GIWAYEN MATA
History and Information about dances and rhythms
Asian Iban
Asian Iban is a woman’s dance from Nigeria, West. We do it in celebration of all
of the dynamics that make us women- strength, sassiness, and more. As cultural
ambassadors, our
purpose (Nia) is to preserve and demonstrate the beauty and richness of African
cultures and cultures of the African Diaspora and show the connection to
contemporary culture.
Choreographical credit:
Ofonmbuk Uyoe
Musical arrangement:
Ofonmbuk Uyoe
BACK to Bass-ics
The bass drums made of wood or metal, cow hide, metal rings and string,
including the sangban, kenkeni, and dununba are usually played with sticks.
They most often provide the foundation of the rhythms. Using call and response
the students will create a vocal polyrhythm that will reinforce the information
being taught about these instruments.
Bad Mamma Jamma
Women are bad, women are curvaceous, women are sassy, women are
beautiful, brassy, bold, and powerful! This is an Afrikan American intro to the
Afrikan rhythm, Lekule. This funky rhythm created by Master Malinke for his wife
in celebration of her beautiful curves and swerves. Funkaditi, the musical
breakdown, was created by Mahiri Keita and some of his students. As Afrikan
people we use our power to create and demonstrate our inherent connection to
the rhythm while returning our Afrikan
Bak/Siko
Bak and Siko are rhythms were taught to Omelika Kuumba by Senegalese
Master Drummer, Ibrahima Camara.
Carter G. Woodson Rap (Written by Dr. Folami Prescott-Adams)
It is important to study the cultures of the world throughout the year we are
grateful for the efforts of Carter Goodwin Woodson (1875-1950) who in 1926
earned the designation as “The Father of Negro History”. His life is a testament
of his devotion to a great cause of diminishing apathy among African Americans
and promoting respect and acknowledgment for the history of people of African
descent. He founded the “Association for the Study of Negro Life and History” in
1915, an association that began publishing The Journal of Negro History in 1916
and has continued every three months without fail since that date. Through his
life work, Woodson established Black history as a legitimate topic of study.
Dahomey Court Dance
Lifting the spirit of our sisters, summoning the energy of our Creator and our
ancestors to open the way for our continued growth and ascension, we celebrate
our empowerment as receptive vessels of love and light, while standing tall,
learning, teaching, inspiring and creating together. We move along life’s journey
with this royal court dance of the Dahomey people. (15 min)
Dundunba
Dundunba is a dance of strength from the Kouroussa village in Guinea. It
sometimes includes martial arts, wrestling and acrobatics and can be
competitive. There are over fifteen Dundunbas.
Ekonkon
Ekonkon is a dance that celebrates the harvest of the Jola people of the
Cassamance Region of Senegal, West Africa. We open our concert in
observance of the celebration of the “first fruits” and are thankful for the many
manifestations of the fruits of our labor.
Evolution
An ORIGINAL GIWAYEN MATA CREATION!!!! This is our story, our dance, our
music, our song, our way. Art as a refection of culture is a continuum. In the spirit
of Kujichagulia, we continue to create ourselves. As Africans in America our
creativity continues to unfold in diverse and exciting ways. (10 min)
Fanga
Goin’ To The Gullah
The people, the culture, the language of the Georgia Sea Islands, Charleston,
S.C., etc. are indicative of an African connection in America. The hand clapping,
foot stomping, body slapping polyrhythms and stories of the freedom train told
encoded messages showing that even when the instruments are gone the
rhythm within African people remains strong.
Handclap Polyrhythm
A polyrhythm is two or more rhythms played at the same time in a musically
coordinated fashion. This piece will be one of the many times when GIWAYEN
MATA will ask you to join in with the fun while making music using your hands.
