CULTURE
SENEGAL – Massamba Guèye wants to democratize the story
In his book “Art oratoire: auto regeneratiescence du conte” Massamba Guèye says that storytelling is not a trivial act. To tell is to reveal a position, sometimes a struggle, an ideology, a state of mind. To tell is to commit oneself somewhere, not to accept to suffer things. Despite the modernity of the communication tools, the tale is at the heart of our cities. It remains, it lives on, it continues. Like a chameleon, it adapts. Nowadays, storytelling has gone from a social practice to a storytelling tool to promote the values of the past. To learn more, the Ze-Africanews team went to meet him for an exclusive interview.
By adapting to the different spaces, both the storyteller and the tale became spectacular in every sense of the word before appropriating these same spaces, as well as their audiences, for their survival. This study by Dr. Massamba Guéye, Storyteller and Expert in Oratory Art, allows us to understand why storytelling has become an art of the stage before showing how, through the choice of certain dominant themes, neo-storytellers, while extending certain invariants, They are based on the political-ideological approach to a modern society in the midst of a crisis of values. It is a question of trying to understand the mechanisms of its self-regeneration.
Biography
Dr. Massamba Guèye did a unique thesis at the Cheikh Anta Diop University in Dakar in 2009/2010 in Senegal. He has been a French teacher since 1992. He also produces, directs and hosts the bilingual radio program “Contes et légendes” Français/Wolof on RSI every Wednesday and Sunday from 2:30 p.m. to 3 p.m. since 2001. In addition, he writes the weekly column on languages and Literatures «Maux des mots» on the national television of Senegal RTS1. A storyteller, playwright and poet, he took a closer look at the world of orality and African languages, especially the Wolof that he learned to write from 1979 in Louga. Since 1986, he has been researching the richness and quality of Wolofs expressions according to the different levels of public culture during his storytelling sessions in festivals and theatre around the world. He is also an international consultant in culture and pedagogy. Massamba Guèye is the author of several storytelling and theatre books, including Héritage et autres contes… ,Dakar, 2002, Ed Le Nègre International, 57p; Modou le riche bavard, Dakar, 2002, Ed Le Nègre International, 25p; Tout conte fait … (cd-book ) , Dakar, 2008, Ed Le Nègre International, 57p; Sénegaltés, paroles africains (théâtre), Dakar, 2011, Ed Le Nègre International, 57p; Le Totem, et Les aventures des sœurs gourmandes (book de lecture du Ministère de l’Education Nationale), Ed de la Brousse, 2010.
CULTURE
SENEGAL – At the Curial Centre, Ombre Zion blows everything up
On Saturday, October 12, 2024, at the Centre Curial in Paris, it was a real vocal feast. The Senegalese reggaeman Ombre Zion was live. With a powerful voice, he revisited his repertoire, a reggae mix imbued with African rhythms, with a fast flow and great clarity. The artists who preceded him in the first part ensured, thus preparing the entrance of the main artist, as close to emotions and the public. An unforgettable evening.
Saturday rasta
This Saturday night, by a strange coincidence, the time was reggae. While Kadjeem gave a concert in Abidjan, Ombre Zion was playing intense and fast notes on the grounds of the Centre Curial in Paris. The scene was lit up like a burning chapel. About ten rotating projectors, placed above the stage, flooded with light a drummer, two guitarists, a chorister and singers. That was it. They moved constantly, like pieces of a cut snake looking for each other. In the center of this army of projectors, a direct and motionless spot illuminated the focal point of this night attraction: the artists of the first part and Ombre Zion.
An attendance sustained, without being oppressive
This concert, scheduled on the weekend in the 19th arrondissement and offering a nice range of artists, had everything to attract people. The turnout was not surprising, as a huge communication campaign had been conducted on social networks weeks in advance. The audience came in large numbers to support their artist. Even if we were not at a record attendance, the crowd present recalled that of the popular balls, full of conviviality.
The guests and the public are all excited
Before entering Ombre Zion, several artists heated the room. At the top of the list, in order of passage, was Aboubakrine Fall. He was welcomed as the principal artist. The audience, overflowing with joy, howled with emotion under the mesmerizing notes of his bright red guitar. There was no pre-defined set list: each artist performed his or her own song in their own way. Smartphones were quickly taken out of the bags to immortalize this almost historic moment, with flashes rivaling spotlights. Same enthusiasm when other guests took the microphone: young rapper Nayah John, committed and feminist artist Dieya, seductive Astou Seck with breathtaking choreography, and finally Mystery. Then, the highlight of the show: Shadow Zion.
Ombre Zion electrifies her fans
H-Time. When Shadow Zion came on stage, bathed in a fiery glow, extreme agitation seized the audience. The fans were in delirium, almost in trance. If it was thought that the artist would be tired after the performances of the guests, it was nothing. Surprised by the atmosphere, he chained his songs in an afroswing style that only he has the secret. The intensity has never ceased to rise until the interpretation of “Calendar”, eponymous song from his EP released in 2023. At that time, the fusion between the artist and the public was complete, they were one. The atmosphere was so overheated that it was difficult to distinguish all the words. But Ombre Zion, focused and professional, continued without any interruption. At the end of the concert, an emotional fan said: “It will be one of my unforgettable memories: seeing Ombre and touching him.” A total success!
CULTURE
SENEGAL – Mame Balla Mbow smashes everything at the Daniel Sorano Theatre
Every year for the past four years, the Daniel Sorano Theatre in Dakar has become a capital of humour. Also, this evening the day after Toussaint, the Theatre was full. Dressed in royal grey with a yellow shirt, Mame Balla Mbow has once again amazed the fans who came to laugh. The laughter was loud, and the topics discussed were sensitive. In an overheated room, he proved that he was more than a comedian: he is a true master of Senegalese comedy.
