 | This article needs additional citations for verification .(January 2023) |
Senegal's music is best known abroad due to the popularity of mbalax, a development of conservative music from different ethnic groups and sabar drumming popularized internationally by Youssou N'Dour.
During the colonial ages Senegal was colonized by France and many, though not all, Senegalese identified as French instead of any African ethnicity.[ citation needed ] Post-independence, the philosophy of negritude arose, which espoused the idea that the griot traditions of Senegal were as valid, classical and meaningful as French classical music. The first President of Senegal, Léopold Sédar Senghor (also a poet) was one of the primary exponents of this. The national anthem of Senegal, "Pincez tous vos koras, frappez les balafons" ("Pluck all your koras, strike the balafons"), was adopted in 1960. Its lyrics, by president Senghor, refer to Senegalese music tradition, while its music was composed by Herbert Pepper (fr).
Ethnically the population of Senegal is 41.3% Wolof, 17.8% Fula, 14.7% Serer, 4.9% Mandinka, 3.7% Jola and 2.1% Soninka, with 1% European and Lebanese and 6.4% classed as "other" [1] Senegalese music has been influenced by its different ethnic groups and griots. It tends to be fast and lively whereas the lyrics are in classical Wolof with rhythms used in sabar music of the Serer people of the Kingdom of Sine and spread to the Kingdom of Saloum whence Wolof migrants brought it to the Wolof kingdoms. [2] The Nder (lead drum), Sabar (rhythm drum), and Tama (talking drum) percussion section traces some of its technique to the ritual music of Njuup . [3] [4] [5] The Serer people infuse their everyday language with complex overlapping cadences and their ritual with intense collaborative layerings of voice and rhythm." [6]
The Njuup was also the progenitor of Tassu, used when chanting ancient religious verses. The griots of Senegambia still use it at marriages, naming ceremonies or when singing the praises of patrons. Most Senegalese and Gambian artists use it in their songs. [6] Each motif has a purpose and is used for different occasions. Individual motifs may represent the history and genealogy of a particular family and are used during weddings, naming ceremonies, funerals etc.
Prior to independence, Senegalese popular music consisted of nightclub dance bands ( orchestres ) that played European music, namely American and French songs. As independence approached and the country sought to move away from its colonial past, the popular music of Senegal began to be influenced by the Cuban music that was becoming popular throughout Africa. Ibra Kasse's Star Band was the most famous orchestra of the 1960s and 1970s and was a leader in the modernization of Senegalese music. Super Star de Dakar, led by Nigerian saxophonist, Dexter Johnson, spun off from the Star Band and was the other leading band in Dakar in the 1960s. Both played a style that was heavily influenced by Cuban music but had elements of traditional African music. [7]
The south of Senegal, called Casamance, has a strong Mandinka minority, and began producing masters of the kora in the late 1950s. The band Touré Kunda was the most popular group to arise from this scene, and they soon began playing large concerts across the world.
The 1970s saw the increased influence of traditional Senegalese music. Traditional drums like the saber and the tama were introduced by leading orchestras and the music progressed over the decade from predominately Latin-influenced to the Senegalese style known as Mbalax. The Star Band and three of its off-shoots from the 1970s were important in the evolution of the music. In 1970, Orchestra Baobab broke away from the Star Band followed by No. One de Dakar in 1976. All three bands were notable for their integration of traditional musical styles into the common Latin dance styles of the Senegalese nightclub bands of the time. In the town of Thiès, Royal Band de Thiès and Dieuf Dieul de Thiès are also considered influential in the evolution of Senegalese popular music. [8]
In 1977, the entire rhythm section and many other performers in the Star Band left to form Étoile de Dakar, who are often considered the first band to play Mbalax. They quickly eclipsed their compatriots, launching the careers of El Hadji Faye and Youssou N'Dour. Faye and N'Dour were Senegal's first pop stars, but the stress of fame soon drove the band apart. Faye and guitarist Badou N'diaye formed Étoile 2000, releasing a hit with "Boubou N'Gary", but soon disappearing after three similar-sounding albums.
N'Dour and other members of Étoile de Dakar became known as Super Étoile de Dakar and released four albums within a few months. Super Étoile de Dakar evolved into N'Dour's backing band. He was soon by far the most popular performer in the country, and perhaps in all of West Africa. He introduced more traditional elements to his Senegalized Cuban music, including traditional rapping (tassou), njuup, bakou music (a kind of trilling that accompanies Serer wrestling) and instruments like the sabar.
While N'Dour and others Africanized Cuban music, another influential band, Xalam, was doing the same with American funk and jazz. They formed in 1970, led then by drummer Prosper Niang, but their controversial lyrics and unfamiliar jazz sound led to a lack of popularity, and the group moved to Paris in 1973. There, they added Jean-Philippe Rykiel on keyboards. Xalam toured with groups such as Rolling Stones and Crosby, Stills, Nash & Young, finally achieving success in Senegal with 1988's Xarit .
