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sira ba bolo

Konte, Alhaji Bai, Dembo Konte, and Ma Lamini Jobarteh. 1979. Kora Duets by Alhaji Bai Konte and Dembo Konte and by Dembo Konte and Ma Lamini Jobate. Folkways. FW 8514.

(Sira Ba Bolo)

Composed during the Second World War, the tune [Jimbasengo] was adapted from the traditional song Sira Ba Bolo.

Knight, Roderic. 1982a. "Manding/Fula Relations as Reflected in the Manding Song Repertoire." African Music 6 (2): 3747.

(Sira Ba)

p. 39

Table One . . . includes the best known, most often heard, or otherwise significant songs in the [Gambian] repertoire. In each column the top few songs are the oldest, and the bottom few are the youngest. The majority in each case fall somewhere in between (often in the nineteenth century), but no chronological ordering beyond this is intended, since it is often not possible to date a song exactly. Most of the songs bear the name of their owner as the title. Where they do not, his name is shown in parentheses next to the title. The letter code at the right represents the person's "claim to fame" or calling in life, as shown in the bottom of the list.

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p. 40

Table Two shows the same fifty songs again, grouped this time by the ethnic background of the people commemorated.

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p. 46

Two other songs commemorate Fula women who married Mandinka men. One is for Sira Ba, a slave girl whom a king of Kabu named Mansa Sio chose to marry, thus liberating her from the usual burdens of slavery. The other is for Tabara, . . . (See examples 5 & 6).

Sira Ba la jonya Sira Ba's slavery
Wo te mo diminna Wouldn't bother anybody.
A t'a tula mo ye She doesn't pound grain for anyone
A t'a bila mo ye She doesn't fetch water for anyone.
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Konte, Bai. 1982. Konte Family Mandinka Music: Kora Music and Songs from The Gambia. Virgin, VX 1006.

(Sira Ba Bolo)

Jimbasengo is a recent composition and a great favourite among the young kora players . . . It is really an arrangement of an older tune called Sira Ba Bolo. A Senegalese kora player, Jali Mama Suso, turned it into a dance song some 20 years ago.

Knight, Roderic. 1984. "The Style of Mandinka Music: A Study in Extracting Theory from Practice." In Selected Reports in Ethnomusicology, vol. 5, Studies in African Music, ed. J. H. Kwabena Nketia and Jacqueline Cogdell Djedje, 366. Los Angeles: Program in Ethnomusicology, Department of Music, University of California.

(Siraba)

pp. 256

There are four standard konkondiro patterns.

II: "Siraba." The second metronomic konkondiro is also widely spaced, usually marking only two evenly-spaced points in the kumbengo. It is associated with very recent kora compositions and is characteristically applied at unstressed points in the kumbengo (on empty pulses for example), creating a cross-rhythm. We shall refer to it as the Siraba pattern, after one of the first pieces known to use it. It appears as follows.

Example 18. "Siraba," with konkondiro. Today this is known as "Jimbasengo" and may be heard (without konkondiro) on OCR 70, B-1. The song "Siraba" identified only as "Praise Song" may be heard on Vogue LDM 30 113, A-1. One way of understanding the placement of this konkondiro is to split the central beam of the kumbengo, as shown in the second half of the example.

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Suso, Jali Nyama. 1996. Gambie: L'art de la kora. Reissue of 1972 with other unreleased material. OCORA, C 580027.

(Sirabaa)

"Jimbasengo," played here as a kora solo in tomorabaa tuning, was composed in the mid-1940s by a kora jali named Mama Suso, who adapted it from the song "Sirabaa".

Rouget, Gilbert, prod. 1999. Guine: Musique des Malink. Le Chant du Monde/Harmonia Mundi, CNR 2741112. Reissue of all Guinean material from 1954 and 1972 with expanded notes.

(Siraba)

pp. 28-31

Siraba . Chant de louange par Kond Kouyat, accompagne la harpe.

