Day 24 & 25: The Abene Workshop Hangover

Day 24 & 25 18/1/13 & 19/1/13 - workshop hangover days in Abene

I was a little sad the next morning because I would have to say goodbye to almost all of the people who, over the last 23 days, have become family. Tannis, Justine, Coral, Owen and I were the last crusaders who would stay for another two days to wind down.

The goodbyes started at breakfast itself because everybody would get on a bus and make their way to the Gambia together. We got ready for the group photo. I was the designated photographer. Note to self: So ONLY Tanya's camera has all the people in it.

The final group photo - photo credit: Yours truly!

loading up - not an uncommon sight in India!

fun fact: most transport buses in Senegal (specially Dakar) are Indian (made by TATA)

With a heavy heart, I said my goodbyes to Iya and Mamady. I noticed a drastic difference in the way Mamady was this morning in comparison to the previous night. I call this Mamady's ‘goodbye-persona’. I can only imagine the amount of goodbyes Mamady has been through and this is as good a self-preservation technique as any. I will hold Mamady's words from the previous night close to me saying that he will miss me and wishes me all the best with my journey with the djembe that will reach an examination phase soon. He asked me to have courage but to also take my time.

going up to the master in the crowd

The master - Mamady Keita and myself

The great Iya Sako and me

It wasn't easy for the staff of Les Belles Etoilles as well. Apart from Counba who is used to goodbyes (she said she cried so much after the first ever workshop that she had no tears left), the rest were very sad. I believe that it is this bond that they build with each one of us travelers from different backgrounds and influences. Suddenly it is reduced to emails and the odd SMS or phone call. I'm thankful that this possibility does exist but it can take a lot of getting used to.

Goodbyes are sad...

goodbyes are crazy...

goodbyes are overwhelming...

but goodbyes are mainly very funny...

Two generation Keita's

Fatou, Abudu and Cherno enjoying some down-time

The goodbye took really long:

Mamady the celebrity was off first...

bye bye Mamady and Iya!

we finally reached the 'get-into'the-bus' stage

... and they were off...

I wonder how long they held onto the bus that way...

That afternoon we all found our respective corners to be silent and spend with ourselves. I think Coral probably only just got her first chance to lie on a hammock without worrying about what had to be done the next minute.

our classroom, now empty....but full of energy

The goodbyes weren't over. Matar and Fatou (Coumba's daughter) were to leave that evening to go to Ziguinchor, the Gambia and then Dakar (where we would meet them). Needless to say, more photos followed. (It was my responsibility to supply Matar with his next Facebook photo apparently).

Mr. and Miss. Abene 2012-1013!!

... Will this make it to your FB profile pic Matar...?

lazy times at Les Belles Etoilles...

I accompanied Abudu and Iso (our cook/chef) to Kafountine to drop Matar and Fatou. Little did I know about the many stop-over’s that were to follow after, that I missed the dance class that was scheduled for the evening which I had to accompany.

It's true that, 'The Europeans have watches; the Africans have Time'.

That evening the rest of us headed to the beach for the first time in two weeks.

a common sight on Abene beach in the evenings...

introspection over sunset... bliss!

We decided to go out for dinner to some place new. We went to the same place where we spent new year’s eve. The change of ambience was rather welcome.

here's to lovely memories, good conversations and great food!

Earlier that day, Mokulo, invited Justine and myself to play with his band in the night at 'Che Wora'. This would be my first performance with a local ensemble in Abene- exciting. We did not have time for a rehearsal and so I was very curious as to how Mokulo (also known as 50 Mokh <after 50 cent>) was going to go about this. The show was about to start at midnight after the reggae party would be at its peak. Tannis, Justine, Abudu and I went in the car (to the venue which was very close by) like rock stars. In keeping with African time we started only by 1:30am. Mokulo started with Soko after which I didn't recognize any rhythm. He would start the song and we would start with the accompaniment. I felt proud to be able to perform before an intimate African audience and solo as well. Mokulo is a very good djembe player who I would have liked to hear more of during the three weeks. We played for just over an hour without stops but due to a phenomenon I call, 'drumming with Iya Sako', it felt like nothing. My hands were ready to go through another gig. I came out of that gig feeling very energetic and happy.

The Mokulo Djembe Ensemble

Justine, the beautiful dancer and wicked djembefollette!

djembe hands of fury!! ;)

Since we got back only in the wee hours of the morning we deserved to sleep in and after breakfast I accompanied the dance class on the kenkeni this time, (since this was the last class, the other drummers showed up). We went through all the dances learned during the workshop and hence it was a good revision of the rhythms for me. We also learned the songs of a few of them, in detail.