Heed the Call is the first song Omelika wrote for GIWAYEN MATA. It tells the
listener about whowe are, and reminds us of our responsibility to help heal the
planet. Ile, Ile, Ile, Ile
Ile! is a chant taught to us by Nana Katunje on our trip to
BAM. It evokes energies intent on healing the planet. Please clean up, recycle,
and conserve. Mama earth needs our help!
lyrics- Omelika Kuumba
The Celebration- Jalidon, Jansa Jalidon
This is one of the dances that has been included in the Lamban family of dances
from the Mali Empire. It dates back to the 14Th Century and was originally done
by the sacred dancers of the king’s court. Later, the dance was performed by the
village historians (griots) for the king. Jali means griot or oral historian. Don
means dance. Thus, Jalidon is the dance of the oral historian. Originally danced
to a stringed instrument called a kora often while a griot would sing, it is now
performed to jembe (also djembe) orchestration by the Malinke, Kasonke, and
Bamana (also Bambara) people of Mali and Senegal and the Susu people of
Guinea. The dance is done to celebrate rites of passage of life such as births,
marriage, birthdays, initiations, weddings, funerals, and good harvest. GIWAYEN
MATA is dedicated to the perpetuation and preservation of cultures of Africa and
the African Diaspora. We celebrate our royalty and tell the stories of the histories
of our people as recognize our own journeys into and throughout our
womanhood.
Jansa
Jansa is a rhythm that has been included in the Lamban family of rhythms from
the Mali Empire. It is from the Kayes and Kita region of southern Mali associated
with the Kasonke and Bamana ethnic groups. Originally played for a competition
dance for young men, it is now a popular rhythm played all over West Africa. We
play it in celebration of our inherent royalty.
Jembe Rap
Through call and response students will learn about the jembe, a hand drum
originating in West Africa that is made of wood, goat skin, metal rings, and string
that often leads the rhythms and dances. They will learn about some of the
sounds that the drum makes and how those sounds are combined to create
rhythms. A contemporary rhythm accompanies this piece providing a familiar
musical background for learning the material presented
Jembe Rap, Back to Bassics, and Shakin’ the Sekere
Along with learning handclapping polyrhytms, these call and response chants
help the viewers/listeners to learn about how the jembe drum, bass drums, and
sekere are made and played.
Jondon
Jondon has become known as the dance of the indentured servant. It serves as
a reminder of the pain and suffering from slavery. Done by the Bamana people of
Senegal, West Afrika, the slow movements are characterized by trembling of the
torso.
The Harvest- Kassa
This rhythm is from the Malinke people done to support the farmers as they work
in the rice fields. Since the workers don’t have heavy machinery families and
friends sing, play, and dance and offer refreshments to encourage them to
continue to get their work done.
Kassa
Kassa is a dance created by the Malinke ethnic group from the Upper Region of
Guinea, West Africa. According to Guinean master dancers, Moustapha
Bangoura and Abdoulaye Camara, Kassa was created to encourage the farmers
while they are working in the fields and to conserve the seeds for future
plantings. People come from the village to the fields to cheer for the farmers and
provide them with food. They play the rhythm and dance in support of the
farmers as they work. The labor is done without machinery so the people go to
encourage them to persevere with joyful spirits. Kassa means to plant in Malinke.
In the spirit of Kujichagulia, self-determination, let’s encourage each other to be
our best selves during and after this Kwanzaa season.
Kassa
This rhythm is from the Malinke people done to support the farmers as they work
in the rice fields. Since the workers don’t have heavy machinery families and
friends sing, play, and dance and offer refreshments to encourage them to
continue to get their work done. While many people do not live as farmers, we
are constantly tilling the soil of our minds to produce positive fruit for ourselves,
our families, and our communities.
Khakilambe
Khakilambe is an important mask of the Baga people. The spirit of Khakilambe is
revered as the protector against evil spirits. He appears to make important
revelations about the present and the future. Usually and elder male in the
community speaks as a messenger for Khakilambe. This entity does not speak
directly to the people. Khakilambe can predict whether or not there will be flood
or drought, or whether the harvest will be good. He also tells the sacrifices that
each individual or family may need to make for blessings to come.
~ Osunlade Fatunmise
The people also bring sacrifices to Khakilambe. Khakilambe is a Susu word and
in the Baga language translates as Montcholnumporte. The Susu recognize any
tall creature as Khakilambe. It is said that the mask itself resembles a bird’s head
( long beak)
~ Ayodele Austin
KukuIn 1993, we debuted this rhythm on the stage in Spelman College's historic
Sisters Chapel. This high energy celebration dance of the Susu people of
Guinea, West Africa has become our signature finale piece. This is a social
dance from the Susu people of Guinea. It is done for all kinds of celebrations.
Even in the hardest of times it is important to find something to celebrate. We
celebrate the opportunity to share with you and invite the audience to join us for
this finale dance.