In the latter part of the 1970s, the band Super Diamono formed, fusing mbalax rhythms and militant populism with jazz and reggae influences. Their 1982 Jigenu Ndakaru was especially popular. By the middle of the 1980s, Super Diamono was one of the top bands in Senegal, in close and fierce competition with Super Étoile de Dakar. The band's popularity declined, however, slowed somewhat by Omar Pene's reformation in 1991.
Into the 1990s, Thione Seck, a griot descended from those of Lat Dior, the king of Kayor, arose to solo stardome from Orchestra Baobab, eventually forming his own band called Raam Daan (crawl slowly towards your goal). He used electric instruments on many popular releases, especially Diongoma and Demb . The same period saw the rise of Ismael Lô, a member of Super Diamono, who had major hits, including "Attaya", "Ceddo" and "Jele bi".
Baaba Maal is another popular Senegalese singer. He is from Podor and won a scholarship to study music in Paris. After returning, he studied traditional music with his blind guitarist and family griot, Mansour Seck, and began performing with the band Daande Lenol. His Djam Leelii , recorded in 1984, became a critical sensation in the United Kingdom after it was released there in 1989. Maal's fusions continued into the next decade, with his Firin' in Fouta (1994) album, which used ragga, salsa and Breton harp music to create a popular sound that launched the careers of Positive Black Soul, a group of rappers, and also led to the formation of the Afro-Celt Sound System. His fusion tendencies continued on 1998's Nomad Soul , which featured Brian Eno as one of seven producers.
Though female performers were achieving popular breakthroughs elsewhere in West Africa, Senegalese women had few opportunities before the 1990s. The first international release by a woman was "Cheikh Anta Mbacke" (1989) by Kiné Lam. The song's success led to a string of female performers, including Fatou Guewel, Madiodio Gning, Daro Mbaye and Khar Mbaye Madiaga. Lam, however, remained perhaps the most influential female musician of the 1990s, creating a modernized version of sabar ak xalam ensembles by adding bass guitar and synthesizer with 1993's Sunu Thiossane. The release of Fatou Guewel's CD entitled 'Fatou' in 1998 was significantly influential for Mbalax; this is also the case with her band 'Groupe Sope Noreyni'.
The new century has seen the rise of Viviane Ndour, who got her first break as a backing vocalist to Youssou Ndour with Super Etoile. She is well known in Senegal and the diaspora, collaborating with French rap star Mokobe and Zouk artist Philip Montiero and incorporating RnB, Hip-Hop and other elements into her own style of Mbalax.
Acoustic folk music has also left its mark on Senegal's music culture. Artists that have contributed to this genre include TAMA from Rufisque, Pape Armand Boye, les Freres Guisse, Pape et Cheikh, and Cheikh Lo.
The biggest trend in 1990s Senegal, however, was hip hop. Traditional culture includes rapping traditions, such as the formal tassou, performed by women of the Laobe woodworking class the morning after marriages. Modern Senegalese hip hop is mostly in Wolof, alongside some English and French. Positive Black Soul is the best-known group in the country, Daara j, Gokh-Bi System and Wageble too. Senegalese-French rapper MC Solaar is a very well known musician. Senegalese born Akon has risen to world fame.
In 2008 English musician Ramon Goose travelled to Dakar and collaborated with Senegalese griot Diabel Cissokho to record the album Mansana Blues which explores African blues & traditional West African styles, this led on to the formation of The West African Blues Project.
Youssou N'Dour is a Senegalese singer, songwriter, musician, composer, occasional actor, businessman, and politician. In 2004, Rolling Stone described him as, "perhaps the most famous singer alive" in Senegal and much of Africa and in 2023, the same publication ranked him at number 69 on its list of the 200 Greatest Singers of All Time. From April 2012 to September 2013, he was Senegal's Minister of Tourism.
The music of the Gambia is closely linked musically with that of its neighbor, Senegal, which surrounds its inland frontiers completely. Among its prominent musicians is Foday Musa Suso. Mbalax is a widely known popular dance music of the Gambia and neighbouring Senegal. It fuses popular Western music and dance, with sabar, the traditional drumming and dance music of the Wolof and Serer people.
Mamadou "Jimi" Mbaye is a Senegalese guitarist best known for his work with Youssou N'dour. Mbaye has developed a unique Senegalese guitar style in which he makes his Fender Stratocaster sound like local instruments such as the kora or xalam.
Orchestra Baobab is a Senegalese band established in 1970 as the house band of the Baobab Club in Dakar. Many of the band's original members had previously played with Star Band de Dakar in the 1960s. Directed by timbalero and vocalist Balla Sidibé, the group featured saxophonists Issa Cissoko and Thierno Koité, two singers, two guitarists and a rhythm section with drums, congas and bass guitar. Since their formation, the band has predominantly played a mix of son cubano, Wolof music, and to a lesser extent Mande musical traditions. Following the deaths of Cissoko in 2019 and Sidibé in 2020, Thierno Koité has become the leader of the band.
