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Sunday, April 30, 2017

Eight Video Examples Of Contemporary Mamaya Social Events Worldwide

Edited by Azizi Powell

This is Part II of a two part series on "Mamaya" traditions in Malinke cultures.

This post presents a few excerpts from online articles about "Mamaya".

Part II also showcases eight videos of more contemporary Mamaya social events (in comparison to the description of Mamaya & the Mamaya videos that are found in Part I of this series and in comparison to the description of Mamaya that is given as Excerpt #1 below.)

Click https://pancocojams.blogspot.com/2017/04/seven-mamaya-videos-book-excerpt_30.html for Part I of this post. Paert I also provides information about Malinke cultures, provides an excerpt from Ingrid Monson's book about "Mamaya" song, dance, and events.

Par I also showcases seven YouTube examples of "Mamaya" song and dance events, with particular focus on older forms of Mamaya social events.

The content of this post is presented for folkloric, historical, cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to the creators of Mamaya music, dance, and cultural events.

Thanks to all those who are quoted in this post. Thanks also to all those who are featured in these YouTube examples and thanks to the publishers of these examples.

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SELECTED ONLINE EXCERPTS ABOUT MAMAYA SONG, DANCE, AND SOCIAL EVENTS
These excerpts are given in no particular order and are numbered for referencing purposes only.

Excerpt #1:
From http://www.paulnas.eu/wap/mamaya.html
"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"

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Excerpt #2:
From https://www.washingtonpost.com/archive/lifestyle/1985/07/11/moving-with-mamaya/f4398354-60c7-432a-a098-5116f5778ea4/?utm_term=.f68b47237053 Moving With Mamaya By Mike Joyce, July 11, 1985
"Djimo Kouyate, who moved from his native Senegal to Washington four years ago, couldn't believe the audience reaction when his modern African music ensemble Mamaya performed at Dance Place recently.

"We intended to play for only 40 minutes but ended up playing for an hour and a half," he says. "Everybody, everybody began to dance. For them, it was a great disco. It was beautiful to see everyone moving to the music. I didn't know we were going to communicate that quickly with people who had never heard our music before."...

Steve Bloom, who along with his wife, Carla Perlo, founded D.C. Wheel Productions, which runs Dance Place, was even more impressed. "It was the finale of an evening of music I produced with my group, Steve Bloom and the Crux," he says. "People went wild. We had every intention of making it a dance event, but all of a sudden it became a giant breakdown. People were flying everywhere."...

For Kouyate, the nine-member ensemble Mamaya is the latest project in a life dedicated to the preservation and promotion of African culture. Kouyate is a griot -- "a traditional musician and historian to African society," as he puts it -- and a master of the ancient 21-string instrument known as the kora.

While the kora, congas and marimba (a modern substitute for the balaphon) link Mamaya's music to the African past, as do many of the group's songs, Kouyate is quick to point out that the addition of guitars and borrowed elements of jazz improvisation make it thoroughly modern as well, and surprisingly accessible to American ears....

"Mamaya is beautiful dance music," Kouyate says. "African jazz music. It's the modern high-life music of West Africa. In Africa when they play Mamaya, all the beautiful women come out to dance, and the griots, the musicians, spend all year making sure the event is something very special."...

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Example #3:
From http://www.to-music.ca/newsletter_43.htm
[Press release about Toronto, Canada's Mamaya Festival and one of its featured performers Katenen "Cheka" Dioubata)
... "Mamaya Festival (Aug. 11) [2007]

Local Guinean griot, Katenen "Cheka" Dioubaté has been making quite an impression in the relatively short time she has been performing in Toronto. She performs with a backing band, "Snowgriots" made up of some excellent local African musicians, including Kobena Acqua-Harrison, Tamsir Seck and Kassoum Diamoutene.

She and the band opened for Toumani Diabaté last month at Harbourfront, (my photos of her set are posted here), and they have been making a number of performances around town. (I saw her perform two days in a row this week).

Next weekend, she brings the traditional Guinean "Mamaya" festival to Toronto. Sat. Aug. 11, 2-8pm at the Regent Park Community Centre, 203 Sackville St. Free. "Everyone and all ages welcome". Dress code: "Baby blue (or white)". For information, see her notes about Mamaya below. (Taken from her MySpace page)
WHAT IS MAMAYA?

