{"id":50533,"date":"2024-01-03T18:05:05","date_gmt":"2024-01-03T18:05:05","guid":{"rendered":"https:\/\/www.africa-press.net\/gambia\/?p=50533"},"modified":"2024-01-03T15:24:28","modified_gmt":"2024-01-03T15:24:28","slug":"rhythms-of-the-royal-bloodline-salif-keitas-ancestral-saga","status":"publish","type":"post","link":"https:\/\/www.africa-press.net\/gambia\/all-news\/rhythms-of-the-royal-bloodline-salif-keitas-ancestral-saga","title":{"rendered":"Rhythms of the Royal bloodline: Salif Keita\u2019s ancestral saga"},"content":{"rendered":"

Africa-Press – Gambia. <\/strong><\/span>On the crisp morning of Tuesday, December 26th, as the world awoke to the gentle afterglow of Christmas, the city of Bangkok stirred to life, its streets humming with anticipation for the day ahead.My excitement was palpable as I stood outside my hotel, eagerly awaiting the day\u2019s adventure to the famous Damnoen Saduak floating market. The streets of Bangkok were already bustling, a symphony of urban life awakening. At precisely 8 am, my taxi arrived, but it was no ordinary vehicle. It was a fully electric MG car, a British classic, its sleek and elegant design a stark contrast to the typical Bangkok traffic. This unique car was a testament to the owner\u2019s admiration for British culture and automotive innovation. The driver, Mr. Lot, a 61-year-old Chinese-Thai gentleman whom I had the pleasure of meeting during my first visit in 2016, greeted me with a warm, infectious smile. \u201cAlaaaSaaan!!\u201d he exclaimed, his eyes twinkling with pride as he spoke of his car after our usual exchange of pleasantries.This MG was particularly special due to the hefty 200% import duty tax Mr. Lot had paid to bring it to Thailand, a symbol of his deep appreciation for British culture, which he fondly reminisced about from his visit there over three decades ago. As we embarked on our journey to the Damnoen Sadouk, situated 98km from Bangkok, the silence of the electric car\u2019s engine was profound, a stark contrast to the usual hum of diesel and petrol engines. To fill the void, I jokingly suggested we should play some music to avoid falling asleep, leading to a hearty laugh shared between us. Mr. Lot graciously offered me the opportunity to connect my Apple Music to his car stereo, an offer I gladly accepted. The first song to grace our ears was \u201cM\u2019Bemba\u201d(My Ancestors)by Salif Keita. This nearly 9-minute long masterpiece is a title-track of his 2005 album recorded in his studio in Mali, immediately captivated Mr. Lot, to the point where he seemed to forget he was driving. The song\u2019s power and depth were evident even to those unfamiliar with its language. After it concluded, Mr. Lot expressed his amazement, acknowledging the song\u2019s extraordinary nature despite not understanding the lyrics. He was curious about the artist and the song, urging me to share more as he was unable to Google while driving. I began by introducing Salif Keita as a Malian singer-songwriter who was born in 1949. He is one of the most influential musicians on the African continent and a member of the Keita royal family. Referred to as the \u201cGolden Voice of Africa,\u201d he had overcome significant challenges, including ostracisation for his albinism and breaking traditional occupational barriers of his noble status, to pursue a successful music career. I shared that even at his age at 74, Salif is still actively producing music and captivating audiences worldwide. As we delved into the song \u201cM\u2019Bemba\u201d, I explained its profound significance. The song is a tribute to Salif\u2019s ancestors who were royal. The Mandinka word \u2018M\u2019Bemba\u2019 translates to \u2018My Ancestors.\u2019 I began to unravel the lyrics and their meanings for Mr. Lot. The song opens with a chorus, sung by Salif\u2019s own sister:\u201dAh cubay watii le fe\u0300 nkaramo, cubay na tuma.. Ah cubay watii le fe\u0300 nkaramo, cubay na tuma duniya teh bulu-killima..\u201d In English, these lines mean: \u201cAh, there is a time and moment for everything, my master. The world is not viewed with a single mind or view; meaning, it\u2019s okay to see the world in diverse ways, recognising that every opinion matters. Following this, Salif directs a question to his ancestors:\u201dneri coromay, ah ne\u0301ri coromay, aah kori tougnabe\u0300 .Ne\u0301 ra me\u0300 ko n\u2019gara ke\u0300lou ko kon\u2019ka n\u2019gara ya ke\u0300 ,Ko sabou le\u0301 ya.