History of dances and rhythms

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

Kuku-
In 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 6-13 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.