Hi Amat!
             You have raised interesting points. We seem to agree on the responsibility of government in promoting and providing enabling environments for Gambian music and culture. We seem to however have differing views on the responsibility of the Gambian public, promoters and musicians. On the issue of the musicians, you are quite right in putting demands on them. I have mentioned some responsibilities in my original post such as the failure to create saleable images, failure to research and produce products in tune with the desires of their customers, laissez faire attitude, the stigma attached to the early musicians etc. but maybe wasn't hard enough on them. I accept the fact that the musicians themselves have as much or more responsibility to contribute to the perfection of their products. Having accepted this, would you accept that you are too lenient with the Gambian public and promoters? Given the state of Gambian music, it requires more than musicians perfecting their work to bring about success. The enabling environment has to be there. In a situation where Gambians would even without listening to a Gambian artist make up their mind not to buy, the production of the best product would not matter much. We as Gambians must sometimes act towards promoting the general good and invest in our artists.

Regarding finding a niche within mbalax, Ifangbondi did that with the creation of Afromanding. However, the other necessary ingredients were not present. The creation of reggaeton and its success are a result of the availability of not only professional training but also the necessary facilities. Its success is a result of the appreciation by the Latin community of the creations of the Latin artists. Another necessary ingredient is the finance. I've heard a lot of people blame the young artists for not playing mbalax but reggae and hiphop. A major factor is the cost. Some years back, laying vocals on an instrumental track cost 300 Dalasis. Recording original tracks cost much more. In 1998 when I was in The Gambia, one of the Gambian musicians was preparing to record an album in Dakar. According to the estimates he showed, the cost of studio
musicians was 50, 000 Dalasis. Studio time, duplication, covers, marketing etc. were not included. Very few musicians can afford this hence the practice of laying vocals on reggae and hiphop instrumentals given that there are no mbalax instrumentals to lay vocals on. I don't believe that "Gambian artists will prosper despite the absence of government support" should they play the right types of music for obvious reasons. 

Regarding the financial considerations of promoters, you have a point. I have experience in this field. I took Tippa Irie and the Undivided Roots Band to the Gambia in 1990. I didn't want to bring in a foreign group and let them perform without Gambians. I therefore contracted Super Hamham Band and Musa Mboob to performn alongside Tippa. Senegalese artists who have produced single albums and who do not have bands have been contracted to perform with bands. Gambian promoters should be urged to, for starters, include promising Gambian talents when they contract Senegalese bands to give them exposure. Njok Malick of Yaram Arts contracted Musa Ngum to perfrom alongside Super Jamano in London and Musa Ngum's performance was electrifying. Waka Jagne is featuring Rebellion D Recaller in his carnival show. These are encouraing steps and should be emulated by all promoters. I admit that a change of the status quo won't happen overnight but it is with steps such as these that the cultural domination will be broken. Businesses have responsibilities to the communities that support them. That is why many businesses create funds and trusts to help the community. Gambians should demand from the promoters that they contribute towards the upliftment of Gambian culture. 

Gambian deejays should not be let off the hook lightly. They have a responsibility to promote Gambian music. They make it possible for Gambians to be aware of new artists from Senegal and other places. Gambia has good artists such as Sambou Susso, Amie Cherry, Rebellion, Jollofman, Musa Ngum etc. The least the deejays can do for starters is to play these musicians before the parties begin and during intervals. Gambians will start to familiarise themselves with them. The deejays can slot a couple Gambian songs here and there and maybe in a year or two, Gambians will start getting used to the Gambian musicians. What say you? Have a good night.
                                                                                                                                                                                                                    Buharry.

  ----- Original Message ----- 
  From: Amat 
  To: [log in to unmask] 
  Sent: Friday, August 11, 2006 7:13 PM
  Subject: Re: Re: [>-<] THE CORROSION OF GAMBIAN CULTURE: CAUSES, IMPLICATIONS AND POSSIBLE SOLUTIONS.


