Kouyate's Africa Rhythms, Lyrics, Song

Author: Yvonne Chen

One should not doubt The New York Times' proclamation that Malian singer Kandia Kouyate, who performed at the Center for the Arts Concert Hall last Wednesday, has the "charisma and vocal power of the most commanding American soul singers."

Despite a difference in language and instrumentation, her music transcends cultural definition and is dominated by sounds and themes that are universal, touching the young and the old alike.

The concert, titled "Songs of Mandinka of West Africa: Soul of Mali," was attended by a diverse audience. Before Kouyate and her band took to the stage, the group shuffled in to the Concert Hall, not fully knowing what to expect for the evening's performance.

Yet after the usual formalities were over, the band members, all of whom were dressed in the traditional West African male bubu, walked onto the stage.

Following directly behind the men was the female accompanist, who walked casually onto the stage robed in formal African dress.

The women's olive color bubus swayed back and forth, stirring up an image of a large leaf or a paper bag vulnerable to the regular motions of a passing breeze.

Peculiar sounds resonated from the clear tones of the traditional African instruments — the ngoni, the kora and the balafon — to ignite a warm ambience. As Kouyate entered onto the stage, one could not help but notice the sheer and simple vibrance of her presence.

Dressed in a striped red and green bubu with matching neon red nails and pumps, Kouyate paced from one side of the stage to the other. She heaved the curves of her bubu commandingly, lifting the crowd with a single rippling crescendo and each hypnotic toss of her dress.

The rhythm shifted between moments of engagement and distance. Few can do so without a commanding voice like Kouyate's.

Her contralto, and throaty, soulful voice filled the Concert Hall with the scepter of the intense history and emotion that lies behind her music. In spite of the language barrier, her dynamic expressions at times seemed to imitate protest, grief or shouting. The flywhisk, a traditional status ornament made out of animal hair that adorned Kouyate's colorful garb, rocked rhythmically along with the singer.

Each song succeeded in presenting a quickening tempo as the drum beat brought the audience to nearly claustrophobic excitement. Soon the crowd was clapping along with the heavy beat.

Young children and adults alike got out of their seats and danced expressively to the beat. Kouyate called out "Desa!" and the audience responded similarly. From the balcony I could not help but notice one woman dancing with especial enthusiasm, surpassing in intensity even the excited college students around her.

In another song, the backup singer danced casually with the loose swaying of her body and her bubu. At intense moments she pounded the ground with her bare feet, her magnificent physical motions mirroring the beautiful intensity of her music.

When asked what she thought of the performance one audience member said, "It makes you want to just get up and dance."

"This is what good African music is about," said Theresa Chen '05, a Middlebury music student who attended the packed Wednesday performance.

Kouyate is much more than just a good crowd pleaser, however. Biographer Lucy Duran proclaims that she is "Mali's greatest living female singer."

Although noted for her voice, the program dispelled popular notions of the 'soul' quality that Western listeners might ascribe to her.

Admittedly, one could hear hints of the Afro-Cuban and jazz in her music (influenced in part by her days with the Apollo group Bamako), but overall Kouyate is an "avowed traditionalist" who has been innovative in reinventing the form of music known as 'jeli.'

A legend of her time, she is known for her Mande style of music that incorporates both modern and traditional elements, while keeping the established 'jelimuso' tradition in tact. For example, Kouyate first began using the type of ethereal female chorus that has since become the trademark of Mande music.

One can also hear that the "deep classical style of ancient Mali" and also "the rolling melodies of her native Kita" influence the range of her voice.

As for the content of her music, Kouyate uses deep cultural metaphors and references the past. Some are beautiful love songs for which Kita is famous while others are about tribal hunting. The song "Sa kuna sa," we are told, lauds the hunters' societies for their egalitarian moral code.

In the latter part of the show Kouyate delivered a brief speech that praised the beauty of women. Kouyate's political motivation is connected with the place of women in Mali. To advance, women must struggle against a highly patriarchal society.

. Kouyate's reputation and respect was therefore hard to come by, especially because she performs songs that are traditionally reserved for men.