Kuku-
15 years ago, we debuted this rhythm on the stage in Spelman College's historic
Sisters Chapel. This high energy celebration dance of the Susu people of
Guinea, West Africa has become our signature finale piece
Lekule
This funky rhythm created by Master Malinke Drummer, Mamady Keita,
celebrates a woman’s physical beauty. GIWAYEN MATA recognizes that beauty
goes beyond the
physical. It is important, however, to appreciate the gifts that we have been
given. Taking care o
our minds, bodies, and spirits and affirming what makes us who we are helps to
create positive self-images.
Macru
Macru is a dance and rhythm from the Susu people of Guinea, West Africa. It is
sometimes flirtatious and seductive and celebrates the full moon. Macru often
follows Yankadi at a faster tempo.
Mane/Guinea Fare I and II
These women’s dances are from the Baga people of Guinea, West Africa.
Mane/Guinea Fare I and II
These women’s dances are from the Baga people of Guinea, West Africa. Sassy,
sensual, strong and fiery are many of the characteristics of womanhood.
Claiming these wonderful ways of being GIWAYEN MATA dances, plays, sings
and shouts, “We love being African women!” without speaking a word.
Marvelous and Majestic is a salute to men known and unknown who have
paved the way for us through their works and their sacrifices. It is a declaration of
the greatness that lies within the men we love and appreciate.
Written by- Omelika Kuumba
M’boreo
M’boreo is a love song from Senegal.
Ofele (an excerpt) –
Ofele translates to mean “one who honors her parents”. In the Ivory Coast
Ofelina are people who have lost one or more of their parents. When Jelalu Zauli
was a little girl, her mother died. She continued to live with her father and
stepmothers. Some time after her father’s death, her stepmothers, family, and
community began to treat her poorly. She eventually left home. While on her
journey, she experienced tremendous difficulties. She prayed and prayed for the
Creator to make things better for her. During her sleep she would dream of
becoming a great drummer and dancer with people cheering for her. She finally
found Bantifila village, but initially the people there shunned her too. Eventually
their harsh actions pierced their hearts, making them remorseful. Their remorse
led them to find Jelalu and embrace her into their hearts and community. They
helped Jelalu Zauli manifest her dreams. Choreographer: Djian Tie
The Connection: Puttin’ It All Together
Mendiani is a dance of the Malinke people in recognition of girls’ rite of passage
into womanhood. GIWAYEN MATA combines the rhythm and movements form
this dance with contemporary beats and movements showing the correlation
easily drawn between African and African American rhythm and movement.
People Speak
Bak and Siko are two rhythms that were taught to Sis Omelika by a Master
Drummer, Ibrahima Camara, from Senegal, West Africa. During this piece
GIWAYEN MATA and you speak words of wisdom, knowledge, and fun to this
medley of rhythms.
Puttin' It All Together
Manjani (Mendiani) is a celebration and initiation
dance that has its origins with the Bamana (Bambara) people who live in West
African countries including Mail and Senegal. It is similar to, Soli, known as a
rhythm of rejoicing and welcoming that it danced by young girls ranging from 613 years old in northern Guinea. We do it in celebration and reminiscence of our
youth; remembering the fun of games in the streets or at parks with
handclapping, hopscotch, double dutch, and more with a little ATL remix fo' ya!
Oh, to be young again!
Puttin’ It All Together
This piece is fun! It reminds us of the joyous moments of our youth- hand games,
double dutch jump rope, hopscotch, hand and go seek, etc. All this is done to
Mendiani, a celebration rhythm of the Bamana (Bambara) people who live in
West African countries including Mali and Senegal. It is also known as a rhythm
of rejoicing and welcome that is danced by young girls ranging from 6-13 years of
age in northern Guinea. The combination of contemporary dancing
and games with African dances and rhythms helps viewers to see the continuity
between African rhythms and cultures and those of the African Diaspora. This
helps to create an even more tangible experience for people because familiarity
can create oneness.
Lafet & Mendiani
Mendiani is a rite of passage dance and rhythm from the Malinke ethnic group.
Young women are carried into the communities on the shoulders of males. When
their feet touch the ground they become Mendiani and are ready to continue their
preparation into womanhood.
Musical Arrangement- Weedie Braimah
Queen U’Nmi
Queen U’Nmi is a queen in the boardroom, in the classroom, in the office, selling
incense, making, clothing, and nurturing her family. You know her? Don’t you?