\u201dTo translate , it signifies: \u201cI have heard of your stories and histories, passed down by griots and historians. I understand you challenge me, as a royal offspring, to excel and be extraordinary in my chosen path, upholding the legacy of greatness embedded in our bloodline.\u201d The next verse of the song openly addresses the young traditional singers, known as griots, in Guinea, Senegal, and Mali. Salif acknowledges his hands being tied, bowing to them for his legendary status as a musician(that was the work of the griots), a result of the sacrifices made by his ancestors. The lyrics here are poignant: \u201cN\u2019bolu yeng ko Jali deni nou ye\u0301 La Guinea Jali deni nou beye\u0301 N\u2019bolu yen\u2019ko Jali deni nouye\u0301 Senegali Gawlo dindinbu beye\u0301 N\u2019bolo yen\u2019ko jali deni nouye\u0301 Eye\u0300 Mali Jali deni nou bay Mbemba, m\u2019bemba le\u0301h M\u2019bemba leka kele ke\u0300h M\u2019bemda di saka koulou ni M\u2019bemba leka soke\u0300 koulu di M\u2019bemba di jong kay kulu ta kadi Jali deni lou ma ,Kake\u0300 toko songo.Aah m\u2019bemba\u201d.These verses acknowledge the sacrifices made by his ancestors, including offerings of sheep, herds of horses, and even slaves, to the spirits and griots. This was done to ensure that their descendants, like Salif, would excel and be legendary in their chosen fields. The song then shifts to a more critical tone in a form of a very powerful poem addressing themes of greed, evil, enemies and corrupt politicians;\u201dJugumorogna djoukounani morogno\u201d.Enemies are bad, your enemies are evil.\u201dAda magni ada te\u0301 tougna fo\u201d.Their mouth is bad and never tells the truth.\u201dAda magni adacasa bolen\u201dWhatever comes from their mouth stinks.\u201dAh si\u0301ng mangni a si\u0301ng te\u0301 sigila\u201d.Their steps are wicked, always on the move to spread evil.\u201dAh cono magni a cono bara be\u0300 ye\u0301 gii\u201dTheir stomach is bad, filled with water.\u201dThis line metaphorically suggests that these malevolent individuals are hollow inside, filled with nothing but evil intentions and greed.\u201dA ben\u2019hakili diki Jon na, abeh miriya digi surukou la.\u201d Suruku wara kele yoro do\u201d.Here, Salif draws a parallel between these evildoers and wolves, indicating that they are akin to the most nefarious members of society, often typified by greedy political leaders. The wolf, in this context, becomes a symbol of predatory behaviour and exploitation. \u201cSurukou bina mankalani keleng \u2018di\u201d The combination of wolves and enemies of the society will come up with their plans and initiatives to wage a war against the antelope.In this verse, the antelope represents the vulnerable and impoverished people in the community. The wolves, or the corrupt and greedy elements of society, conspire to exploit and dominate these defenceless individuals.\u201dsurukou bino kang ko kang kary.\u201dWolf breaks the neck of the antelope\u201d.He vividly illustrates the brutal nature of the exploitation here, where the powerful and greedy, much like wolves, prey upon and destroy the vulnerable for their own gain. \u201cSurukou m\u2019ma balema musolu soh\u201d.Wolves don\u2019t give anything of their gains to their sister.The greed and selfishness of these individuals are further emphasised here. They are so consumed with their own desires that they neglect even their closest relations, such as their sisters. \u201cSurukou ma balema kaylou soh\u201dWolves don\u2019t give anything to their brothers.This line reinforces the theme of selfishness and greed. Despite their gains, they do not share with or care for their own kin, including their brothers. \u201cHakili ma djika wolodenilou na, surukou ma furu mussoh soh molou, siko gueran fenda\u201d.This concluding part of the verse speaks to the extent of their neglect and greed. They are so engrossed in their own ambitions and desires that they forget their own children, wives, and extended family, echoing the wolf\u2019s nature of prioritising self-interest over communal or familial bonds. In the following verses,Salif circles back to the core theme of the song, which is a celebration and acknowledgment of his ancestral