Mamaya is an all-ages dance, a song and an event originating from the city of Kankan, the second largest in Guinée (W. Africa). It has spread to Mali Senegal, Burkina Faso, Cote D’Ivoire and now Canada. In Guinée, Mamaya is traditionally celebrated once a year at Ramadan, bringing everyone together to celebrate the beautiful nature of their culture, in happiness, peace and joy. Selected musicians will gather in a chosen outdoor area. The public participates altogether by becoming dancers, each one wearing a similar type of light blue coloured clothing called bakha (sky blue). In our Canadian version, some people may choose to wear sky blue dress or white. This shows that every person is the same, united and equal: women and men, rich and poor. It also looks beautiful and tells everyone that something great is going on!

With Mamaya there’s no racism or discrimination. We are one people, no matter where we are from and on this occasion, we unite different cultures and think in new ways. This Mamaya in Canada occurs during summer and is a non-denominational, family event. Mamaya will be free of charge. At one side will be a stage for the musicians with a central area for dancing. People may sit or stand at the sides surrounding the dance area. Instructors will show you how to dance Mamaya and doumdoumba. Those familiar with the event and the traditional role of a griot/musicians, will bring money to “spray” them in thanks and reciprocity for good mention and blessings."
-snip-
Click https://www.youtube.com/watch?v=xNm66ipvOq0 for a 2008 video of in Guinea. The video summary includes this statement "West African Festival that originated in Kakan, Guinea West Africa. Cheka Katenen Dioubate has started these festivals in Toronto Canada, this is Mamaya 2008."

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Example #4:
From https://www.facebook.com/events/666092116874784/
"Details
The Guinea Association is proud to present...,
"Mamaya in Seattle" it is a full afternoon of community, music dancing, celebration and cultural sharing to be held at the amphitheater in the center of beautiful Seward Park in South Seattle on September 17th, 2016.

Mamaya started many years ago in the city of Kankan, Guinea West Africa by the group of people of the same age called; Serere. In honor of the Serere group, Currently this dance is danced all over the world.

This is an An All African Community Celebration. We're inviting every African Association, Every Church, Student, Every Community Family, Every supporter of Arts and Culture and every Artist to come out and Join us!

You are invited to attend and we encourage you to bring friends and family.

The African Market Place will include; yummy food vendors, retail vendors, cultural displays and networking opportunities.
There will be large selections of African merchandise, such as African clothing for men, women and children. beautiful and unique Jelwrey, amazing African instruments and there will be ways to support local artist by purchasing their CD's , T-shirts and DVD's.

At 12noon DJ MOH and his crew will kick-off the event.
Live entertainment will be performed by:
* Message from Guinea
* The Djeliyah Band
* Dembaya with Manimou Camara
* Kouyate Arts
* and more Cultural presentations will honor the event sponsors and patrons who will be recognized for their outstanding support. These moments to honor will be done in a traditional way.

This event is Free!

Wear Your Light Blue!"

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SHOWCASE VIDEOS

Pancocojams Editor's note & question:
Most of the videos that are showcased below highlight social events that appear to be sponsored by and primarily (if not entirely attended by) Guineans or other Malinke people living in West Africa, or in Europe, the United States, or Canada.

Notice that Mamaya dancing has changed from the description given in Part I of men dancing sedately in a outer circle and women sedately in an inner circle to just women dancing sedately in a single file, and then to more energetic women dancing. Also, notice the tradition of "spraying" paper money to show appreciation and support.

I'm curious. Do Malinke men still dance Mamaya either the "old school" way or any way at all?

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Example #1: Sofoli - Mamaya (Bransang, Guinea, November 2011)



Traditional Malinke Music from Guinea (and some other things), Published on Jul 18, 2012

The rhythm Mamaya being played by members of Mansa Camio's group Sofoli in Bransan, a small village close to Baro. It's interesting to see how the Mamaya fete is now very often mixed with a disco. The DJ will arrive and set up the sound system and the drummers play first. Then they close off the area and people have to pay 500GF to entre (0.06 euro) to dance to the DJ's mix of reggae and African pop.