Mame Balla Show: laughing while thinking
This show, organized by SHAHEIM Suarl, a renowned communication and event agency, was staged with high quality. Beyond the laughter, the Mame Balla Show is also an invitation to reflect. Throughout the evening, the artist skillfully blended humour and social criticism. He has approached the themes of daily life in Senegal with finesse, while highlighting universal truths. The audience, from all walks of life – young executives, mothers, young people from the suburbs, deans – saw themselves in the often funny situations, the naughty characters and the anecdotes he staged. The public was not mistaken: the Mame Balla Show is much more than a simple comic show; it is a mirror stretched to Senegalese society. With her verve and keen sense of observation, Mame Balla has shed light on the absurdities of our daily lives and has taken a critical look at the dysfunctions at the top of the state as well as the social challenges facing Senegal.
Mame Balla Mbow, a vitriolic humor
Although he is not yet 30 years old, Mame Balla Mbow has the appearance of an experienced comedian. Originally from Boune, in the Dakar suburbs, he is followed by thousands of people on social networks. Unlike many young people who are starting this profession, he graduated in law from the University Cheikh Anta Diop of Dakar (UCAD), where he became known for his positions on social issues. His committed humour is distinguished by its freedom of expression, unlike the majority of Senegalese humorists. Mame Balla rejects the “watered-down” comedy that favours aesthetics and exaggeration; instead, he proposes a unique approach inspired by great international comedy names such as Jamel Debbouze, while adapting his style to Senegalese realities. “I chose to do comedy to raise awareness, not just make people laugh,” he says.
From Dakar to Paris, very soon
Every year, it is packed. Normal. He has this sincere and precise look at a current event that he transmits in a kind of compassion, embarrassment and pity that instinctively causes laughter. Proud of his success, Mame Balla Mbow has great ambitions for his artistic future and is not limited to Senegal. That’s why he plans to conquer Paris in 2025 with a new show that will make a date. A challenge that this determined artist seems ready to take on. Judging by his show on November 2, one thing is clear: the artist is more than motivated to make people talk about him outside of Senegal.
The Mame Balla Show or laughing at everything
The Mame Balla Show is not just an annual show; it is also an event – let’s say a pretext – that allows the artist to denounce, through humor, and to defend values such as justice and truth. Mame Balla Mbow is undoubtedly redefining the contours of the Senegalese humorous universe. His show, which inspires other young talents, proves that you can laugh while raising the debate. Meet in Paris for a new adventure!
CULTURE
SENEGAL – Pape Diouf signs with Believe Music
Finally! It can be said: a new breath will now carry the career of Pope Diouf. The horizon looks bright. The Senegalese icon of mbalax – this vibrant music with deep roots in Senegal’s cultural heritage – has just forged an alliance with Believe Music, a global music distribution giant, specialized in monetization and support of artists on streaming platforms and social networks. This collaboration opens a new chapter for the leader of the Conscious Generation, who is constantly pushing the boundaries of Senegalese music. This partnership is a promise for this heir of the griotic tradition, now at the gates of the world consecration.
From Siné-Saloum to Believe Music
Born in Dakar, in the musical setting of Siné-Saloum, Pape Diouf quickly revealed himself as an artist with roots firmly rooted in tradition. From a family of griots, he is the legitimate heir of mbalax after Youssou Ndour. Since its debut in 1998, its voice, full of youthful vitality but paradoxically tinged with maturity, captivates the crowds. His first songs such as Bèguè and Diofior mark the beginning of a promising career. Those who had musical ear predicted its ascent. In 2022, with the album Ecoutez, he reached the top of the West African music scene, conquering a place among the icons of the region. Through his love ballads, odes to tolerance and tributes to African traditions, Pape Diouf brings together thousands of fans around the world, well beyond Senegal’s borders. His voice transcends continents, touching music lovers in Europe and America. Today, in addition to his musical career, he is engaged in just causes, including for people with disabilities, and has been particularly active in the fight against the Ebola outbreak, a commitment that has been recognized with distinction in the United States.
Believe Music, the new odyssey
With this collaboration, Pape Diouf reaches a new level in his career, since Believe Music is a vast international network of music distribution. The author of the legendary tube Ton pied/Mon pied, very moved, said on his social networks: “I am honored to announce my signature at Believe Music France.” This partnership, symbol of artistic maturity, could redefine the contours of his career, Putting him on a royal path to international recognition worthy of his mentor, Youssou N’Dour. It is worth noting that Believe Music has among its artists talents such as Naps, Kalash Criminel and Heuss L’Enfoiré. The career of these artists, at the top of the world charts, demonstrates the undeniable expertise of this structure in accompanying artists.
Heir to the throne of mbalax?
If Pape Diouf refuses the label of “king of mbalax”, the love and fervor of his fans confer him this title with spontaneity. Already called “the new Youssou N’Dour”, each concert of the artist becomes a communion, a collective trance mixing history and emotion. His compositions, although marked by the influence of his elder son, are deeply personal, echoing echoes of his childhood in Pikine, a suburb of Dakar full of challenges and dreams. With this signature, we can expect that Pope Diouf will renew the pleasure of singing by offering us texts even more profound, addressing his favorite themes: disappointed loves, human ways, and the need for tolerance. At 51, Pope Diouf continues to make his name a star. We hope that this new adventure with Believe Music will usher in a new era for this worthy heir to mbalax music.
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