Music in West Africa: The Drumming and Dance Experience in Conakry, Guinea

From JULIE GREEN:

Arriving in the capital city of Guinea, Conakry West Africa in the afternoon of June 1, 2009, the Delta State University team of 9 members attended the first drumming class, which was a small introduction of what my experience would be for the next two weeks. Wednesday, June 3rd our first full day began and we immersed ourselves into the best drumming and dancing experience one could have – working with master drummers and professional dancing instructors as well as local drummers and dancers that were also well trained. One dance instructor, Yamouse, is internationally renowned.

Schedule Days:
Our daily schedule consisted of two classes. The African drumming class began at 9:00 am to 10:45 am and African dance began at 11:00 am to 12:15 pm. This schedule persisted for the first 8 days of my stay in Guinea and changed during the second week to accommodate Dr. Barton’s sociology and culture course.

The Drumming Experience:
Our first full day of classes began with a rhythm of music called the “Fare Woman Dance” instructed by the master drummer, Amara. Other drummers assisted Amara in the coming weeks (i.e. Sekou Sarno, etc). This is the first song played for the first dance at Susu weddings. Other rhythms consisted of “Yole” with two pieces (extra), and “Fula Fare”, which consisted of three types of dances with the dancers wearing deer skin hides. The drums called a power or spirit of unity and oneness to the community in which we lived. The djemba is the king of all drums and has a profound sound that in Olu’s words “drew me to it” -- he continue to explain that this drum pulled him with a strong force or power, and caused him to get out of his seat and patronize the lead drummer’s solo. This is an interesting phenomenon.
There was a great educational impact in our music experience. All instructors discussed the important of teaching each drummer the origin and the impact of every rhythm and tone (sounds and beats) of each individual drum within each song. Because I am an amateur drummer and dancer, this was great. I am fascinated with learning and understanding what I am engaged in. Therefore, having the historical background helped me immensely.

The Dancing Experience:
We were privileged to have two wonderful dance instructors, Yamouse and Salimatou Camara who taught us traditional African dance. Yamouse, the male international dance instructor, helped us to learn the “Kuku” dance and other dances by teaching us to listen for rhythm changes rather than only looking at his instructional illustration (or watching him change the movements). As my dance knowledge increased, I could recognize when the rhythms changed. It was fascinating. His dance style was more calm and slower. However, Salimatou Camara, the female dance instructor, taught us a different style of dance that was rigorous with sexual undertones. For example, the “Yole” is a ceremonial mask dance that normally is not taught to people outside of the tribe. It represents the female dance consisting of a second part as well, and it was performed on Independence Day in Sierra Leone. This dance consisted of more movements that rolled the hips and shoulders in a rapid motion. Her style of dance reminded me of some of the basic hip hop and pop dance styles we have here in America, perhaps the type of dances that are portrayed on the Black Entertainment Television (BET). Consequently, after the first week, the team started to see changes in their physical structure also. Our bodies were toning as well as tanning.
For every rhythm learned, we learned the dance that accompanied it. After the first week, the dance moves somewhat stayed the same. There was not much variation.

Other Events:
We attended several dumdumbas and an African theater production drama. They were wonderful experiences. There were times where we were pulled onto the stage or in the circle to show what we had learned in dance class and to express our afro-centric rhythms.

Dumdumba Events:
These events were located in the open streets with lots of people standing and sitting around in a circle – people of various ages and genders were in attendance. I attended three dumdumba events while in Guinea. The first dumdumba was upon our arrival -- Amara and his drum and dance team celebrated our arrival by performing in the airport parking lot. The second dumdumba experience was the last Friday of the month were Amara took us to support the event and to have fun, as well as hopes to gain support for our dumdumba the follow evening which started at a nearby parking lot and later we were asked to move from the streets. We continued the event at the school.

African Theatre Production and Drama:
This production was excellent! There were traditional tribal customs with painted faces and masks, and palm-leaf grass skirts worn by skilled drummers and dancers from all over Conakry. We were entertained for several hours, and the admission was very inexpensive compared to what it would have been in the United States for this type of quality production. It was extremely enjoyable.

Liberia – Drumming and Dancing:
I spent two weeks in Monrovia Liberia. I did not experience very much drumming and dancing. There were rare occasions where I would get a glimpse of someone playing a guitar and a coral (an ensemble), or I would hear drumming from my bedroom window, or see and hear American style drums at church. Once, I saw a drum store as I pass through downtown Monrovia. To my surprise, seeing drumming was very limited. However, I met the Ambassador of Culture of Liberia and she invited me to a drumming and dance production. Unfortunately, our schedules conflicted and I missed the production. During an interview, she informed me that she has worked extensively with some American universities and had the distinct honor to dance for and with President Bush during one of his visits to Liberia. She welcomed an opportunity to work with Delta State in the near future.

Lessons Learned:
Finally, there were some lessons learned during my Guinea experience. Listed below are some lessons I learned about African drumming and dance: (1) Drums are played not beaten; (2) African drumming and dancing are not only a profession for the people in Guinea, they are the very essence of the people’s being – interwoven into the very fibers of their lives; and (3) Drumming and dancing for them seems to be more than a lifestyle – the drum and dance are equivalent to “life” to the Susu people.