heritage. The verse starts with an introspective query about the identity and legacy of his ancestors: \u201cM\u2019bemba le\u0301 m\u2019bemba le\u0301 Oh oh m\u2019bemba Oh oh oh oh m\u2019bemba M\u2019bemba bora moko jong na M\u2019bemba bora moko jong na Ne\u0301 m\u2019bemba bora moko jong kosa\u201d Here, he emotionally muses over his lineage, asking, Where are my ancestors, who are they, and where do they hail from? before answering this question himself.In these lines, he passionately speaks of his ancestors, the lions(jatta) of\u201dFara, Dakala Jatta, Kitakuru Jatta, and Iye\u0300ne\u0300 Jatta, all regions within the ancient Mali Empire established by his forefather, Sundiata Keita. He praises his ancestors, Keita and the Kone\u0300 family, asserting that without a son of a woman of Kone\u0300 on the battlefield, a war was deemed incomplete and unwinnable. This part of the verse highlights the valour and importance of his lineage in the historical context of warfare and bravery. The verse then delves into a profound metaphor:\u201dsoko simbo ni simbo sarama dakouma ni kabala simbo. Friki ni koma djomanou ni djoma wanya, Fouye\u0301toukou foula kate\u0301 toukouke\u0300la anhan ne\u0301 m\u2019bemba bora olou daladjala\u201dThis translates to a concept where Keita reflects on the nature of substance and value. He suggests that what is insubstantial (\u2018null\u2019) tends to align with similar insubstantial elements and cannot follow or be influenced by that which is substantial and meaningful (\u2018lucid\u2019). This metaphor speaks to the integrity and authenticity of Salif\u2019s ideas, actions, and behaviours, underlining how they are influenced by the inherent qualities and high standards passed down through generations from his ancestors. The verse concludes by affirmatively stating that his ancestors, originally hail from Dakajala in the ancient Mali Empire. This powerful conclusion not only honours his heritage but also cements his identity and cultural roots, connecting him inextricably to the noble lineage of his forebears. Salif then turns the narrative towards the importance of the traditional Mandinka griots and musical instruments such as Kora, Balafong and Ngone(Riti );\u201dBala bararo imaye\u0301 djama latolon bala mankan. Bala bararo Jali sonan latolon bala mankan.Kora bararo dja djama latolon kora mankan.Aah kora bararo Jali sonan latolon kora makan.Ngone bararo imaye\u0301 djama latolon Ngoni mankan. Ngone\u0300 bararo Jali sonan latolon goni mankan.\u201dThese lines translate to: The balafong has entered the hall and entertains not just the audience but also honours the musicians\u2019 hard work. Similarly, the Kora\u2019s music and that ngone\u0300 are not just for entertainment but should also be a recognition of the artist\u2019s talent and dedication. The song concludes with a reflection on Salif\u2019s royal heritage and his commitment to his ancestors\u2019 legacy, despite choosing a career in music. His respect for his roots and the desire to honour his lineage through his art are palpable. As Mr. Lot and I neared the floating market, he expressed his deep appreciation for the new understanding of \u201cM\u201dBemba\u201d. The drive, filled with rich conversation and music, seemed to pass in the blink of an eye. Arriving at the floating market, I was immediately struck by the vibrant array of boats, each brimming with fresh produce, colorful handicrafts, and the enticing aromas of Thai cuisine. The market was a microcosm of Thai culture \u2013 a place where tradition met the bustle of modern life. It was a perfect complement to the morning\u2019s journey through Salif\u2019s music, a blend of history, culture, and the enduring spirit of the human experience. As I explored the market, the connections between the themes in Salif\u2019s music and the vibrant life around me became increasingly evident. Each vendor, with their unique stories and crafts, was a living testament to the rich tapestry of culture and tradition. The market was not just a centre for commerce but a hub for social and cultural exchange, much like the role of music in society. The day at this unique market, immersed in the sights, sounds, and flavours of Thailand, was a profound reminder of the universal language of music and tradition. It bridged gaps, connected hearts, and celebrated the diversity of human expression. My experience with Mr. Lot and the insights into Salif\u2019s \u201cM\u201dBemba\u201d were not just an exploration of a song but a journey through the depths of cultural heritage and its enduring impact on our lives.<\/b><\/p>\n