Dance Class Crew

We also got to watch Salimatu and the band at their best:

Salimatu: djembefollete extraordinaire....

The rest of the afternoon was spent in relaxing on the hammock as planned.

In the evening we were invited to Simon's place for dinner. Simon is from the UK and has moved to Abene permanently. He is married to Khadijah from Abene and works as a photographer. He was also the official photographer of the Abene festival 2012-13. Before heading to his compound we stopped over at Malo's place to watch his band rehearse for some upcoming events and also to collect my djembe from him which has to be pulled and prepared. It was as good as watching a mini performance once again; Pure djembe and dance bliss.

We met Simon at Malo's and then just as the sun was setting, we made our way to Simon's place. He has a beautiful compound which is one hectare, full of nature’s bounty. Step by step he is working on turning it into a sustainable and off the grid compound. His wife, Khadijah is a dancer. We ate fish rice with onions and a spicy and citron-rich sauce in traditional Senegalese style which is two big plates full of food and people eating from the communal plate with their hands or a spoon. I'm used to this since I eat with my hand and am not alien to this custom. As my last meal in Abene, it was nice to eat with my hands, in nature and truly take in the village life.

I knew I was headed away from the village and would be greeted with city culture which would be a welcome change but I personally prefer living in a village; a life in all its simplicity.

Lai and his friends (friends of Khadijah) came with some drums and we sang songs and danced. Even though we were all fatigued, this experience was the icing on the cake.

The next day, we would say our Abene goodbyes and leave the beautiful Les Belles Etoille. I went through all the memorable events in my head: our arrival, the first day of the workshop, breakfasts with the participants, the Abene Festival, performing, popping my djembe skin, buying my African attire, driving in Abene, celebrating new years, my birthday, jogging on the beach, the irritating salesmen, the delicious food, spending time with and learning from Iya Sako, Seckou akeita and my master Mamady Keita and the speaking of the future (the potential of hosting him in India)...

This would be the end of an era...

Come. Drum. Be One.

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Day 22 & 23: The last two days with Mamady

Day 22 & 23 16/1/13 & 17/1/13 - last two days of class with Mamady

I woke up with the thought, 'After today, only one more day to go'. Currently we were voyaging on planet Mamady; learning more and more of his creations. Unlike many a traditional rhythm today whose true origin is still unknown, Mamady is emphasizing and very clearly explaining the story of his creations so that in about 500-600 years, these creations will become traditional rhythms that unify the world and at a time (I would imagine) that we would need it the most.

That morning I played a new rhythm for the dancers after the usual Djansa warm up. We played Siente. Siente is a happy, fun rhythm with a lovely calypso-like bounce to it. Needless to say, it is a lot of fun to play.

With Mamady, we dived right into the technique phrases for Sewa. I had recorded these parts as the intermediate group in Mini Guinea Bali played this technique so playing it was a perfectly natural test of my grasping. The feeling of this rhythm is different from other Mamady rhythms. The notes are grouped together beautifully in a way that can almost be written and played, but not quite. One has to have heard or be taght this rhythm. You can hear the song and the rhythm in Mamady's album titled 'AFO'.

I remember asking Seckou for some of his time during the first week for him to have a look at my technique and maybe work on some technique one-on-one. I soon realized that the first who weeks were absolutely mad and hence forgot about it. Sure enough, Seckou didn't. That afternoon, foregoing on his rest time, he obliged and we worked on some basics of sound and phrases. We played the (and I quote Seckou) 'the New generation Marakadon djembe technique'.

Seckou is a very complete djembe player. He is as good a teacher as he is a performer. This is a very rare combination to find in one package. In just 30 minutes with him I realized that my sound changed and with some practice I could sustain this change. He has a very clean sound, a powerful slap (or two), a clean tone and an insatiable grasp of rhythm (and consequently, sub-division). I kept up, I'd like to think, but will need practice before this technique is ready.

In keeping with my focus on sound that day, Mamady also spoke about its importance that evening. It starts right from the preparation of the skin as it is to be mounted on the djembe. It requires patience, love, more patience and awareness.

Class with Mamady Keita - the complete teacher

This week was panning out to be a treat in terms of live performances right at our doorstep. That night we had the chance of watching not one, but two bands play. The first was, Mama Africa. This ensemble performed at the Abene festival as well. It was good to be able to watch them at a much close proximity. The dancers stole the show with their coordinated and vibrant moves.