  Buharry,

  I think that you've done a good job detailing how the prosperity of Gambian culture and music enhance the Gambian identity and provide other opportunities for the Gambian people. Most would agree with you that the Gambian government has an obligation to promote our culture and music, and provide the right conditions and environment for Gambian artists to prosper, develop, and improve their crafts.  However, I do not agree that the Gambian masses have a similar obligation to support Gambian artists just because. The ultimate responsibility is the artists' to put out products that not only connect with, and appeal to the Gambian masses, but is also good enough to compete with the creations of the Senegalese artists. I have no doubt that with professionalism, dedication, and the right types of music, Gambian artists will prosper despite the absence of government support. Knowing that they will always be compared to their cousins next door and with whom they will always have to compete for the affection of the Gambian people, Gambian artists will have to find a niche within their genres in order to separate themselves from the Youssou Ndures and Vivianes. The Puerto Ricans and other Spanish-speaking people of the Caribbean figured that since they will not be able to compete with the American Hip Hop artists or Jamaican Reggae artists, they carved their own niche by fusing Hip Hop with Reggae with the creation of Reggaeton, in which they rap in Spanish over Reggae beats. Similar innovation will surely give a much-needed boost to Gambian music.  

  The democratic and global nature of music dictates that regardless of the nationality of the artists, folks will choose and support music which appeal to them, and will reject music which doesn't. Not even the Senegalese people give their support and CFAs to every Senegalese artist just because. The successful Senegalese artists all share the common ability to put out products which connect with, and appeal to the Senegalese people, and by extension, also to the Gambians. So, we should not expect a sense of nationalism to do for Gambian music what Gambian artistry has obviously failed to do. This is not to blame the "stagnation of Gambian music" on the dearth of Gambian talent. Rather, the unfortunate state of Gambia music should be blamed on the inability of Gambian artists to tap into the wealth of Gambian experiences and put into melody, our shared history, triumphs, struggles, and frustrations. For example, the current political and economic crises in the Gambia provide ample opportunity for Gambian artists to express through song, the conditions through which the vast majority of Gambians barely eke out a living. I think that without acknowledging the elephant in the room, Gambian artists will continue to struggle to connect with the Gambian masses.

  While you are certainly right to bemoan the absence of Gambian institutional and mass support for Gambian artists, you should also equally take the Gambian artists to task for their role in the current state of Gambian music. Otherwise, we'll be stuck in this Catch-22 situation where the artists will continue to blame their plight on the lack of support, and the people will continue to justify withholding their support until Gambian artists put out quality products. No support, no quality product. No quality product, no support. By the way, Gambian promoters, just like any other promoters, are driven by financial considerations, and not nationalistic ones, to book artists who will fill the most seats in the venue. Same for DJs. No DJ should have to be burdened with nationalistic concerns when selecting their play-list. The DJ's only job is to play whoever and whatever packs the dance floor and keeps folks coming back for more. Now, if there are Gambian artists who can pack these venues and dance-floors, but are not being booked or played by Gambian promoters and DJs, then we should all be outraged. Until then, we should expect the Senegalese domination of Gambian music to continue.

  Amat


  Momodou Buharry Gassama <[log in to unmask]> wrote:
    [ This e-mail is posted to Gambia|Post e-Gathering by "Momodou Buharry Gassama" ]


    Hi Musa!
    Thanks for taking the time despite being busy, to read and 
    comment on my piece. You asked for clarification on some issues. I'll do my 
    best to answer your questions. You wrote:

    "There are things that I have gleaned from the piece that may need 
    clarification. You seemed to be suggesting that there is a distinct cultural 
    difference between the two countries - Gambia and Senegal?"