Alasan Ceesay is a Cambridge University scholar, entrepreneur, & British Army Veteran of Afghanistan<\/p>\n

For More News And Analysis About Gambia<\/a> Follow Africa-Press<\/a><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Africa-Press – Gambia. On the crisp morning of Tuesday, December 26th, as the world awoke to the gentle afterglow of Christmas, the city of Bangkok stirred to life, its streets humming with anticipation for the day ahead.My excitement was palpable as I stood outside my hotel, eagerly awaiting the day\u2019s adventure to the famous Damnoen […]<\/p>\n","protected":false},"author":84,"featured_media":50532,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,4],"tags":[2355,2361,260],"class_list":["post-50533","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-all-news","category-culture-and-art","tag-africa-press","tag-africa-press-gambia","tag-gambia"],"yoast_head":"\nRhythms of the Royal bloodline: Salif Keita\u2019s ancestral saga - Gambia<\/title>\n<meta name=\"description\" content=\"On the crisp morning of Tuesday, December 26th, as the world awoke to the gentle afterglow of Christmas, the city of ...\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.africa-press.net\/gambia\/all-news\/rhythms-of-the-royal-bloodline-salif-keitas-ancestral-saga\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Rhythms of the Royal bloodline: Salif Keita\u2019s ancestral saga\" \/>\n<meta property=\"og:description\" content=\"On the crisp morning of Tuesday, December 26th, as the world awoke to the gentle afterglow of Christmas, the city of ...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.africa-press.net\/gambia\/all-news\/rhythms-of-the-royal-bloodline-salif-keitas-ancestral-saga\" \/>\n<meta property=\"og:site_name\" content=\"Gambia\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/AfricaPressTunisiaa\" \/>\n<meta property=\"article:published_time\" content=\"2024-01-03T18:05:05+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/static.africa-press.net\/gambia\/sites\/19\/2024\/01\/sm_1704282764.95193.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1280\" \/>\n\t<meta property=\"og:image:height\" content=\"720\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"cfeditoren\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"cfeditoren\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"10 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.africa-press.net\/gambia\/all-news\/rhythms-of-the-royal-bloodline-salif-keitas-ancestral-saga#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.africa-press.net\/gambia\/all-news\/rhythms-of-the-royal-bloodline-salif-keitas-ancestral-saga\"},\"author\":{\"name\":\"cfeditoren\",\"@id\":\"https:\/\/www.africa-press.net\/gambia\/#\/schema\/person\/068c7ab4e9634ae78ec5d54ec46598bb\"},\"headline\":\"Rhythms of the Royal bloodline: Salif Keita\u2019s ancestral saga\",\"datePublished\":\"2024-01-03T18:05:05+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.africa-press.net\/gambia\/all-news\/rhythms-of-the-royal-bloodline-salif-keitas-ancestral-saga\"},\"wordCount\":2078,\"commentCount\":0,\"image\":{\"@id\":\"https:\/\/www.africa-press.net\/gambia\/all-news\/rhythms-of-the-royal-bloodline-salif-keitas-ancestral-saga#primaryimage\"},\"thumbnailUrl\":\"https:\/\/static.africa-press.net\/gambia\/sites\/19\/2024\/01\/sm_1704282764.95193.jpg\",\"keywords\":[\"Africa Press\",\"Africa Press-Gambia\",\"Gambia\"],\"articleSection\":[\"all news\",\"culture and art\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/www.africa-press.net\/gambia\/all-news\/rhythms-of-the-royal-bloodline-salif-keitas-ancestral-saga#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.africa-press.net\/gambia\/all-news\/rhythms-of-the-royal-bloodline-salif-keitas-ancestral-saga\",\"url\":\"https:\/\/www.africa-press.net\/gambia\/all-news\/rhythms-of-the-royal-bloodline-salif-keitas-ancestral-saga\",\"name\":\"Rhythms of the Royal bloodline: Salif Keita\u2019s ancestral saga - 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