On djembe we have have Kebre Conde and Moriciré Camara
Karamo on sangban
Namory Keita on dundunba
Lanfia on kesedeni

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Example #2: Grande Soirée MAMAYA 1 de Montréal 2011 - 1 video1 by dj.ikk



Kalil Koulibaly. Published on Aug 5, 2012

Grande Soirée MAMAYA 1 de Montréal 2011 - 1 video1 by dj.ikk

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Example #3: MAMAYA COLORADO # 2 = 21



kerfala d, Published on Apr 14, 2013

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Example #4: Mamaya bayo mali



kerfala d Published on May 28, 2013

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Example #5: Amadou Sodia live @ SunRise - Dance Mamaya 2013 Rotterdam –



Exilic Productions Published on Jul 16, 2013

...Djigui Promotion Presente -"Amadou Sodia & Hadja Kouyate Live Concert" (Dance Mamaya 2013 Rotterdam) MAINTENANT DISPONIBLE SUR LE DVD.

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Example #6: Doussougbe Kante - La Meilleure mamaya Africaines en Amerique



kerfala d, Published on Aug 6, 2013

Mamaya African Way to Party Wedding
-snip-
[Google translate from French to English]

"La Meilleure mamaya Africaines en Amerique" = The Best African Mamas in America

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Example #7: Mamaya-Maimouna Toure New HD



kerfala, Published on Dec 9, 2013

One Of the Best Mamaya To Watch..She Looked Beautiful
-snip-
I'm not sure who or what this social event was in honor of or where it was held.

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Example #8: mamaya teaser



bachir keita Published on Sep 18, 2016

TEASER MAMAYA 2016 À PARIS

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This concludes Part II of this two part series on Mamaya.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Seven Mamaya Videos & Book Excerpt: "African Diaspora: A Musical Perspective" (Quotes From The Chapter On Malinke Cultures' Mamaya Music & Dance Tradition)

Edited by Azizi Powell

This is Part I of a two part series on "Mamaya" traditions in Malinke cultures.

This post provides information about Malinke cultures, provides an excerpt from Ingrid Monson's book about "Mamaya" song, dance, and events.

This post also showcases seven YouTube examples of "Mamaya" song and dance events.

Click https://pancocojams.blogspot.com/2017/04/eight-video-examples-of-contemporary.html for Part II of this series. Part II provides a few additional excerpts from online articles about "Mamaya". Part II also showcases eight videos of more contemporary Mamaya social events.

The content of this post is presented for folkloric, historical, cultural, entertainment, and aesthetic purposes.

Pancocojams visitors are encouraged to read this entire chapter and/or this entire book.

All copyrights remain with their owners.

Thanks to the creators of Mamaya music, dance, and cultural events.

Thanks Ingrid Monson for her research that is excerpted below, and thanks to all those who are quoted in this post. Thanks also to all those who are featured in these YouTube examples and thanks to the publishers of these examples.

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INFORMATION ABOUT MALINKE CULTURES
From https://www.britannica.com/topic/Malinke
"Malinke, also called Maninka, Mandinka, Mandingo, or Manding, a West African people occupying parts of Guinea, Ivory Coast, Mali, Senegal, The Gambia, and Guinea-Bissau. They speak a Mandekan language of the Mande branch of the Niger-Congo family.

The Malinke are divided into numerous independent groups dominated by a hereditary nobility, a feature that distinguishes them from most of their more egalitarian neighbours. One group, the Kangaba, has one of the world’s most ancient dynasties; its rule has been virtually uninterrupted for 13 centuries. Beginning in the 7th century ad as the centre of a small state, Kangaba became the capital of the great Malinke empire known as Mali. This was the most powerful and most renowned of all the empires of the western Sudan, now memorialized in the name of the Republic of Mali."...

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BOOK EXCERPT:
From African Diaspora: A Musical Perspective
edited by Ingrid Monson (Routledge, Mar 1, 2004)

Pancocojams Editor's Note: Malinke words and French words are given in this pancocojams post without their accent marks.