Queen U’Nmi (queen you and me) represents the queen we all are.
Ofele (an excerpt)
Ofele translates to mean “one who honors her parents”. In the Ivory Coast
Ofelina are people who have lost one or more of their parents. When Jelalu Zauli
was a little girl, her mother died. She continued to live with her father and
stepmothers. Some time after her father’s death, her stepmothers, family, and
community began to treat her poorly. She eventually left home. While on her
journey, she experienced tremendous difficulties. She prayed and prayed for the
Creator to make things better for her. During her sleep she would dream of
becoming a great drummer and dancer with people cheering for her. She finally
found Bantifila village, but initially the people there shunned her too. Eventually
their harsh actions pierced their hearts, making them remorseful. Their remorse
led them to find Jelalu and embrace her into their hearts and community. They
helped Jelalu Zauli manifest her dreams. Choreographer: Djian Tie
Sayin’ It Loud!
In this dance we celebrate the legacy of pride ignited in us by our ancestor, the
Godfather of Soul, James Brown. This contemporary dance proudly shouts that
there is nothing new under the sun. Dances of today are directly connected to
those of yesterday and yesterday’s yesterday. We’ll invite you to join in this
celebration of the continuum of movement as we demonstrate that Africa is
where Africans are.
Senefoli People Speak
Senefoli is a harvest rhythm from Guinea, West Africa. Using the drum, one of
the first tools of communication; we play these rhythms to provide a rhythmic
background for fun, creative, Kuumba, and thoughtful reflection and expression.
Senefoli is a rhythm played for the farmers in Guinea. As we seek ways to
preserve our planet we play this rhythm to acknowledge that necessity.
ma: Omelika Kuumba, Akumba Bynum-Roberson
Sinte
This dance comes from the Boke and Bofa regions in the northwest area of
Guinea, where the Landuma, Nalu, and Baga people have lived together since
ancient times. It is played in preparation for the initiation of young people. The
adults dance to inform the young people of some of the trials they may encounter
as they mature. This rhythm has become very popular because of its melody and
the diversity of the movements. Sinte was played by women on large carved
wooden drums called krins until the 1980’s. It has since been adapted to the
jembe and dun drum orchestra. Once done for girls rites of passage it is now also
done all year round for many occasions including full moon celebrations.
Sofa
is a rhythm of the hunters from the Malinke ethnic group of Guinea, West Africa.
Our guest musicians play today in honor of our fathers, sons, brothers,
husbands, and other special loved ones to recognize the work they must do on
their hunt for growth in wisdom, strength and courage.
Musical Arrangement- Akumba Bynum-Roberson
Soko
A rite of passage dance for men. The women dance in honor of the transition that
the young boys have made from childhood to manhood. (8 min)
Sorsoner
This rite of passage dance from the Baga people of Guinea, West Africa assures
the protection of young female initiates as they learn the secrets and
responsibilities of womanhood from their elder mothers, sisters, and aunties. It is
also performed after the harvest.
Speak Sistah Speak
Speak Sistah Speak had its debut in 2003. It represents some of what GIWAYEN
MATA has to say after years of dancing, drumming, and singing while daring to
do them differently.
Sunu (Sounou, Gwe)
is from the Bamana and Walosa people of Mali, West Africa. It is danced for
reasons from celebrations of life at funerals and harvests, to honoring kings and
brides, to commemorating the time when young people are ready to choose a
mate. It is also known as the “dance of the pretty girl” in honor of Sukrubani from
Senegal (formerly Sunugal), who danced Sunu exceptionally well
When We Gonna Be What We Talkin’ ‘Bout Bein’?
We invite you to join us in singing this song that serves as a call to action for us
to be more responsible for ourselves, our families, and our communities.
Wolosadon
Wolosadon, sometimes known as the dance of freedom, is also from Mali and
Senegal. We use this dance to celebrate the joy that we feel when we reconnect
with the reality that even if our fathers are not in our physical presence, their love,
prayers, and support are unending and may be felt within the cores of our beings.
Yamama
The village of origin is the Samu Vallage
The People that do the dance are the Mandique
Yamama is a dance that honors the Mother spirit.
Yankadi
Yankadi is a dance of the Susu people of Guinea for full moon celebrations. The
dance is often done at social gatherings including parties and weddings.
Zauli
Zauli is from the Gorou people of the Ivory Coast.