THE CORROSION OF GAMBIAN CULTURE: CAUSES, IMPLICATIONS AND POSSIBLE 
SOLUTIONS.

 

By: Momodou Buharry Gassama

Presented at the Gambian Cultural Week In Oslo

Tuesday, 1st. August 2006-07-26

 



The development of a society is determined to a large extent by its 
culture. Culture serves as the foundation that supports development at 
all levels as it shapes attitude. In determining the culture of a 
society, one looks at that society’s way of life at a given time, that 
is, the way the society lives, worships, dresses etc. Based on this, 
one can differentiate between various cultures. The culture of the 
Wollofs of The Gambia clearly differentiates them from the Europeans of 
Sweden. Similarly, the culture of the Indians of North America clearly 
differentiates them from the whites of the same continent. The Gambia 
is made up of various tribes with various customs and practices. It is 
the sum total of these various ways of life that makes up Gambian 
culture and by extension the Gambian person. As a partaker in the 
dynamics of Gambian life, the individual is as important in the 
creation of Gambian culture as he / she is a consequence of it. That is 
why it is of vital importance that the shaping of the Gambian 
individual should not be accidental but should be clearly calculated. 
Great care should be taken to identify the qualities that are desired 
and ways and means created to bring forth such qualities. These should 
be nurtured, protected and promoted. In this age of interactivity, it 
is of utmost importance that Gambian culture is protected from the 
negative influences of other cultures and creative means instituted to 
enhance it. This has however not been done with its resultant 
corrosion. The creation of the Gambian individual has not been properly 
thought out but has been left to chance. That is why Gambian society is 
one of the most porous societies in the world. This has resulted in the 
corrosion of cultural values and the transformation of the Gambian 
individual. What has brought about such a state of affairs, what are 
its implications and how can the situation be remedied?

 

As alluded to earlier, the failure to actively mould the Gambian 
individual and by extension Gambian culture is one of the main reasons 
for the corrosion of the country’s cultural values. The failure or 
inability of the governments hitherto to create institutions, 
structures and mechanisms that would shape and influence the Gambian 
way of life and protect it from the dominating tendencies of outside 
cultures, has meant that many negative aspects of various cultures have 
found their way into the Gambian way of life.

 

The bombarding of Gambians with foreign films and television stations 
has had an impact. Over the decades, Indian, American, Chinese, 
Senegalese and now Nigerian and other films have been responsible for 
the transformation of the Gambian character. The lack of local movies 
to counter the influence of the foreign ones has meant that people have 
been fed foreign cultures and many negative tendencies have been picked 
up. The barrage of materialistic tendencies contained in film and 
television such as MTV in the midst of abject poverty has given rise to 
materialism at the expense of cultural values. 

 

The promotion of foreign cultures especially as it relates to the 
creative arts such as music, at the expense of Gambian ones, is another 
reason for the deterioration of Gambian culture. The deliberate 
sidelining of Gambian musicians during the time of the former and 
current regimes has meant a gradual slide from the heydays of Super 
Eagles to the current wilderness Gambian music finds itself in. As the 
first band in West Africa to blend traditional African drums and 
Western instruments, the creation of the “Mbalax” sound can be 
accurately attributed to Super Eagles and its offshoot, Ifangbondi. The 
popularity of the group grew in West Africa at a time when most African 
countries were gaining independence and the concept of Panafricanism 
was near its zenith. They became one of the hottest groups in the 
region. They were very popular in Senegal at time when Senegalese 
musicians were mostly playing Latin music and Senegalese commentators 
were urging Senegalese musicians to adopt Super Eagle’s approach and 
play Senegambian music when the group metamorphosed into Ifangbondi. 
The then PPP regime, without a clear cultural policy to enhance 
artistic expression, together with the Gambian populace and other 
factors resulted in the gradual decline of Super Eagles and subsequent 
groups. This was exacerbated by the bringing in of Senegalese musicians 
to perform on state holidays and functions at the expense of Gambian 
groups, a practice that still continues.