Siraba m'a t donn Kankan comme tant la fois le titre de ce chant et le nom d'une femme Wolof 1. Selon Youssouf T. Ciss, ce mot peut se comprendre comme signifiant soit La grande (ba) voie (sira) terme susceptible d'un emploi technique par les musiciens malink2, soit Le grand baobab , arbre totem de certains lignages qui ont coutume de donner ce com aux filles frquement, va-t-on voir, dans le texte de ce chant pour dsigner de toute vidence une femme, c'est dans cette seconde acception qu'il nous faut ici le prendre3.

Yambala kani o-! Siya ni Kunba! Siraba Kl! Hrnyalu man kan O ! Ami de Yambala ! Siya et Koumba ! Siraba Kolo ! La noblesse n'est pas gale
Karamon Talibi Kankan! Dununya b ten de Karamon Talibi de Kankan ! Le monde est ainsi fait.
Dununya b ten de. Hrnyalu man kan. Le monde est ainsi fait. La noblesse n'est pas gale.
L ilh ill Allh. L ilh ill Allh. Il n'y a pas de dieu hormis Dieu. Il n'y a pas de dieu hormis Dieu.
Siraba Kl! Hrnyalu man kan. Siraba Kolo ! La noblesse n'est pas gale.
Hrnyalu man kan. La noblesse n'est pas gale.
Musoyalu man kan. La noblesse n'est pas gale.
Jn b ko n'kani o-! Bira ni Kunba! O ! Chacun clbre son ami. Bira et Koumba !
Siraba la jnj, kr bila jnya, jn saba hrnya Siraba l'tendard a libr d'anciens esclaves, a anobli trois esclaves.
Hrnyalu man kan La noblesse n'est pas gale
Dununya b ten de. Dununya b ten de. Dununya b ten de. Le monde est ainsi fait. Le monde est ainsi fait. Le monde est ainsi fait.
Naman-Jan Ture! Dununya b tende. Naman-Jan Tour ! Le monde est ainsi fait.
Dununya b tende. Le monde est ainsi fait.
Woro-nani Ture! Hrnyalu man kan Woro-Nani Tour ! La nobless n'est pas gale
L ilh ill Allh. L ilh ill Allh. Il n'y a pas de dieu hormis Dieu. Il n'y a pas de dieu hormis Dieu.
Siraba Kl! Hrnyalu man kan. Siraba Kolo ! La noblesse n'est pas gale.
Nansani Ture! Hrnyalu man kan. Nansani Tour ! La noblesse n'est pas gale.
Masaran Ture! Dununya b ten de Masar Tour ! Le monde est ainsi fait
Gitaba Fanta! Hrnyalu man kan Gitaba Fanta ! La noblesse n'est pas gale.
Na-Fanta Cis! Dununya b ten de Na-Fanta Ciss ! Le monde est ainsi fait
I ba fl nwanalu k, nwanalu f i k Tu est venue aprs des hros, des hros viendront aprs toi
Alu b wy Cis la, musolu ba ma maninyan ......(?)......... Acclamez ces Ciss-l, grandes matrones du python sacr (......?.......)
Kara la dusa ba ni, kara la dunu suba (Issue) d'archers de grand courage et d'archers dtenteurs du tambour
Fanta jli tfisiriwali. Jn ka na baga jn ma. La chanteuse Fanta n'est pas une ingrate. Que personne ne provoque personne !
Jn b n'i dadn kan Car chacun a son destin
Jn b n'i dadn Chacun a son destin
Siraba Kl! Hrnyalu man kan. Hrnyalu man kan. Hrnyalu man kan. Siraba Kolo ! La noblesse n'est pas gale. La noblesse n'est pas gale. La noblesse n'est pas gale.
Laaji Mamadi! Dununya b ten de El-hadji Mamadi! Le monde est ainsi fait
Karamn Kaba! Hrnyalu man kan Karamon Kaba ! La noblesse n'est pas gale
L ilh ill Allh Il n'y a pas de dieu hormis Dieu
Hrnyalu man kan. La noblesse n'est pas gale.

1. Wolof : principale ethnie dus Sngal.

2. En tant que terme technique, Siraba la grande voie est utilis pour dsigner d'une part une certaine rythmique instrumentale (Knight 1984 : 26), de l'autre l'accord originel de la kora (R. Knight 1972 : 3), enfin (loc. cit.) un chant ancien .