[Google book] https://books.google.com/books?id=VS-UAgAAQBAJ&pg=PA192&lpg=PA192&dq=mamaya+guinean+word&source=bl&ots=dj26nDAJbs&sig=hncrNuhXJquuOydrqB8Q1ymQi6w&hl=en&sa=X&ved=0ahUKEwiMnauPpsrTAhVI0iYKHflsBToQ6AEIPTAD#v=onepage&q=mamaya%20guinean%20word&f=false

[page] 188
..."Not only have the words, melodies, and harmonies of Mamaya become widely known and appreciated, but the time and place that it represents is fondly remembered as yet one more instance of a local flowering of a broadly influential Mande expressive culture.

In the aftermath of the late-nineteenth century wars of the almami Samory Toure, followed by the French colonial rule in 1898, Kankan, the former capital of the kingdom of Bateh, emerged as the major cultural and political center in Upper Guinea (Kaba, 1973). The city became known for its entrepreneurial and erudite Muslim culture with a rich musical life to match ...When the generations born in the late 1910s and 1920s reached adulthood in the 1930s, they celebrated their artistic tastes and lifestyles in Mamaya, one of the most innovative and influential musical movements in the Maninnka world.

Played on xylophones (bala; balafo means "to play the bala) with a female chorus, and occasionally a bass drum (dundun), or Western drum set, Mamaya was an exquisite and joyful music and dance event- or ambiance as it is called in West African French - in which both young men and women participated in their finest clothes. Mamaya was created by a renowned Kankan composer and bala player, Sidi Djeli Djoubate, for his children's enjoyment. Although it primarily centered around Sidi Djeli's family, and more specifically associated with his sons Sidi Karammo, Sidi Mamadi, and Sidi Moussa, (and later Djanka Amo), whose bala trio was recorded in 1949 and 1952, Mamaya involved musicians from other Kankan musical lineages, including the Kouyate, Diawara, and Kante families.

The actual piece of music called Mamaya as distinguished from the whole event of the same name holds special place in the repertory of Maninnka musicians due to its unique character. An extended bala and vocal composition, the core of Mamaya is a long section of lyrics sung to a melody with few repetitions and many twists and turns. It is one of the most through-composed melodies in the repertory of jelis (called griots by the French), the Maninnka musical culture. Several bala based musical accompaniments can be played before and after this extended song.

Mamaya performances usually involved verse after verse of choral singing, set to other melodies and punctuated by bala solos, praising the Kankan notables of the day. The sum total of a Mamaya

[page] 189 includes portion of Mamaya lyrics]

[pages 190 -191 not given in this Google Book edition]

[page] 192
The word Mamaya has no clear meaning in the Maninnka language. It implies, however, a sense of collective excitement, joy, and refined pageantry cultivated in a prosperous urban environment . It also conjures up images of serious artistry in music and dance of a colonial era in which local African culture was celebrated with finesse and pride. A popular youth music grounded in Kankan’s traditions, Mamaya expresses the musical preferences of the younger generations as well as the cosmopolitan culture for which that city was first known in the first half of the twentieth century.... An inquiry into the cultural and historical background of Mamaya can provide insight into how Africans, specifically Maninnka of Upper Guinea have confronted and integrated diverse influences into their own unique cultural expressions in the mid-twentieth century, with continued strong reverberations through several generations into the next century.

[...]

[page] 196
....A key to understanding the importance of Mamaya during its time, as well as its ongoing status is appreciating the significance of age groups.

[...]

[page] 197
...age groups definitely define and bind generations together. In Kankan there are five sede and each has a name: dan diya ("End's happiness"), perhaps an allusion to the dictum that there is an end to everything; san diya ("Year's happiness"), hara makonon ("Expecting good tidings"), du diya (Town's happiness), and jamana diya ("Country's happiness"). Sede are initially based on the grouping of children born during the same epoch and membership lasts a lifetime. Males and females are grouped together under the same sede name, but they have their own group leaders. Every three or four years, new initiates enter into the next rotation of sede so that every fifteen or twenty years the sede names cycle around. The sede known as san diya groups together those born in the early 1920s. They were the first performers of Mamaya.