    The foundations for the cultures of the two societies are the same. This 
    means that the people, the languages, the food, the dress etc. are the same. 
    However, culture denotes the way of life of a society at a given time and in 
    a given place. Even in The Gambia itself, there are various cultures. It is 
    the sum total of these cultures that makes up the Gambian way of life. The 
    way of life (culture) of Banjul is clearly different from the way of life of 
    a small village near Fatoto. The values inculcated in the minds of the 
    residents of the two places are not the same. Even within the same town, the 
    culture of the Njie family at one end of a street will be different from the 
    culture of the Sallah family at the other end. Banjul and Dakar are 
    separated by over a hundred miles. Gambian and Senegalese interaction and 
    experience with foreigners are different. It thus follows that there will be 
    cultural differences in some respects even though the people are the same. 
    What I am arguing here and the in the previous post is that The Gambia 
    should not allow itself to be dominated culturally and otherwise by Senegal 
    and any other country for that matter. By allowing itself to be dominated 
    culturally by another country, The Gambia leaves itself open to negative 
    influences from that culture. As stated earlier, the values of the small 
    village near Fatoto are different from those of Banjul. If the village 
    doesn't protect against the negative aspects of Banjulian culture, it will 
    soon find destructive behaviour associated with such negative aspects to be 
    part of its way of life. There are certain practices that have been 
    integrated into the Senegalese way of life that are innovations and not good 
    ones at that. The practice of "asset" at naming ceremonies and weddings for 
    example found its way into the Gambian way of life through Senegalese 
    influence and I have heard many Gambian women complaining at naming 
    ceremonies, weddings etc. when they do not have money. There is a practice 
    in Senegal, though not practiced by all put pretty prevalent that should not 
    be allowed to take hold in The Gambia because of the unnecessary financial 
    strain it puts on people.This is when a "njaykay" etc. brings for example, 
    10, 000 to a naming ceremony etc., the amount is at least doubled by the 
    receiving family and the "njaykay" etc. takes at least 20, 000 home. Another 
    negative practice is the "asset" at funerals in Senegal. These are just some 
    examples of some practices in Senegal that should be guarded against. Some 
    of these have become a part of Senegalese culture but are not part of 
    Gambian culture. So you see, there are differences between Gambian and 
    Senegalese culture. Negative practices prevalent in Senegal can brought into 
    The Gambia by way of films. There is also a culture within the Senegalese 
    film industry to portray "laaka kat yi" as funny-speaking, funnily dressed, 
    bumbling fools. Just observe how the Fulas, Jolas, Bambaras, Narrs etc. are 
    portrayed in Senegalese films.

    You also wrote:

    "As a Gambian, or to use your example Gambian parties, there is a domination 
    of music from the Senegal, are you suggesting that they are not embracing 
    their culture?"

    What I am saying is that they are dancing to a type of music that is played 
    in both The Gambia and Senegal. By totally embracing the Senegalese 
    musicians and rejecting the Gambian ones, they are in effect propagating and 
    participating in the cultural domination of The Gambia by Senegal. They are 
    providing exposure to Senegalese musicians. They are participating in the 
    development of the Senegalese music industry and undermining the Gambian 
    one. They are participating in the upliftment of the Senegalese music 
    infrastructure and undermining the Gambian one. As an intelligent person, 
    you must surely see the danger inherent in this practice. If you go to a 
    Senegalese party, do you hear a single Gambian song played? However, if 
    Gambians themselves do not play a single Gambian song at their parties, how 
    can Senegalese be expected to do so? The Senegalese are very proud of their 
    musicians and support them. I edited and mixed the first "Diakarlo" video 
    series produced by Mam Less Thioune (Darou Mbaye's husband). I was very 
    moved when a young musician (I would guess around 12) performed for the 
    first time on stage. Members of his family, his neighbours and other 
    well-wishers queued in a long line to give him present upon present and 
    speech after speech was made encouraging him. With all the gifts and 
    encouragement the boy got, I would not be surprised if he turns out to be 
    the next Youssou Ndure. If he was a Gambian, he would be lucky to even see 
    his brother or sister.

    You wrote:

    "When Gambians respond to dances like "Dohbi or Leumbal Narr" do you see 
    that as operating outside of their cultural heritage? Is it not possible 
    that Gambians are only reacting to the best artistic creation of our 
    culture, irrespective of the artificial boundaries?"