 

Another reason for the decay of Gambian culture is the lack of 
facilities and structures that create, enhance and nurture culture. The 
lack of basic facilities for use by cultural practitioners has resulted 
in their inability to produce material to feed the need of Gambians. 
The lack of suitable training and support institutions has meant that 
cultural practitioners have basically relied on themselves and the 
result has in many instances been less than satisfactory.

 

Lack of finance and the reluctance of the business community to invest 
in Gambian cultural activities and institutions have resulted in 
substandard products that find it difficult to compete on equal footing 
with foreign imports. The failure of the governments since independence 
to invest in the cultural infrastructure of the country is also a 
contributory factor. As with all sectors, lack of investment and 
finance means a lack of suitable facilities with the resultant lack of 
quality output.

 

Cultural practitioners also contribute to the deterioration of Gambian 
culture. The laissez faire attitude and the failure to create a 
respectable and saleable image are also to blame. The attitude of the 
early musicians, some of whom would not respect contractual 
obligations, respect stage etiquette etc. did not help and the negative 
image created since is still alive and affecting perception. The 
failure of the artists to research and find out the likes and dislikes 
of their customers means creating a product based on chance. 

 

Lack of patriotism and the apparent inability of the Gambian 
individual to support artists based on the desire to contribute to the 
promotion of Gambian culture is another factor. Whilst it is the 
prerogative of the individual to invest in a product that makes one 
happy, the need to promote the general good should enable people to 
realise the need to sometimes forego personal desires and support 
Gambian culture in order to help it develop. Given the fact that 
Gambian culture has not been invested in for a long time, it needs to 
be realised that for Gambian artists to compete with foreign imports, 
they need the support of the population both materially and morally.

 

Yet another factor is the lack of statutory instruments and bodies to 
protect artists from exploitation and piracy. This means that artists 
barely realise anything from their creations. Many cultural 
practitioners face extreme difficulty scraping together the necessary 
finance to invest in the creation of their products. After succeeding, 
they watch in vain as others who have invested in the odd tape or video 
recorder benefit from their hard work. Information was received that 
there was movement toward legislating copyright laws (if it hasn’t 
already been passed). This is good news. 

 

Music promoters and deejays bear a major responsibility for the 
deterioration and in some instances stagnation of Gambian music. Their 
investment in Senegalese musicians at the expense of Gambians has meant 
that Gambian artists don’t have the exposure they need. At Gambian 
parties, one wonders whether there are any musicians in The Gambia or 
why the parties are labelled Gambian parties. This applies to both 
private and public occasions. One attends events such as Gambian 
Cultural Weeks, ALD etc. and in some instances not a single Gambian 
song is played. Gambian music promoters invest so much in Senegalese 
musicians contracting them to tour and in some instances producing 
them. This has meant the enrichment and development of Senegalese 
musicians and the degradation of their Gambian counterparts. The basic 
excuse is usually that Gambian musicians don’t play what the Senegalese 
play and are not good enough but nobody pauses to ask how they can 
develop given that all their efforts are rejected and the necessary 
support they need is given to foreign musicians at their expense.

 

 

The failure to fully integrate culture into the country’s educational 
structure also bears responsibility. The elementary arts and craft that 
is part of the curriculum does not address the competence desired to 
prepare artists to produce competitive products. The non-inclusion of 
culture as a subject comprising music education, dance, oral and 
cultural history and drama from elementary to high school inhibits 
cultural creativity. These are just a few examples of the reasons for 
the corrosion of Gambian culture and in some instance its stagnation. 
What impact does the corrosion of Gambian culture have on The Gambia 
and its population? 