Mama Africa performing live at Les Belles Etoilles, Abene, Senegal

The next ensemble was called 'Wakily' and was a Sabar, Bugarabou and Seweruba band. The bugarabou is a set of three instruments that are what seems like the origin out of which the congas emerged. They are three hour-glass like instruments (tapering more towards the bottom) mounted on a stand and have three distinct sounds (bass, mid and high).

Wakily taking center-stage after Mama Africa

The Seweruba is a small djembe that is played with the hands. Sometimes it can be a set of two, one small and one even smaller djembe played together. The Sabar drum is a thin and long hourglass drum that is played with one stick and one hand. I don't fully understand Sabar drumming yet but I do know that it is a joy to dance to... (The whole of Senegal would agree).

Mamady, shaking that tail-feather!

The next day we continued with Siente at the dance class.

...nothing better than a bit of morning stretching before getting those hairy technique phrases...

With Mamady, we played a rhythm called Bonya which means 'respect'. Mamady feels that this is something that is lacking in the youth and this generation. He created this rhythm to remind people about the importance of respect for humans, women, the elders, ones culture, ones country, one’s family and friends. The rhythm has a long and interactive dunun section (like a back and forth between the sangban and kenkeni) which gave our dunun players a run for their money as well.

Mamady talking about respect, or the lack thereof..

That afternoon I ate what I will rank number 3 on the top 5 Senegalese preparations. One number 1 we have Maffe Poulet (chicken cooked in peanut sauce- a traditional preparation from Bambara). A close second is Thiebieu djian (orange/ dark brown colored fried rice with fish, yam, carrot, cabbage and aubergine). On number 3 and also what we ate that day is 'Senegalese fish balls with onion sauce' (commonly called Yassa sauce). Most of us momentarily forgot about the hairy dunun pattern of Bonya but were soon reminded of it that evening.

I finished all the technique phrases for Marakadon with Seckou that afternoon and am happy and blessed to have had access to such brilliance and humility from Seckou.

The Last Class

That evening, we filled our brains with what was to be our last set of technique phrases for Bonya. After that it was time for Mamady's customary thank-you speech. We had all given a lot of energy during these three long weeks. For many, this was uncommon and for that Mamady thanked us all. After speaking about the importance of rest (physical and mental) he finished by inspiring us to keep working and walking on the path of the djembe because where it can lead us is a fruit of our present hard work.

Mamady, speaking about three weeks, well spent!

That marked the end of the workshop. I wonder what it would feel like to not have to wake up to class the next day but I guess we will wait and see.

This is me 'Spazzing-out' and thinking: WHAT?, No workshop tomorrow?

Post dinner I noticed Cherno and Abudu getting busy with wires and speakers next to the bar. A bit later we had our very own disco party at Les Belles Etoille. We enjoyed a bit of dancing. We were especially surprised to see Iya grooving on the dance floor. The party then shifted to the bonfire where we had our very own Justine perform some of her songs for us. She is an immensely talented singer songwriter from whom I hope we can expect an album in the near future.

The mood that evening was peaceful and happy. I guess we were all taking it all in, digesting, ruminating.

This is me 'Spazzing-out' and thinking: WHAT?, No workshop tomorrow?

Come. Drum. Be One.

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Day 20 & 21: Time to step things up

Day 20 & 21 14/1/13 & 15/1/13 - advanced class days with Mamady 2 & 3 (Stepping it up)

I woke up for our last week of drumming realizing that I am still feeling quite sick. I did not have fever but I could feel the chest and throat congestion. I was not the only one suffering from this. Barry, Tannis, Dave, Justine and Colin were the other few I noticed, with similar issues.

After breakfast I saw that there weren't the usual among of drummers for the dance class. I stepped in and offered to accompany the dance class on the dunun and the sangban. Leroy (pronounced Le-rwa {with the Franch ‘rrr’ sound}), our talented djembe player/ singer and (professional) dancer guided me as I did this. We played Djansa to warm up and then went on to play Sunun.

At the morning session with Mamady, we learned a new rhythm called 'Famoudou'. This was a rhythm created by Mamady as a tribute to his older brother and grandmaster, Famoudou Konate. Mamady and Famoudou heard of each other in 1964. It was only in 1968 that they met for the first time. In the meanwhile, they heard of each other’s missions, stories about each other’s playing style and more similarities. As they finally met for the first time, they both felt an immediate camaraderie and love for each other. Famoudou took the place of the older brother and Mamady, the younger. They both advised each other on things. They shared, played, learned together and helped each other on their journeys ahead. The rhythm is a very beautiful one that has an intensely interactive Dunun section.

