I am Lancei Dioubate from Guinea
Conakry I am a son of Griot I am Griot today I will introduce you to the Djembe Djembe as it is called in malinke Djembe, and also how the Djembe arrived in the African tradition especially because before we
say there was no djembe normally there is no djembe but the women, we
mama who goes out to think about talking with the men to help them a little in the party because when
there is party it's the woman who prepares it's the woman who sings it's the woman who dances and
it's the woman who does everything and before there was no djembe but the women knew the
different instruments or clapped like that to make the rhythm It was the women who helped us design the instruments to party this is where we are they thought it's true we too we will try to see
what we can do to accompany them at parties and that's where men they imagined and
j I have imagined a work tool that the women who cheat in Africa often to
loot rice, to loot thousand, corn and many things that we call mortaille or that
's how we call mortaille is this mortaille there we see it it has the same shape it has the same image
as a djembe and the people who have passed this mortaille there it looks like a djembe but this mortaille there
and over there it does not have the opening here these farmers and they thought maybe we can open down
he same shape as mortaille rono down like that in the middle also like that we play women
can feel us when we play me and i tried some to see this is where you
created the djembe they boxed cut there and they made the shape of scraps and could
reopen at the bottom they tried said my self put pop something on the circle and we'll
see how are you and there and jamy the skin they said okay we're going to play and we'll
see that's when we think have made the three sounds when we have the 3 three sounds on the skin we have a useful instrument that can be useful to women for parties then we started to play and the women said it was good It's where the djembe was created and also we also thought of making the other instruments as well and like the Dundunbá, like
Kenkeni, like Sangba, and I'm also seeing the other summaries that they give it a little a
little loudly behind the women when it comes to them so I can tell you that's
the creation of the Djembe.
Excuse me we still have on the Dundun part, normally we say DUNUN, passed when the DUNUN tent know the low roofs of the three instruments which gives the
rhythm Sangban, Dundunbá, Kenkeni, but we play the three together, they are also called drums and other names
that's KENKENI who keeps the time always the time he keeps the time it's DUNDUNBÁ who gives rhythm, he also gives strength to the two instruments it means Sangban and Kenkeni, he's the one who gives the force has all the instruments this is DUNDUNBA, this is KENKENI, this is DUNDUNBA and this is SANGBAN this is the engine of the rhythm this is
Sangban, but the three like a little play and it can communicate together
here are the three they go together now we are going to play them all three together
or like the drums no and this Kenkeki, and Kenkeni
makes time I tell you again, it's not the drinker of the baguette that will play, it is the wand that should play on the co skin same that this is DUNDUNBA, he gives strength and there we Sangban, SANGBAN who gives the rhythm and now we are going to make a "call" of a rhythm,
we call "Balajakulanja" I give the call of this rhythm this a 4-beat rhythm
is called here binary, you do