 

The underrating and rejection in some instances of Gambian culture has 
been manifested in various ways from the artistic to the religious to 
the linguistic. As mentioned earlier, the culture of a society 
determines the type of individual resident in that culture. The 
appreciation of the culture of the society results in the appreciation 
of the individuals in that culture. The underrating of the culture 
results in the underrating of the individual. The result is a society 
without heroes, a society that looks outside for its heroes, a 
lacklustre society devoid of creativity. The biggest beneficiary in 
this instance is Senegal that has dominated Gambian cultural life. When 
Gambians want to seek spiritual guidance, they sideline the spiritual 
leaders and practitioners in The Gambia and travel to Senegal. When 
Gambians want to listen to Senegambian music, they opt for Senegalese 
music. When Gambians want to watch Senegambian films, they go for the 
Senegalese. While this might on the surface seem harmless, its effects 
on the national psyche are devastating. The looking outside for 
solutions has left a society without creativity. This is manifested in 
many ways leading to the mediocre performance of Gambian society in 
many sectors.  

 

The lack of development within the musical sector means the 
appreciation of foreign ones. As it is human tendency to identify with 
those one holds in high esteem, many Gambians try to emulate not only 
their foreign heroes but the cultures they represent. This is why one 
sees Gambian-Jamaicans, Gambian-Americans etc. That is why any dance or 
chorus line of a Senegalese song is readily adopted and becomes part of 
Gambian life. Senegalese dance styles such as “doh bi”, “saa nehh” 
dance, “ventilateur”, “hors”, “leumbeul narr”, “mbarass” and many more 
have been copied without question. Some of these dances are extremely 
sensual and antithetical to Gambian cultural values. Their unchecked 
intrusion into Gambian culture has a negative impact on the Gambian 
character. The same goes for the MTV-style music videos of skimpily 
dressed females dancing in provocative fashion and the culture of drug 
use inherent in Jamaican music.

 

The film industry also brings with it great dangers especially for 
young people. In the countries where they are made, most movies are 
rated by bodies created to gauge what is suitable for viewing by young 
people. Since The Gambia doesn’t have such bodies, movies are freely 
watched by all. Movies rated r or even x-rated movies are watched by 
young people further corrupting their values. Some of these movies are 
serious threats to the behavioural patterns of the Gambian population 
in that they carry too much violence, drugs, sex etc. This has in turn 
contributed to the increase in violence, crime and other vices. 

 

The religious area is not spared. The search for religious and 
spiritual guidance and solutions usually leads outside Gambia. The 
Senegalese religious sector as in many areas completely dominates and 
manifests itself in many ways. In some extreme situations, Gambian 
religious occasions and celebrations are postponed because many people 
travel to Senegal to participate in various celebrations there. Because 
of the preference for Senegalese religious leaders, Gambian religious 
leaders have found it difficult to reach prominence. Religious leaders, 
such as the late Alh. Babou Samba and many others have not been given 
the recognition they deserve. As microcosms of Gambia, Gambian 
communities abroad repeat and perpetuate the same tendencies. Apart 
from the Senegalese, Arab and Christian evangelists propagate all types 
of religious doctrines without challenge. Some of these doctrines 
contradict and in some instances even negate the basic tenets of Islam 
and Christianity but are accepted. 

 

Another impact of the corrosion of Gambian culture and the preference 
for foreign cultures is economic and infrastructural. Because of the 
investment in foreign cultural products especially Senegalese, the 
cultural industry there has developed and the Gambian one has 
stagnated. Gambia lacks basic production facilities because Gambians 
have not invested in Gambian culture. The total investment in 
Senegalese cultural products does not reflect on Gambia but helps to 
put Senegal firmly on the world map. Gambia has played a big part in 
the catapulting of most Senegalese artists to the positions they hold 
but this has not benefited Gambia. Apart from the mentioning of Gambian’
s name in a song to satisfy and in some instances inflate an ego or 
two, Gambia and Gambians do not benefit from the success of the 
Senegalese cultural industry. Every budding Senegalese musician sings 
about how Gambians are “tabbeh” or generous but is it a question of “
tabbeh” or “waaneh”? As the adage goes, charity begins at home. The 
same applies to religious and spiritual leaders. It is not strange to 
see Gambians queue with their hard earned cash when a Senegalese “
serign” or marabout comes to town or send money to Senegalese musicians 
even without their asking for it. In some instances, these same people 
have been hounded by requests for financial assistance from their 
relatives back home and have failed to honour such requests. At shows 
and private occasions, Gambians “miraas” themselves when a Senegalese 
musician mentions their name in a song but give coins to a Gambian 
musician who does the same.

