Musical resources and stylistic adaptability in the kamalengoni music of Burkina Faso

Alfonso Castellanos

Resumo


Since the boom in wassoulou music from south Mali in the 1990s, the kamalengoni harp lute has extended to the neighbouring country of Burkina Faso, leading the way to new
forms of cultural appropriation and adaptation of local and foreign music. In the urban center
of Bobo-Dioulasso, this phenomenon reflects the development of a proper burkinabé musical
identity, mostly inspired by the traditional songs of the dyula balafon and reveals the
continuous explorations and stakes of musicians looking to achieve their personal style. This
article seeks to analyse some of the resources that are assembled in the creative process of
burkinabé kamalengoni players, while highlighting the notions that give sense to their quest of
originality.


Palavras-chave


kamalengoni; Mande music; cultural appropriation; musical adaptation and innovation

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Referências


Charry, Eric (2000) Mande Music. Traditional and modern music of the maninka and mandinka of West Africa, Chicago: The University of Chicago Press.

Durán, Lucy (2000) “Women, Music, and the ‘Mystique’ of Hunters in Mali” in Monson, Ingrid (ed) The African Diaspora: A musical perspective. New York: Garland Publishing. (137–86)

__________ (1995) “Birds of Wasulu: Freedom of Expression and Expressions of Freedom in the Popular Music of Southern Mali”. British Journal of Ethnomusicology, 4(1): 101-34.

Maxwell, Heather A. (2002) Destiny’s Divas: Wassolu Singing, Music Ideologies, and the Politics of Performance in Bamako, Mali. Ph.D. Thesis, Indiana University.

Sanogo, Mamadou L. (2013) “De l’identité bobolaise: le rôle du dioula véhiculaire” in Werthmann Katja and Sanogo M. L. (eds) La ville de Bobo-Dioulasso au Burkina Faso. Urbanité et appartenances en Afrique de l’Ouest. Paris: Karthala. (259-278).




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