Rhythms

Abondon

Abondon is a rhythm from the Baole people of Cote d’Ivoire (IvoryCoast). It is a very old rhythm traditionally played when the king would go horseback riding. After the music, the king would give a speech. In modern times, Abondon has become very popular and is danced in a circle.

Aconcon

Aconcon is originally from Senegal where it was used as a ceremonial dance to bring people together for festivals and cultural events. It is now popular all over West Africa.

Bao

Bao, is a rhythm from the Toma forest people from the Macenta region of Guinea. This rhythm is also known as Tomal. Traditionally, Bao is played with wooden sticks on a hollow log drum called Krin. Later, it was played on metal buckets and in recent years has been adapted to djembe. Bao is a healing dance used for rites of passage ceremonies. Women play this rhythm for other women, and men play this rhythm for other men.

Dalah

Dalah is a rhythm that originated in western Guinea, honoring the women who fish in the sea. People would gather together to drum and dance to protect the women from the many dangers they face in the waters and wish them a safe return.

Denadon

Denadon is played to introduce the Mendiani dancers. The dancers are carried out to the Bara, a community space in the village, on the shoulders of young men while drummers play Denadon. The dancers pay their respects to the drummers as they are carried around the Bara. When the dancers are ready, the drummers switch to Mendiani.

Diansa/Djansa

Diansa is a very popular rhythm, well known under many different spellings such as Jansa, Dansa, etc. Diansa originates from the Kayes region in Mali. It is performed in the evening for most celebrations including full moons, solstices, equinoxes, weddings and harvest celebrations.

Djaa

Djaa is played for courting dances and bachelorette parties. Played and danced for young men and women to meet one another, it involves very sensuous and provocative moves. Originally it was for women only but now both men and women take turns dancing in a circle.

Djagbe

Djagbe is a rhythm from the Malinke people of eastern Guinea. Originally Djagbe was played at the end of Ramadan. Traditionally, men and women dance together in a circle. Variations exist in Guinea such as Djagba and in Mali such as Madan.

Djole

Djole, was originally a masked dance in which a man would dress and dance like a woman. The rhythm is traditionally played on square frame drums called sikko. It has been adapted to djembe and is very popular in Guinea. Each ethnic group has their own traditional mask, and a variety of variations in the way it is played. In Guinea, the rhythm is used to bring people together, to connect with old and new friends, and to enjoy the beauty of the mask.

Dununba

Dununba, originally from the Hamanah region of Guinea, is a family of 20 or more rhythms, each based on a unique set of dundun arrangements. Dununba is known as “the “rhythm of the strong man”. In traditional times it was played to settle disputes among the men of the village. Today it is still played for the men to show their spiritual strength, healing ability, and physical prowess. Various versions include Balasonde, Bolokonondo, Bandodjeli, Donaba, Dunungbe, Kadan, and Tama among others. For western students, the Dununbas tend to be some of the most difficult rhythms play.

Fanga

Fanga is a well-known welcoming rhythm from Liberia made popular by Babatunde Olatunji. Babatunde was an internationally renown percussion teacher from Nigeria who inspired interest in African music and culture around the world. We include this (Fara’s) version of this rhythm due to its popularity among djembe students worldwide.

Fankani

Fankani is a rhythm from the Malinke people of the Wassalon region of Guinea. Fankani was originally played to welcome important visitors to the village and was danced primarily by women dancing solo.

Fulafare

Fulafare translates literally as “dance of the Fula people”. The Fula people actually call this rhythm Yoleli. It is traditionally played for celebrations, marriages and initiations. Throughout Guinea, it has become very popular and is now played for many celebrations.

Garangedon

Garangadon is a Malinke rhythm, originally called Garangefoli. The dance was called Garangadon. It is originally from the caste of leatherworkers and shoemakers, traditionally danced by the women during weddings.

Gidamba

Gidamba is a rhythm from the Malinke people. It originates in northeastern Guinea and is played on many occasions and cultural events. The sangban carries the signature part of this rhythm and never varies. When this rhythm is played, women dance in a unique solo style.

Guineafare

Guineafare translates as “woman’s dance”. It originates from the southern region of Guinea, where it was called Yoki. This rhythm is commonly played for weddings and baptism celebrations. Traditionally it was played for younger women because it is faster and more energetic.

Kakilambe

Kakilambé was traditionally played only once a year for a very important dance of the Baga people in the Boke region of western Guinea. During this ritual everyone would gather to listen. A masked figure would emerge from the forest, accompanied by the priest and elders, and give the advice needed to protect the village from evil. Speaking through the priest, the masked figure would make predictions about the village and its people for the year to come.

Learn more about Kakilambe here: http://www.mandebala.net/references/kakilambe.php

Kala

Kala is a rhythm played before rites of passage in the Faranah region of Guinea. During the days that precede the ceremonies, the “bilakoro” or “uninitiated” travel around to the villages and announce their coming initiation.

Kassa

Kassa is a rhythm played while men harvest the fields. The workers may have to walk miles to reach the field. Sometimes kassa is played while they walk. Sometimes women accompany the men to the field to dance while the drummers play. Kassa is also played to celebrate a bountifulharvest at a festival, called the Kassaladon.

Kassasoro

Kassa is a rhythm played while men harvest the fields. The workers may have to walk miles to reach the field. Sometimes kassa is played while they walk. Sometimes women accompany the men to the field to dance while the drummers play. Kassa is also played to celebrate a bountiful harvest at a festival, called the Kassaladon.
Kassasoro is one of rhythms in the Kassa family and is played for similar occasions as Kassa.

Konden

Konden is originally from the Malinke people of the Wassalon region. This rhythm varies considerably in other regions. Two distinct versions of this rhythm are popular today. Konden is the name of a frightening mask worn by a dancer that chases young boys to scare them into behaving.

Konkoba

Konkoba is the “Rhythm of Good Workers,” homage to Malinke and Djalonké farmers from Faranah. It is a Malinké rhythm from northeastern Guinea and is played while people are working in the fields during harvest and celebrations for farmers. It is also called the rhythm for hard workers and good cultivators and it is played for rich or important farmers.

Koredjuga

Koredjuga is a rhythm from the Segou region in Mali, and is now played throughout the border region of Mali and Guinea. The Koredjuga is a caste of clowns and jesters who are respected for their special skills in ceremonies and spells. Their role in the Koredjuga festivities is to make the crowd laugh with their goofy antics and acrobatics. The song for this rhythm is called Komodenu.

Kuku

Kuku is extremely popular. It has always been played to bring people together for many different occasions. Kuku is originally from the village of Beyla in the forest region of Guinea. It was traditionally played for the end of the harvest festivities andduring celebrations of all kinds. Originally it was played only on the djembe as the dundun did not exist in this region. Kuku is unusual in that the solo was traditionally played on the low drum with another drummer accompanying on a small djembe. Kuku has become one of the most popular and well-known rhythms among all western students. It has since been adapted to incorporate dunun and djembe solos for ballet ensembles.