The time of the san diya generation born in the early 1920s was crucial in colonial Kankan. By that time European culture and values had filtered into the urban environment through travels, schooling, and contact with some members of the white community. Africans, however, did not adopt all the European cultural symbols they had observed. Rather, they reshaped those elements of European culture that they found attractive to fit their own lifestyles. The young men of san diya and other age groups admired such European musical instruments as the guitar and drum set, and such dances of the day as the tango, waltz, rumba, and bolero. They were eager to live their own lives, as every generation desires. But, rigid cultural mores and constraints prevented Kankan youth from introducing European-dance styles based on physical contact between male and female dancers into their beloved hometown. For Kankan, although a modern metropolis, was home to Cheikh Muhammad Cherif and other religious leaders who made it an abode of Maninnka rigorism and a city of strict adherence to Islamic codes of behavior. Early testimony is provided by the French traveler Rene Caillile (1968: 1: 269), who sojourned in Kankan in 1823: "Music and dancing are forbidden among Musulmans [Muslims], and consequently their amusements are far from equalling in frolic and gaiety those which prevail among the pagans"...

[page] 198

...Although dancing was permitted in Kankan with certain restrictions, it was genteel in style and did not take on the sometimes frenetic and violent nature of jembe based rhythms such as Dundunba...

The generational problems of the san diya and the dan diya youth of the 1930s and 1940s generations found a creative solution in Mamaya. They had to initiate an open theatrical forums to conform with their generational attitudes and preferences that would also be compatible with the culture of Kankan. A new artistic form had to be invented, composed, rehearsed, and performed in public. Mamaya expressed this harmony between the imperatives of renewal and respect for traditions.

[...]

page 199

[...]

A typical Mamaya performance involved three bala, a chorus of female singers standing behind them, and sometimes a dun dun (bass drum) or jass drum set player. Youth organized the performance to begin in the mid-afternoon. Grooups of the same age set (sede) would compete for the most elaborate and successful performance, and two Mamaya were often held the same day in Kabada and Timbo, the two largest sections in Kankan. The male members of the sede would wear white or azure damask caftans or boubous (robes), white socks, and open-backed shoes (babouches). They danced in front of the musicians a la ronde holding a staff or handkerchief in their hands. As the dancers would turn to face the musicians, their names would be sung. The length of the Mamaya core and extended lyrics, unusual in African musical tradition, derived from the need to recognize each dancer, his or her family, and specific quality. This implies that Mamaya belonged to the Maninnka tradition of praise song, but performed in a new style and a new context.

[...]

[page] 200
The closest historical model for Mamaya is probably the piece Lamban, which like Mamaya, is distinguished for the rest of the jeli's repertory in two ways. First, both Lamban and Mamaya have a specific dance associated with them. This occurs with very few jeli musical compositions, notably Janjon, which originated in the hunter's repertory. With some exceptions, traditional jeliya is for listening, not dancing. Secondary, neither Lamban nor Mamaya are dedicated to a particular patron or event of political significance, another rare

[page 201-202 aren't included in this Google book excerpt].

page 203

[...]

Transformation of the tradition has also included the use of instruments other than balas for Mamaya recordings. (See El Hadj Djeli Sory Kouyate (1992) for bala recordings and Djeli Moussa Djawara [1988) for a recording using bala, guitar, and kora... Modern renditions of Mamaya often add other instruments, such as guitars, electric bass, keyboards, and brass, while reducing the role of the bala. Once again, whether this is a renewal or a corruption depends on one's vantage point and the creativity of the artist.

[...]

It [Mamaya] remains a symbol of musical innovation within the jeli's tradition, and of a Maninnka group's genius for creative renewal in musical expression."

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SHOWCASE VIDEOS
[With the excerption of the first video, these examples are given in chronological order based on their publishing date, with the oldest dated example given first.]

Excerpt #1: Ami Koïta – Mamaya



Ousmane Bakary Kaba Uploaded on Aug 27, 2010

un tube qui reste aussi célèbre qu'à la date de sa sortie. ici la diva Ami koïta rend hommage au Mali son pays. le clip a été tournée en Guinée avec une réalisation de JMJ
-snip-
(Google translate from French to English)

A tube that remains as famous as when it was released. Here the diva Ami koïta pays tribute to Mali his country. The clip was shot in Guinea with a realization of WYD.