We started off with the djembe technique that Mamady created for this rhythm and were reminded of Iya's class for a bit. The rolls push the group to its max. Once again, it isn't to manage such a group with varied levels of playing. In his opinion, the group was fragile, it could move upwards and get better or get complacent and stagnate. I'm glad that Mamady chose to push the group so we achieve the former. Mamady also emphasized the importance of breath while playing the djembe. While playing accompaniments it is important to breath normally, but during rolls, especially the long snarly ones, he advices not to breathe. This helps focus the body on the roll at hand. It is so important to be aligned with the djembe and ones inner sense of musical expression. As long as we are calm and aware each roll, however simple, can develop a more beautiful sound

We had our hands full for the entire day and by the end, came through.

The next morning, Brian was slated to leave. I look forward to meeting him and possibly playing with him and his band when they tour India in February. (It is the end of February now, and unfortunately I did not get the chance to meet them  as our dates wouldn’t match. But life is amazing and can surprise us in wonderful ways. So Inshallah, we will meet once again).

The dance class went off smoothly as well. The speed and the level of the class are both high since there are only two students and both wonderful dancers. It is turning out to be a great experience accompanying the djembe players for dance class. It gives me a very different perspective on any rhythm; including rhythms I have played before; (or better put), especially rhythms I've played before. It takes about a week of playing a rhythm every day to actually start understanding its detailed nuances and feeling depending on where this rhythm comes from, the history and so on...

The next day, for the morning session we learned a new rhythm called 'Dai'. This is the name of one of Mamady's students from Japan. He has a very large following there. On one of his first trips, before the start of one of his workshops, one student came up to him with a translator and asked for permission to speak with him. Mamady obliged. He introduced himself as Dai and said that he would like Mamady to accept him as is student. Dai said that he would do all that Mamady needed on an everyday basis and in return he would learn what Mamady had to teach. Mamady at first did not know whether or not to take this request seriously since he has many such students come up to him and make such romantic proclamations. Giving Dai the benefit of the doubt, he agreed but not without expressing his doubts about how this was to work since Mamady lived in Belgium and Dai, in Japan. Dai said that he would take care of that. Mamady agreed to take Dai on as his student and dismissed the matter and went on with his workshop tour.

Mamady then returned to Europe to prepare for his workshops to come. He received a phone call from onee of his band members saying that a person by the name of Dai was then on, living with him and wanted to get in touch with him. Mamady was surprised to hear that. That very evening Dai turned up for Mamady's first class. Then on, he did not leave Mamady's sight for 5 years. He spent every day, every hour and every breath with his master learning from him and serving him in every way that he could. He learned French in the process and later started touring with Mamady in Japan as his translator.

Mamady would call on him at all odd hours to play out an idea that Mamady would have to create new rhythm after new rhythm. This rhythm, 'Dai', was created by Mamady to honour this commitment and respect that Dai showed for him. Today, Dai lives in Japan, teaching, performing and touring with the djembe. I was personally, very moved by this story. It reminded me of the very core of learning; reminded me of the kind of commitment that's not uncommon in India when a student asks a teacher to be his Guru. I spared a moment to be open enough to the universe to listen to the signs and follow my inspiration to surrender to such high levels of excellence in my life as well. I enjoyed playing this rhythm and learning the djembe technique a lot.

We also started a new rhythm called 'Sewa'. This is another Mamady creation which means ‘joy’. The dununs are played vertically for this rhythm. The call has an interactive pattern in it and the song is very hauntingly attractive (like many West African folk songs) but nonetheless, happy.

SEWA: Ni kan tiyen, sewa tiyen. Ni sewa tiyen, kan tiyen. (without joy there is no music; without music, there is no joy).

Mamady demonstrating SEWA

That afternoon Tapha and I finally finished Preparing the cow skins for me to take back to India. Phew.

Just before our evening session with the Djembe, I managed to catch Aleiu playing the Cora. He is one of the few traditional Cora makers left in Senegal today.

Alieu welcoming us after class with a beautiful Kora jam

That night we were to have a very special performance for us at Les Belles Etoille. Leroy, the djembe player for the dance class and his ensemble were to come perform for us. This band wasn't like other djembe ensembles. It was an acoustic band that performed cover versions of a famous Senegalese band called 'Espoir De Corontie', meaning 'expressions of the place Corontie. The band had Aleya, the balaphon player (who also accompanied dance whenever he could), two Bolon players (the Bolon is an instrument made out of a Kalabas , covered in cow skin with a wooden arch on which four thick bass strings were tied. This is what it looks like:

the Bolon

The ensemble played around the bonfire and created a lovely, romantic, introspective and tranquil ambience. Some wept, some sang along, some danced but everyone smiled and took the moment in I could sense.