    Some of these dances are very seductive. You see very young children dancing 
    such dances. That surely is harmful and you must surely see the 
    implications. Apart from that The Gambia should also strive to be able to 
    produce musicians who can also create "the best artistic creation of our 
    culture". This cannot be done when we do not support our musicians. As to 
    the "artificial boundaries", please go to the Senegalese Embassy tomorrow. 
    Tell them that you are from The Gambia and do not believe in the "artificial 
    boundaries" and ask for a Senegalese passport or other rights accorded 
    Senegalese citizens. If they grant you such, I will then believe that the 
    "artificial boundary" doesn't exist. You see, The Gambia and Senegal are two 
    separate countries with two separate governments. The Senegalese governments 
    hitherto and the Senegalese people have provided the support, the 
    investment, the conducive environment that the Senegalese musicians need and 
    this has resulted in the excellence displayed by Senegalese musicians and 
    other artitsts. This has in turn helped the Senegalese economy, 
    infrastructure, society etc. When a thousand Gambians buy a Senegalese 
    musician's casette for 5 Dollars a piece, that is 5, 000 Dollars that will 
    be spent towards building a house in Dakar and in the process employing 
    maybe ten labourers who will in turn will be able to feed and contribute 
    towards their children's education etc. Maybe he / she will invest in 
    building a recording studio to produce many more "artistic creations". See 
    the logic? Now if you invested the same amount in a Gambian musician, maybe 
    he / she will buy a taxi and employ my cousin or your cousin as a driver and 
    take one person out of the unemployment line. Maybe he will build a studio 
    and take hundreds out of the employment line. The Gambian governments 
    hitherto and the Gambian people have failed the Gambian musicians in that 
    all our investments and support have been given to the Senegalese musicians. 
    This has resulted in the stagnation of Gambian music. This is what should 
    not have happened. This is what should not be allowed to continue. Please 
    don't interprete my arguments as meaning that I do not listen to or buy 
    Senegalese music. I can confidently say that I have more Senegalese music 
    than most Senegalese. I started collecting music from Senegal and The Gambia 
    in the mid eighties. I have Senegalese music that many Senegalese have 
    probably forgotten or would never buy because they are not the party 
    "mbalax" type. I have music from Takarrnasseh, Baobab, Xalam, Aminta Fall, 
    No. 1, Star Band, Ouza, all the early Etoile etc. to the contemporary 
    artists. I also go to Senegalese shows and dance to Senegalese music. I 
    however also have and buy all Gambian music that I can buy. I attend any 
    Gambian show that I can and I support and encourage any Gambian musician 
    that I can. This is because I realise that it is the Gambian musicians that 
    represent my country and when I invest in them, I am investing in my 
    country. When Youssou Ndure is at international festivals, no matter how 
    much Gambians have invested in him, he does not represent The Gambia. He 
    represents Senegal and proudly so. We should also strive to support our 
    musicians so that we can have someone who can represent us and make us 
    proud.

    You also wrote:

    "Nationalism will not be enough to bring about the development of our 
    artist.. When I listen to a Yousou Ndure, or a Vivian, I am connected to it 
    because I can relate to every aspect of their music, the melody is 
    beautiful, and there is a cultural connection of some sort. Just because 
    they happen to fall on the other side of the artificial boundary do not 
    register that I am committing cultural betrayal."

    Nationalism might not be enough to bring about the development of our 
    artists but it is a starting point. If we all start supporting our artists, 
    this will give them the conducive environment and the necessary finance to 
    be able to invest in their work. This will in turn result in products that 
    will be the "best artistic creation of our culture." The reason you connect 
    to "every aspect" of Youssou Ndure or Vivian's music in terms of melody, 
    professionalism etc. is because they have had the necessary support from 
    their people and from Gambians. No matter how determined Youssou Ndure was 
    when he started, if the Senegalese treated him the way we treat our artists, 
    he would have given up a long time ago. Youssou and Vivian can create the 
    kind of music they create because they have the infrastructure and 
    facilities plus the necessary support. If we as Gambians provide the 
    infrastructure and necessary support, you will soon be be listening to 
    Gambian music that you can connect to, where "the melody is beautiful, and 
    there is a cultural connection of some sort". If you however fail to buy 
    Gambian music or support Gambian musicians in any way, you are indeed 
    failing them whether you see it that way or not. We all have a duty to 
    upkeep and promote Gambian culture whether we accept the responsibility or 
    not.