 

Another impact is the strangulation of Gambian creativity as 
creativity is not rewarded. This is manifested in the laziness that 
characterises Gambian designers, hair dressers and others who work with 
the creative arts. This has given rise to a copy culture instead of a 
creative one. Instead of creating fashion designs, hairstyles etc., 
Gambians just copy these be it from Nigeria, USA, Senegal or some other 
place. Because these things are copied from other places, many tend to 
subconsciously view products that come from those countries as superior 
whilst Gambian ones are inferior. That is why if one puts a 100% 
quality product in very nice packaging labelled “made in The Gambia” 
and a 10% quality product in a less attractive package labelled “made 
in Nigeria”, “made in Senegal” etc., the average Gambian would probably 
choose the foreign product.

 

In the linguistic area, Senegal and Gambia share nearly all languages. 
Gambia has lately not contributed to the development of the languages 
especially Wollof but has relied on the creation of popular expressions 
by Senegal. Senegalese expressions have made their way into Gambian 
Wollof from Senegalese music and films. Expressions such as “moko yorr”
, etc. have become fashionable among Gambians. Even when Gambians want 
to prove that they are speaking proper Wollof, they acquire a 
Senegalese accent. When a Gambian and Senegalese are speaking to each 
other, the tendency is for the Gambian to put on a Senegalese accent 
and not the other way round. This demonstrates an inferiority complex 
brought about by decades of cultural domination. The flood of Nigerian 
movies into the country has ushered in the beginnings of another area 
of cultural domination. Imitating Nigerian dialects and using 
expressions, dress styles and other things from Nigerian films is 
increasing. If caution is not taken, the negative aspects of Nigerian 
life will soon become a part of Gambian life.

 

After discussing the corrosion of Gambian culture, some of its causes 
and the impact on Gambian society, what can be done to remedy the 
situation? Many solutions present themselves, some easy to implement 
and others difficult. The need to remedy the situation is however 
apparent. Whilst some of the following suggestions might not be the 
panacea to the problems facing Gambian culture, they are at least 
starting points. Whilst some of the suggestions are mine, others have 
been derived from the study of national culture policies of Jamaica, 
Nigeria, South Africa, Sweden and the Council of Europe. Whilst the 
Gambia National Council for Arts and Culture has a culture policy, some 
of the suggestions herein contained can aid in upgrading it. 

 

The first is to have a clear set of achievable cultural goals based on 
a clear vision related to the envisioned Gambian individual. This 
should be complemented with the necessary structures and mechanisms 
necessary for their achievement. This means that the national cultural 
goals should not be vague but should be clear, pragmatic and 
achievable. The environment under which they are going to be achieved 
should be conducive. This should be an environment that that fosters, 
rewards and protects creativity.

 

As education is a very important component of creativity, cultural 
education should be an integral part of the national curriculum. This 
means that music education, dance, drama, creative writing and 
composition, poetry etc. should be taught from primary through high 
school. Students who excel should be encouraged through grants, 
scholarships, international cultural exchanges etc. A national school 
of the arts should be created to enable students who want to further 
their education in culture to do so. Art educators and trainers should 
be professionally trained to provide quality education to aspiring 
students. Research projects to identify problem areas, identify 
possible solutions and document Gambian culture and cultural trends 
should be initiated.