Aleya showing the people how it's done #likeaBOSS

... the rest of the ensemble...

That night on my way back to the room I looked up at the sky and realized why the pace was called 'Les Belles Etoille'. The beautiful stars, it could not have a more apt name. I have not seen so many bright stars out in the sky before. The revelation of these starts from evening to nightfall, is breathtaking. This is one of the visions that I will have on quick access when I think of Abene and Senegal. This is one of the gifts I will take back from this trip: that of tranquillity.

Come. Drum. Be One.

Taal Inc.

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Day 16 & 17: Back to School with Mamady Keita + Deep Dive into WestAfrican Culture

Day 16 & 17 10/1/13 & 11/1/13 - Start of Mamady Advanced level

We have now reached the last week of our workshop. Today we were to drum with Mamady once again. We played the rhythm Dibon this morning. This is a Malinke rhythm from Guinea. Dibon is a rare bird that always travels in a couple (a male and female pair). If you see only one then the other one is not far away. They spend the whole day together like this and interestingly when the sun sets, they separate. The hunters have coined a saying about Dibon; 'Even if Dibon will not sleep together, their hearts are always bound together.' Mamady generalizes this principle for the djembe saying that although he might not be with each and every one of his students after a workshop, his heart is bound with his students' and one must never doubt that. Every time any of his students play the djembe, Mamady's heart is with them.

back to school with Mamady. Iya Sako on kenkeni

Dibon is now played for the farmers (it belongs to the Kassa family of rhythms). This is a rhythm to motivate and encourage them as they work hard all day. I also just found out thanks to Google that The 'Dibon' or 'Dibbon' is the Abyssinian Ground-hornbill [Latin: Bucorvus abyssinicus] (also known as Northern Ground-hornbill). It lives in the Northern tributaries of the River Niger in Guinea and the Sahel of Sub-Saharan Africa.

After lunch, Bruno, Jeremy and myself decided to get to work and cut some of the cow skin that Bruno had so painstakingly procured; not knowing that when he asks for five cow skins he would literally get the whole skin of five cows and not five cow-skin ROUNDS as he expected. He was to leave the next day and hence had only one day to sort this predicament out. Since Jeremy and I thought it would be good to use cow skin for a djembe and dununs respectively we all decided to get to work and start cutting the skin. We spent the whole afternoon working hard with one blade that wasn't very sharp to begin with and got through two skins. I had a week more to work on the remaining three. Phew.

measuring the diameter of the skin with Tapha

Moooooooo! - Varun, Cow Skin & Steve

That afternoon we played a very old rhythm called Abondan (also called Abodan in some places). This is a rhythm of the Baule people from the Ivory Coast. This country has more than 62 ethnic groups. This rhythm would be played to welcome the king as he made his way into the city to make a speech or address his subjects. In those days traditionally, young boys and girls would dance half naked to welcome the king. Today it is a popular rhythm played at many occasions. The dunun are a recent/modern adaptation.

Mamady giving his students personal attention!

Before we called it a day Mamady played us 'Djagba'. This is a popular rhythm from the regions of Hamanah, Kurussa and Kankan (where Famoudou Konate comes from). From where Mamady comes (the Wassolon region) this rhythm is called Djagbe. And in the neighbouring country Mali, this is called Madang. Madang and Djagbe are the same rhythm with different names but the dununs of Djagba differ from Djagbe ever so slightly.

We ate very well that night considering the hard work we put in that day and went and sat around the fire for our Q'n'A session with Mamady and Iya. These sessions are to get to know these great masters more personally. I have been through three sessions like these in my recent past and each time I find that there is more to this master Mamady Keita than meets the eye. This time, two new topics came up apart from the norm. The first topic was about the initiation rhythms for women; where Soli would be played for this process and there is no other way to describe the process than by calling it female mutilation. Mamady immediately spoke and said that he is against female initiation ceremonies. He is okay with this ceremony for males but not for females. In fact, when Mamady went back to his village as a part of his annual trip home and realized that there was a Soli ceremony in the village he was glad to play for it. Later, he overheard that it was one for girls and immediately exited from the village without speaking to anyone. He went on to say that there are things about foreign cultures that are positive and things that are negative. This is normal. It is however, important to focus on the positive and leave the rest behind. There are things about West Afican culture that would be bizarre to the occident but that is exactly Mamady's mission; to spread an objective understanding of the same to the world.