    In response to your final paragraph, I agree that the Gambian musicians must 
    be able to compete. However, we must provide the support necessary to 
    resuscitate
    the Gambian music industry that has been ignored for decades. I think you 
    are making a mistake in stating that people are not necessarily "calculating 
    in their responses from what side of the boundary is the music coming from". 
    I have tried to help sell some Gambian musicians' cassettes. You will be 
    very amazed at Gambians' attitude to Gambian musicans. I can remember a 
    woman who "mirass"ed herself when a Senegalese musician was around. When I 
    tried to help a Gambian musician and asked her to buy a copy of the cassette 
    I was selling for the musician for just 30 Kronor, she just without even 
    looking at the cassette to see who it was remarked: "Gambian musician yi 
    munyun dara". This musician is one of the top musicians in The Gambia. The 
    funny thing is that i was at a party where they played a song from the same 
    musician and she was killing herself on the floor. Another example took 
    place not too long ago. Together with some friends, we visited a Senegalese 
    and he went through some dvds to entertain us. He saw a film by Gambia's 
    Yetteh Group. He said it was given to him months ago by a friend but he 
    didn't even bother to watch because it would be a waste of time because it 
    wouldn't be good. You are misteken to say that perception does not count.

    I hope I have answered your questions and made the clarifications you 
    requested. If you still have any questions, don't hesitate to ask them. Have 
    a good evening.


    Buharry.



    ----- Original Message ----- 
    From: 
    To: ; "The Gambia and related-issues mailing list" 
    ; 
    Sent: Wednesday, August 09, 2006 8:54 PM
    Subject: Re: Re: [>-<] THE CORROSION OF GAMBIAN CULTURE: CAUSES, 
    IMPLICATIONS AND POSSIBLE SOLUTIONS.


