NIGER: MUSIC AND DANCE

Nigerien music consists of the many cultures that make up its people. In their music, you’ll find elements of Hausa, Tuareg, Fula, Zurma Songhai, Arab, and other cultures that have contributed to their musical traditions. And generally speaking, many of these musical traditions are similar to other traditions and styles found throughout West Africa. 

If anything, they share many of the instruments used in their music. The molo (a type of lute) and the duma (a type of percussion instrument) are commonly used in Hausa griot traditions. The kakaki (a type of trumpet), the alghaïta (a type of shawm), other types of lutes, flutes, percussion instruments, and fiddles are used for a variety of purposes. Singing is also performed either with or without accompaniment. It can also be solo or in a group setting. Some ethnic groups are known for their choral traditions, like the Beriberi, Fula, and Wodaabe. 

Closely tied with music is Nigerien dance, which is a vital part of their cultural festivals, celebrations, and ceremonies. One dance is called the Ruume, a type of circle dance where the dancers sing and clap to the music. Another dance is called the Gerewol, which is a type of courtship dance. The men perform this one, painting their faces and adorning themselves with beads and feathers trying to make themselves attractive to the females who act like they’re blasé about it all but end up choosing the one they like best.

I listened to a few modern groups on Spotify. The first one I listened to is Saadou Bori. He is a reggae musician who performs in an African-style reggae. Like the Caribbean, Africa has its own reggae variations that mixes reggae with their own unique African sounds and instruments. Saadou Bori became pretty popular internationally in the mid-1990s along with fellow reggae musician Moussa Poussy. Fati Mariko is another reggae group/musician. You can definitely pick up on the African drumming styles used in their music.

Mamar Kessey’s music also falls into the reggae category. However, their music also mixes in jazz and traditional Songhai elements into their music. They might be one of the more well-known Nigerien musical groups.

I listened to Etran Finatawa’s album The Sahara Sessions. I really liked this album. They mix together Tuareg and Wodaabe traditions since their members consist of these two ethnic groups. When I listen to this acoustic music, it reminds me of some of the examples of African American work songs we listened to in my college ethnomusicology class. It’s fairly clear whose musical traditions it’s most likely derived from.

One genre I’ve grown to enjoy is Tuareg blues music. I listened to the band Takrist n’Akal. I really like their music. It’s not necessarily blues in an American sense (either Delta or Chicago), but there are still many elements that are similar to it (lowered thirds and sixths, I believe). It’s melodic, and I could hear vocal harmonies in places. The guitar part creates the rhythm underneath the vocal lines. Toumast is another Tuareg blues band. Their name means “the people, the nation” in Tamasheq. If you like this genre but want something a little more on the psychedelic rock side of the blues, you should check out Mdou Moctar’s album Akounak Tedalat Taha Tazoughai (original motion picture soundtrack).

And I did find one hip-hop group available on Spotify. I took a listen to Kamikaz’s album Street réalité. Rapped in French, he envelops a very Afro-French sound to his sound. I really can’t comment on what he’s saying since I have no idea. I’m lucky if I can pick out a word or two. But I like how he raps fast – that will always be impressive to me. And each song was different enough to keep me interested in listening further.

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LIBYA: MUSIC AND DANCE

The Berber people have been creating their own music for thousands of years. These groups of people are generally nomadic and pastoral; their territory stretched from Morocco across North Africa and extended down into Mali, Burkina Faso and other areas of West Africa. Much of their music was built on the pentatonic scale (a scale made of five notes — think of it like playing only the black keys on a piano). Utilizing instruments that resembled the modern oboe and bagpipes, musicians would often travel from town to town performing their music, much like the troubadours in France did. 

The Tuaregs, whose music is often similar to that of the Berbers, used the call-and-response style of music, and music was generally a woman’s area of expertise. Women also dominated at playing the imzhad, a type of string instrument similar to a violin. Other instruments heard in Tuareg and Berber traditional music include the flute (usually made of bamboo), the oud (a fretless lute), tambourines, and the darbuka (a type of goblet drum played with the fingers). Clapping intricate rhythms often accompany their music.  

Tuareg folklore dance styles are still widely popular and are linked with traditional music. Many times, these folkloric dances are showcased on television programs. Hagallah is a style of dance performed by women during special ceremonies. She will often use a handkerchief or a straight stick as a prop and is very rhythmic, utilizing the intricate clapping mentioned earlier. This style of dance is often used as a way for a young girl to showcase her beauty. Line dances are also another style of dance performed in Libya; dancers will link arms while gliding and hopping their way across the performance area.  

As far as pop music goes, there’s not much. After decades of music being repressed and only traditional music being played, it’s no wonder it’s been a little slow on the uptake for new music to open up. I mean, if you were under constant threat of being arrested and/or “disappearing” just for expressing your craft, would you do it? It’s certainly the true test of an artist, and many did it anyway. But many also emigrated for their safety. Musicians who did stay knew that Western music styles and speaking out against the government were pretty much out of bounds. 

However, one musician that stands out is Ahmed Fakroun. As someone who is skilled in many instruments, he was also influenced by the Europop styles and the rock coming out from France. I listened to the Compilation album. It certainly reminded me of the raï music; some songs were reminiscent of the style of Cheb Mami and others. 

In the aftermath of the Civil War, more musicians and bands are slowly feeling more comfortable with creating music that was originally banned. Although I think many of these bands are still on the underground, metal bands and rappers are starting to make names for themselves. I found some references for a few Libyan metal bands: Rex Mortifier, Acacus, Magma, Libya Death Metal Rebels, The BlackForce, Tasnim, and others. Some bands, like Rex Mortifier are no longer together.

Western- and European-style rap and hip-hop are also making an entrance on the music scene. Artists like Volcano often rap about the events that have taken place in their country in the past decade, the end of the civil war, and their sentiments about it. Often covering topics like injustices and calling out ISIS over their ridiculous extremist ideologies, these rappers use their art form as a means of dealing with this mess. I listened to Volcano’s song “C5,” which is fairly catchy and well written. The video is done well and is eye-catchingly riveting with scenes performed on the rubble from the attacks. Rappers like Volcano, Ibn Thabit, and Libyan-American rapper Khaled M. often use current events to fuel their message.  

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