Another existential controversy is that of the family of the Dununba rhythms. These are right to passage/power rhythms. Like in most countries there are youth groups in Guinea, in the Mandingue that take responsibility of the smooth functioning of all things in the village/area and locality. There are bound to be more than just one such youth group. Now if a new group is gaining power and has reached a level where it's in a position to challenge the one in power and does so with due respect to the group in power, the chances are that the group in power might gracefully bow down and even help the newer group assume power. But if there is a clash in interests and if the newer group is disrespectful about this challenge, then there is a Dununba ceremony in the centre of the village. Both groups will have equal number of participants. Each participant will be carrying a whip made out of hippopotamus skin. At one point after enough villagers have gathered, the two groups will face each other and one by one they will whip each other. This will carry on until one group gives in. Hence the chances of the newer or older group retaining their power are up to fate and chance. Now, not all this is easily accepted by the West or someone who is new to the culture but these are the ways of this very deep kind of people.

Over the last few days, there have been talks of the sighting of the person the villagers call, 'Le Concurrent'. This is a person dressed in red straw from head to toe carrying two machetes; one in each hand, running from one end of the village to the other. On sight of this person the locals have to either duck and move out of his way or hide where they are out of his sight. Now this happens because if a local does try to face him, he will attack him. Many of the participants saw him and looked away just as an involuntary reaction. But after talking to some foreigners who have lived here for long, we realized that foreigners are spared from this since this is not their culture. At one point the drummers and dancers started playing and dancing the rhythm of the Concurrent but on sight of this person, stopped and fell to the ground. They resumed drumming and dancing after he moved away. The reason for looking away or hiding is not fully clear but it could be because of the occurrence of a still born in the village. Le Concurrent is a man who knows his ‘Gree Gree’ (or special Talisman) and has a deep spiritual connection. His objective is to drive out the evil or negative energy from the village using the fear-inducing method.

The next day, Tannis and Myriam saw 'Le Concurrent' at the festival of the neighbouring village, Dianna. Here the presence of this man was only symbolic. There was a skit like representation of his story with him going around the stage with his machetes and later joined by the drummers and dancers. Every time he would hit his swords together, the people would scatter for a bit and then again continue dancing. This was a very interesting experience to witness.

That night everyone who was to leave after two weeks; which included almost the entire intermediate group, got busy with their packing.

The next morning as I made it for breakfast, I saw all the bags kept in a line waiting for the bus to arrive.

All their bags are packed and they're ready to go....

It was time for the first set of goodbyes which is never easy. I had one week remaining after the weekend to make the most of my trip to Senegal. We finished taking group photos in everybody's camera after which is was time to leave. The place seemed quieter after the exit of the bus.

Neighbours, friends , family! From left to right - Steve, Varun, Ann, Simon, Tannis and Mary

That morning it was the first day of the advanced class with Mamady. Colin and Owen made it from the intermediate group to the advanced group.

We went over Abondan and Dibon once again and started a new rhythm called 'Sumalo'. This is a rhythm that I learned from Famoudou in San Diego. The rhythm was created somewhere during 1964-1986 when Mamady was a part of ballet Djoliba. This particular ballet went on for over two hours with an enactment of the entire story in rhythm, song and dance. This rhythm is the story of courage and the undying spirit of the prayers of a woman who lost her husband in war. She then sent her son to avenge his father’s death but he too succumbed and passed away in war. Full of vengeance she went to join the army herself but on the advice of king Sumalo was asked to go home and pray for the warriors who would later go on to winning the battle and returning home safe. The king then personally thanked the woman for her prayers.

That evening, after a long day of work, Mamady reminded us of a very intense two weeks of drumming and input. He urged us to rest our mind and bodies. I couldn't agree it's him more. That night we all shared a communal drink of some grappa (an Italian aperitif) that Bruno's teacher had gifted Mamady through Bruno and we all thought about the part of the group that left us. The dining area seemed scantily populated and less noisy.

I then, gave the remaining gifts that I brought with me to the respective people. Seckou got the exotic tea, Justine and Coral got their Taal Inc. t-shirts and I sent Yuyi's t-shirt through Mamady.

With a whole lot of smiles around I went straight to the room to hit the bed ignoring all talk of any reggae party in the surroundings!

Come. Drum. Be One.

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