    >[ This e-mail is posted to Gambia|Post e-Gathering by 
    > ]
    >
    >
    > Buharry:
    >
    > I thank you for a well written paper, especially dealing with such an 
    > important issue - culture. You have to forgive me, lately I have focused 
    > on reading topics from the post dealing more to the up coming elections in 
    > September, but I still managed to read your piece. There are things that I 
    > have gleaned from the piece that may need clarification. You seemed to be 
    > suggesting that there is a distinct cultural difference between the two 
    > countries - Gambia and Senegal? As a Gambian, or to use your example 
    > Gambian parties, there is a domination of music from the Senegal, are you 
    > suggesting that they are not embracing their culture? When Gambians 
    > respond to dances like "Dohbi or Leumbal Narr" do you see that as 
    > operating outside of their cultural heritage? Is it not possible that 
    > Gambians are only reacting to the best artistic creation of our culture, 
    > irrespective of the artificial boundaries?
    >
    > Personally. I share with you that it is the role of individual, 
    > Governments, musicians and artists to bring about the development of our 
    > culture. But, culture like everything else in our community will excel 
    > when individuals and institution invest in it with resources and passion. 
    > Nationalism will not be enough to bring about the development of our 
    > artist.. When I listen to a Yousou Ndure, or a Vivian, I am connected to 
    > it because I can relate to every aspect of their music, the melody is 
    > beautiful, and there is a cultural connection of some sort. Just because 
    > they happen to fall on the other side of the artificial boundary do not 
    > register that I am committing cultural betrayal.
    >
    > Finally, I do not think Gambians that embraced and like music from our 
    > Senegalese cousins, or Senegalese that embraced Ifang in the past are 
    > necessary calculating in their responses from what side of the boundary is 
    > the music coming from They like the music that they are hearing, and are 
    > culturally connected with it. Gambians musicians of today, like other 
    > industries will have to compete against Senegalese, and even other African 
    > industries for that matter, to sell their wares. Undoubtedly, there is a 
    > need for support, but I do not think people are going to like music just 
    > because it happens to be from the Gambia. I can really see the distinction 
    > when compared to music from the West or even other part of Africa, but in 
    > the case of our cousins in Senegal, I think we all operate within the same 
    > cultural umbrella.
    >
    > But, I am still waiting for the clarification; I guess you already know 
    > where I am coming from after my rambling. (Laugh)
    >
    > Thanks again
    >
    > Musa Jeng
    >
    >>
    >> From: "Momodou Buharry Gassama" 
    >> Date: 2006/08/09 Wed AM 11:27:14 EDT
    >> To: "The Gambia and related-issues mailing list" 
    >> ,
    >> 
    >> Subject: Re: [>-<] THE CORROSION OF GAMBIAN CULTURE: CAUSES, IMPLICATIONS 
    >> AND POSSIBLE SOLUTIONS.
    >>
    >> [ This e-mail is posted to Gambia|Post e-Gathering by "Momodou Buharry 
    >> Gassama" ]
    >>
    >>
    >> Hi!
    >> I have to first of all apologise for the tardy response. I did not 
    >> have
    >> internet access while in Oslo and did not have time to go to an internet
    >> cafe. I would like to thank Fye Samateh for sending a message on my 
    >> behalf.
    >> Thanks to all who responded to the article.
    >>
    >> Ya Soffie, the "idea that one has to from a particular group of people to 
    >> be
    >> a singer/musician" has indeed smothered the talent of many gifted
    >> individuals. That is why it is necessary to include comprehensive 
    >> cultural
    >> education in the Gambian curriculum. Hopefully, this and other 
    >> initiatives
    >> can help to revive the Gambian music industry.
    >>
    >> Pa Musa, it is indeed necessary for all Gambians to help in any way. It 
    >> is
    >> also necessary for the government to have a comprehensive cultural policy
    >> and put mechanisms into place that would help in effectively implementing
    >> it.
    >>
    >> Thanks Sidibeh. The search for the cultural identity should be an 
    >> integral
    >> part of the search for the political kingdom. We cannot extricate the
    >> Gambian individual and all his endeavours from Gambian culture. Nor we 
    >> can
    >> we extricate Gambian culture from the individual as they make each other.
    >>
    >> Dave, Oussou Njie, George and Oko, thanks for your kind comments.
    >>
    >> Amat, I agree with you that Youssou Ndure is professional. While his
    >> domination of Senegambian music cannot be denied, his domination on the
    >> Gambian scene was not accidental but was instigated to a large extent by 
    >> the
    >> PPP government and its support organisations. Joko Forster makes some
    >> excellent comments on this. One thing we need to realise is that in 
    >> largely
    >> uneducated societies, many people tend to identify with what the 
    >> government
    >> and elite do. If the government keeps bringing in Youssou to play on 
    >> state
    >> functions and all the "hip" people bend over backwards to go the shows,
    >> ordinary people will do the same. When Senegalese musicians were 
    >> dominated
    >> by foreign sounds and personalities such as Super Eagles, the Senegalese
    >> government had the common sense to counter this trend by investing in the
    >> cultural sector in the form of a school of arts and other facilities. It 
    >> did
    >> not stop at saying Gambia and Senegal are one, let's just keep on 
    >> bringing
    >> in Super Eagles. The Senegalese government realised its responsibility to
    >> the Senegalese people and acted to promote their interests.
    >>
    >> Youssou Ndure perfected the art of praise-singing before becoming 
    >> successful
    >> enough to not need it. Remember "Ndey Mbergan", Absa Gaye and many 
    >> others?
    >> Even recently, he sings about Astou Aach. I remember once hearing a joke
    >> about how Youssou is "aay gaaf". The moment he dedicates a song to a
    >> successful person, that is the beginning of his / her downfall. 
    >> Ifangbondi
    >> was a very patriotic group singing about Gambia and many relevant issues.
    >> Ifangbondi realised the diversity of the Gambian populace and wanted to
    >> represent all Gambians in their songs and not just one dominating tribe.
    >> Ifangbondi did not praise-sing. I can only remember the Ya Mama Ndow song
    >> where Ifangbondi talked about an individual. Maybe there are more but I
    >> can't remember them at the moment. Many budding Senegalese artists do
    >> nothing but sing people's praises and they are making it in Gambia 
    >> because
    >> they know how to manipulate Gambians' egos.
    >>
    >> You are also right that the fact that Senegalese tv beamed into Gambia 
    >> for
    >> so long is responsible to an extent. We now have a tv station and many 
    >> radio
    >> stations. GRTS's status should be raised. When was the last time that a
    >> Gambian musician apart from Musa Ngum was shown on Senegalese tv? How 
    >> many
    >> Senegalese musicians are shown on GRTS? When was the last time a Gambian
    >> musician was played on Senegalese radio? How many Senegalese musicians 
    >> are
    >> played on Gambian radio? These are questions we need to ask ourselves. We
    >> all know that The Gambia has played a big part in the success of nearly 
    >> all
    >> major Senegalese musicians. What has the Gambia gained from this? We need 

    === message truncated ===




  BELIEVE THOSE WHO ARE SEEKING THE TRUTH. DOUBT THOSE WHO FIND IT. Andre Gide (1869 - 1951),


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