Niane, Djibril Tamsir. 1975. Le Soudan Occidental au temps des grands empires XI-XVIe siècle. Paris: Présence Africaine.


p. 220

Sara, Toutou, Kala sont des airs galants dont il est difficile de préciser la date dans le temps.

Williams, Joe Luther. 2006. "Transmitting the Balafon in Mande Culture: Performing Africa at Home and Abroad." Ph.D. diss., University of Maryland.

(Kalata Mori)

pp. 127–28

. . . this song is particularly important to Abou Sylla, as it is one of the songs performed to praise people from his lineage. The song title literally means "marabout, pick up your pen." As the Sylla patronym is generally associated with marabouts, or African Islamic scholars, the song is used to praise members of his clan, as well as others with the same affiliation.

Camara, Fode Moussa "Lavia." 2007. Bèmankan. Self-produced.


This rhythm was played for warriors going to fight. It was supposed to support the brave and strong men who went into combat, as well as praise them for their success and bravery when they came back.

Keita, Mamady. 2007. Mandeng Djara. Fonti Musicali, FMD 231.


Le rythme Kalah vient de la région de Faranah. Pendant la période qui précède la circoncision, les bilakoro (non-initiés) vont faire le tour des villages où ils ont des parents pour annoncer la date de cet événement. C’est un peu la danse de la fin de leur enfance.

Manya o, manya o, manya o, Show yourself off, show yourself off, show yourself off,
manya beni ma showing yourself off suits you well