 

Another important remedy is to build the infrastructure necessary to 
make it possible for artists to produce qualitative cultural content, 
effectively market and distribute it. The investment in recording 
studios, production houses etc. should be encouraged by the government. 
Both private and public finance should be sought and invested. The 
government should create incentives for the private sector to invest in 
the industry. Investors should be encouraged to invest in the latest 
technologies necessary to produce products that can compete 
internationally. Tariff barriers and duties on culture and ancillary 
products should be removed to encourage both artists and businesses and 
facilitate investment. The government should also create a cultural 
fund and encourage businesses, parastatals and NGOs to contribute to 
it. Artists and other cultural workers can apply for grants to buy 
needed materials. 

 

As the media plays a very important role in the promotion and 
distribution of cultural content, the government should create a policy 
and enact necessary legislation to ensure that cultural practitioners 
get the exposure they need and to ensure that foreign artists do not 
dominate the Gambian airwaves. This means that the government should 
create quotas for Gambian cultural content and make sure that airtime 
requirements for Gambian culture are included in all radio and 
television station licensing documents. All stations should be required 
to play Gambian cultural content for at least a certain percentage of 
their total airtime. Gambian promoters should be required to include at 
least one or two Gambian artists whenever they bring foreign artists. 
There should be a special tax on foreign artists to be paid by 
promoters for engaging foreign talent and this should deposited into a 
special cultural fund to help develop Gambian culture. As The Gambia is 
facing a cultural state of emergency, drastic measures are needed to at 
least stabilise the situation as in all states of emergency.

 

The government should also enact legislation that protects cultural 
content and practitioners and accords intellectual property rights. 
Enforceable instruments and enforcement agencies should be created to 
ensure that cultural content is protected and that artists are not 
unduly exploited. These agencies should provide methods to help artists 
and investors realise potential revenues from their creations. They 
should also create schemes such as pension schemes and insurance plans 
to secure and enhance their social and economic status.

 

Marketing and promotional schemes, activities and projects should be 
undertaken to enhance Gambian culture and raise the Gambian identity. 
These schemes should aim to promote innovation and cultural excellence 
through for example, the creation of a cultural excellence foundation 
that identifies and rewards innovators and those who excel. Strategies 
and programs should be created to promote and raise the culture 
industry to the level of traditional industries. 

 

A cultural interest group should be formed that comprises a Gambian 
artists union and representatives from the ministry responsible for 
culture to put pressure on crucial agencies to further the interests of 
artists. This group should also serve as a one-stop agency that 
generates and propagates information about Gambian culture and artists 
and also provides administrative support for them. The agency should be 
charged with organising cultural fairs that showcase Gambian talent. It 
should also be charged with organising a yearly festival that brings 
the best Gambian artists together.

 

Another suggestion is the provision of incentives and rewards for 
artists. This can take the form of providing awards and titles such as “
drummer of the year”, “actor / actress of the year”, “bassist of the 
year” etc. Street names should be named after artists who excel. 
Monuments and parks should also be dedicated to artists. This will 
serve as an encouragement to artists.

 

The film industry should be stimulated. Production facilities should 
be invested in. Mobile film and video units should be created to travel 
the length and breadth of the country to spread the creations of 
Gambian artists. This will help bring artists and the consumers closer 
and spread the work of the artists.

 

There should be co-operation between the tourism and culture 
industries in the form of strategies that mould the final product 
received by tourists. This would ensure that a clear vision of Gambian 
culture will be presented to foreigners that will positively reflect on 
the image of the Gambian individual. 

 

After having looked at the reasons for the corrosion of Gambian 
culture, the impact on the country and the possible solutions, it can 
be concluded that the failure to mould the Gambian individual has had a 
negative impact on various aspects of Gambian life. This has resulted 
in the decay and stagnation of various sectors. However, not all hope 
is lost. If the government institutes corrective measures, the 
situation can be arrested and Gambian culture can be rejuvenated enough 
to take its rightful place among the cultures of the world. 

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