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Excerpt #2: RTG conakry presente la Mamaya de Kankan 2005



Aladji Toure, Uploaded on Dec 16, 2006

La Mamaya 2005 a kankan presenté par la radio television guinéeenne organisé par Sede sandiaya 3 de kankan a suivre

[Google translate from French to English]

La Mamaya 2005 a kankan presented by the radio television guineaeenne organized by Sede sandiaya 3 of kankan to follow

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Example #3: MAMAYA DE KANKAN 2008



Aladji Toure Uploaded on Jan 26, 2008

{Gooble translate from French to English]

The radio-kankan.com presents the biggest griots most popular has kankan for the cause of the mamaya follow well this film unique in the world

**
Except #4: Mamaya 2008 a kankan



Aladji Toure Uploaded on Mar 27, 2008

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Example #5: Le MAMAYA de 30 MAI 2009 en Hollande



Djiguipromotions Uploaded on Dec 21, 2009

Djigui promotion presente

Le MAMAYA de 30 MAI 2009 en Hollande

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Excerpt #6: Kankan Mamaya 2006



Aladji Toure, Uploaded on May 4, 2011

radio-kankan.com presente Mamaya 2006 avec Sede sandiya 3 a kankan

Voila la derniere version de la mamaya a kankan un orchestre de sididou anime la soirée

{Google translate from French to English)

Here is the last version of the mamaya a kankan an orchestra of sididou animates the evening

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Excerpt #7: MAMAYA DE KANKAN- TOUJOUR LIVE.



Seretoure Sekoukaba, Published on Mar 9, 2015
-snip-
This is showcased in this post in part because of its historical photographs

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This concludes Part I of this two part series about Mamaya.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Friday, April 28, 2017

Three Videos Of Little Girls Dancing To American Hip Hop Songs With Their Big Sister/s

Edited by Azizi Powell

This pancocojams post showcases three videos of little girls dancing to American Hip Hop songs with their big sister/s.

The content of this post is presented for cultural, entertainment, and aesthetic purposes.

Click the tags given below for other pancocojams posts about the featured Hip Hop songs/dances.

All copyrights remain with their owners.

Thanks to all those who are featured in these videos and thanks to the publishers of these videos on YouTube.

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SHOWCASE VIDEOS
Example #1: Cutest #HitTheQuan Ever



shervon king, Published on Aug 12, 2015

Little girl is the cutest dancing to Hit The Quan

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Example #2: Petty song



Siandre Bunkley Published on Jun 17, 2016


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Example #3: Best "Juju On That Beat" Dance by 8 year old



YoRodney Published on Oct 23, 2016

these little girls was doing the dance to the Juju song . . peep the little one in the back she didn't want to get counted out , like the video if it's the best one by a kid

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Thanks for visiting pancocojams.

Visitor comments are welcome.

Names For Days Of The Week In Soninke & Wolof

Edited by Azizi Powell

This pancocojams post provides information about names for days of the week in Soninke and Wolof. Soninke and Wolof are two traditional West African languages.

This post is part of an ongoing pancocojams series that provides information about and lists for day names in various African languages. Click the "African languages days of the week" tag to find other posts in this ongoing series.

The content of this post is presented for linguistic, cultural, and educational purposes.

All copyrights remain with their owners.

Thanks to all those who are quoted in this post.

Click https://pancocojams.blogspot.com/2016/09/excerpts-from-two-articles-by-fallou.html for a related pancocojams post entitled "Excerpts From Two Articles By Fallou Ngom About The Use Of French, Arabic, English, & Pulaar Loanwords In Senegal's Wolof Language"

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GENERAL INFORMATION ABOUT SONINKE (LANGUAGE)
Excerpt #1
From https://en.wikipedia.org/wiki/Soninke_language
"The Soninke language (Soninke: Sooninkanxanne[3]) is a Mande language spoken by the Soninke people of West Africa. The language has an estimated 1,096,795 speakers, primarily located in Mali, and also (in order of numerical importance of the communities) in Senegal, Ivory Coast, The Gambia, Mauritania, Guinea-Bissau, Guinea and Ghana. It enjoys the status of a national language in Mali, Senegal, and Mauritania.
The language is relatively homogeneous, with only slight phonological, lexical, and grammatical variations."...