The Wolof, the largest ethnic group in Senegal, have a distinctive musical tradition that, along with the influence of neighboring Fulani, Tukulor, Serer, Jola, and Malinke cultures, has contributed greatly to popular Senegalese music, and to West African music in general. Wolof music takes its roots from the Serer musical tradition, particularly from the Serer pre-colonial Kingdom of Saloum. Virtually all Wolof musical terminology including musical instruments comes from the Serer language.
Thione Ballago Seck was a Senegalese singer and songwriter in the mbalakh genre. Seck came from a family of griot singers from the Wolof people of Senegal. He first performed with Orchestre Baobab, but he later formed his own band, Raam Daan, of which he was a member until his death in 2021.
Mbalax is the national popular dance music of Senegal and the Gambia. In the 1970s, mbalax emerged as the distinctive sound of postcolonial Senegal. Derived from a fusion of indigenous Wolof sabar drumming with popular music principally from the African diaspora and African popular music, and to a lesser extent Western pop and afropop. Although the fusion of indigenous music with urban dance music from the diaspora and west is not new, the pan-ethnic quality of urban Wolofness provided a space for the inclusion and representation of a plethora of ethnic sounds of the Pulaar/Tukulor, Sereer, Soce, Mande and other groups from the Greater Senegambia Region. The name mbalax derives from the accompanying rhythms of the Wolof sabar and was coined by Youssou N'Dour even though, as he has stated, there were many other groups in urban Senegal fusing these traditional sounds with modern music.
The sabar is a traditional drum from Senegal that is also played in the Gambia. It is associated with Wolof and Serer people.
Mbaye Dieye Faye is a Senegalese singer and percussionist.
Alioune Palla Mbaye dit « Nder » is a Senegalese singer. Nder takes his name from the n'der, the drum favoured by his griot father.
Habib Faye was a bassist, keyboardist, guitar soloist, arranger, composer and Grammy-nominated producer from Senegal. He was mostly known as the musical director for Youssou N'dour's Super Étoile de Dakar. He was one of the most talented African bassists of the last quarter-century.
Raam Daan is a mbalax band from Senegal. Founded in 1974 by Thione Seck, Raam Daan has risen to become one of the most popular mbalax bands in Senegal.
Star Band is a music group from Senegal that was the resident band of Dakar's Miami Club. They, along with the many off-shoots of the band, are responsible for many of the crucial developments in Senegalese popular music. They were formed in 1959 by the owner of the Miami Club, Ibra Kasse. As was typical in Africa at the time, Kasse owned the instruments and was the band leader of the Star Band although he only occasionally played piano. Each one of the band's twelve albums released in Senegal featured a photo of Kasse on the back cover stating that he was the band leader, composer and arranger.
Senegalese wrestling is a type of folk wrestling traditionally performed by the Serer people and now a national sport in Senegal and parts of The Gambia, and is part of a larger West African form of traditional wrestling. The Senegalese form traditionally allows blows with the hands (frappe), the only one of the West African traditions to do so. As a larger confederation and championship around Lutte Traditionnelle has developed since the 1990s, Senegalese fighters now practice both forms, called officially Lutte Traditionnelle sans frappe and Lutte Traditionnelle avec frappe for the striking version.
Étoile de Dakar were a leading music group of Senegal in the late 1970s and early 1980s. Youssou N'Dour was one of the singers in the band and the band was a major part of N'Dour's rise to stardom in Senegal.
The Njuup tradition is a Serer style of music rooted in the Ndut initiation rite, which is a rite of passage that young Serers must go through once in their lifetime as commanded in the Serer religion.
Super Diamono was a ten-member band from Dakar, Senegal. It was formed in 1974 or 1975. Omar Pene was a founding-member, and the group was alternately led by the singers Mamadou Lamine Maïga and Musa Ngum. It started with traditional West African music, but quickly turned to an Afro-Cuban and pop-influenced sound. From 1977 they called their music "Mbalax-blues". In 1979, Ismaël Lô, a co-founder of the group, rejoined the band as a guitar player, but soon left again for his solo career. According to Billboard Magazine, it was Senegal's "first truly local pop style." Many of the former members who later became solo artists made their break-through from this band.
Musa Ngum was a singer and songwriter who was very popular in Senegal and Gambia. He was one of the pioneers of mbalax music, and "helped to define the mbalax style of popular music in the Senegambia" and "had a strong influence on Youssou N'Dour and other mbalax pioneers". He was "something of a cult icon back in the Senegambia region, and a pioneer of the mbalax fusion style". The mbalax, which originated from the Serer religious and ultra–conservative njuup music tradition sang during Ndut rites by circumcised boys was the foundation of Ngum's music career. He mastered many of the njuup classics and built a name for himself while at the same time developing his voice.
Set is an album by the Senegalese musician Youssou N'Dour, released in 1990. The album in part inspired the Senegalese youth movement Set-Setal, which sought to beautify Dakar.
Eyes Open is an album by the Senegalese musician Youssou N'Dour, released in 1992 via Spike Lee's 40 Acres and a Mule Musicworks label. A video was shot for "Africa Remembers". N'Dour supported the album with a North American tour. Eyes Open was nominated for a Grammy Award, in the "Best World Music Album" category.
