x . x

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

Interpretation of Famoudou Konaté:
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 . . .
x . x x . x x . x x . x x . x x . x x . x x . x

Doundoun
. . 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
x . 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
x . x 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
. x . x . x x . x x . x x . x x . x x . x . x x

Doundoun variation 4
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 5
. O . O . O . O O . O O . O . . . . . . . . O O
. x . x . x . x x . x x . x . x . x x . x . x x

Interpretation of Mamady Keïta:
Call (from Mögöbalu-CD from Mamady Keita)
T T S T T S T T S S . .
r l r l r l r l r l . .

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

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

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

Other sources:
Solo accompagnement
S S . S S . T T . S S . S S . S S . S S . S S .
r l . l r . r l . l r . r l . l r . r l . l r .

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

Djembé 4
B S B . T B . T T B T . B S B . T B . T T B T .
r l r . r l . l r l r . r l r . r l . l r l r .

Djembé 5
T B . S . T T . B S . T T B B S B T T . B S B T
r l . l . l r . r l . l r l r l r l r . r l r l

Break (H= wood of douns)
T T S T T S T T S T S T T . . S S S S . S . . B
r l r l r l r l r l r l r . . l r l r . r . . l

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

T . B . B B T . B . B B T . . S S S S . S . . .
r . r . r l r . r . r l r . . l r l r . r . . .
D . . . . . . . . . . . . . . . . . . . . . . . O

. . . . . . . . . . . . . . . S S S S . S . . .
O . H . H O O . H . H O O . . . . . . . . . . O

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

Djembé solo ; use these phrases:
phrase 1
T T S T T S T T S T T S S . . S S S S . S . . .
r l r l r l r l r l r l r . . 2 r l r . l . . .

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

phrase 3
T . S . T . T . S . T . T . T . . S . . S . T .
r . f . f . r . f . f . f . f . . f . . f . f .

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


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.