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Excerpt #2:
From https://www.alsintl.com/resources/languages/Soninke/
"Soninke Language

Soninke (also called Marka, Maraka, Sarakole, Sarakule, Sarawule, Serahuli, Silabe, Toubakai, Wakore, Gadyaga, Aswanik, Diawara) is a Mande language of the Niger-Congo language family. It is the national language of Mali. Soninke is also spoken in Côte d'Ivoire, Gambia, Guinea, Guinea-Bissau, Mauritania, and Senegal.

There are more than one million Soninke speakers worldwide.

Soninke dialects include Azer (Adjer, Aser), Kinbakka, and Xenqenna."...

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Excerpt #3
From http://files.peacecorps.gov/multimedia/audio/languagelessons/mauritania/MR_Soninke_Language_Lessons.pdf
Days Of The Week [in Soninke]
Tineeni Monday
Talaata Tuesday
Araba Wednesday
Alaxamisa Thursday
Al juma Friday
Sibiti Saturday
Alahadi Sunday
Koota su Every day

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GENERAL INFORMATION ABOUT WOLOF
Excerpt #1
From https://en.wikipedia.org/wiki/Wolof_language
Wolof ... is a language of Senegal, the Gambia, and Mauritania, and the native language of the Wolof people. Like the neighbouring languages Serer and Fula, it belongs to the Senegambian branch of the Niger–Congo language family. Unlike most other languages of Sub-Saharan Africa, Wolof is not a tonal language.

Wolof originated as the language of the Lebu people.[3][4] It is the most widely spoken language in Senegal, spoken natively by the Wolof people (40% of the population) but also by most other Senegalese as a second language.

Wolof dialects vary geographically and between rural and urban areas. "Dakar-Wolof", for instance, is an urban mixture of Wolof, French, and Arabic.

"Wolof" is the standard spelling and may refer to the Wolof people or to Wolof culture. Variants include the older French Ouolof and the principally Gambian "Wollof". "Jolof", "jollof", etc., now typically refers either to the Jolof Empire or to jollof rice, a common West African rice dish. Now-archaic forms include "Volof" and "Olof".

The English language is believed to have adopted some Wolof words, such as banana, via Spanish or Portuguese,[5] and yum/yummy, from Wolof nyam "to taste";[6] nyam in Barbadian English[7] meaning "to eat" (also compare Seychellois Creole nyanmnyanm, also meaning "to eat").[8]

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Excerpt #2
From http://www.omniglot.com/writing/wolof.htm
"Wolof (Wollof)

Wolof is a member of the Senegambian branch of the Niger-Congo language family with about 7 million speakers in Senegal, France, Gambia, Guinea, Guinea-Bissau, Mali and Mauritania. Wolof is one of the six national languages of Senegal (Senegaal / سِنِڭَالْ), along with Serer, Mandinka, Pulaar, Diola and Soninke.

Wolof was first written with a version of the Arabic script known as Wolofal, which is still used by many older men in Senegal. The Wolof orthography using the Latin alphabet was standardised in 1974 and is the official script for Wolof in Senegal.

Wolof is also sometimes written with the Garay alphabet which was devised by Assane Faye, a Senegalese artist, in 1961. This alphabet is written from right to left and is modelled loosely on the Arabic script."...

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Excerpt #3
From DAYS OF THE WEEK / BÉSI AYUBÉS BI
From https://jangawolof.wordpress.com/2007/12/27/days-of-the-week-besi-ayubes-bi/
December 27, 2007 by Amadou
"Wolof names for the days of the week are mostly adopted from Arabic.:

[...]

Monday – Alteneh / Altinay / Altine [al-ti-ney]
Tuesday – Talarta / Talata / Talaata [ta-laa-ta]
Wednesday – Arlahrba / Alarba / Àllarba [al-lar-ba]
Thursday – Alheames / Alxamess / Alxames [al-kha-mes]
Friday – Arjuma / Ajuma / Àjjuma [aj-ju-ma]
Saturday – Gaaw / Gaawo / Gaawu [gaa-woo]
Sunday – Dibéér / Dibeer / Dibéer [dee-beyr]

Saturday may also be known as Aséér. (found this trans. in a Gambian source)"

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Help please! While I've found online information about Serer (Serer-Sine), I've not been able to find any internet list of the names for the days of the week in that language. Please add to online information about traditional African languages by sharing the names for the days of the week in Serer in the discussion thread of this post. Thanks!

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