ABOUT TH E AUTHORS............................................................................................................................... 3

P.R.I.D.E. AND THE WRAP CORE VALUES AND BEST PRACTICES........................................................ 4

LESSON ASSIGNMENTS.............................................................................................................................. 5

WEST AFRICA: AN OVERVIEW.................................................................................................................. 6

THE WEST AFRICAN REGION....................................................................................................................... 6

WHERE DOES OUR MUSIC COME FROM?..................................................................................................... 7

GUINEAANDTHE ISLES DE LOS...................................................................................................................7

ROUME: OUR VILLAGE.................................................................................................................................8

INSTRUMENT GUIDE................................................................................................................................10

MUSIC AND THE MANDE CASTES...............................................................................................................12

INSTRUMENT TECHNIQUE.......................................................................................................................13

THE ROLE OF WEST AFRICAN DANCE.........................................................................................................16

YAN KADI AND MACROU

.........................................................................................................................17

NOTATION AND SCORES............................................................................................................................17

MACROU SCORE..........................................................................................................................................17

MACROU ENDING ARRANGEMENT...........................................................................................................18

MACROU JEMBE BREAK..............................................................................................................................18

YANKADI SCORE.........................................................................................................................................19

YANKADI ENDING ARRANGEMENT..........................................................................................................20

YANKADI JEMBE BREAK.............................................................................................................................20

ABOUT VOCABLES.......................................................................................................................................21

SONGS.........................................................................................................................................................22

VILLAGE VOICE...........................................................................................................................................22

"A BORONCO" (MACROU)........................................................................................................................... 22

"BERE MU SORBS" (YANKADI)..................................................................................................................... 23

DANCE

.........................................................................................................................................................24

CREATING DANCE NOTATION................................................................................................................... 24

CREATING A DANCE SCORE........................................................................................................................24

DANCE STEP NOTATION TEMPLATES......................................................................................................... 25

PERFORMANCE..........................................................................................................................................27

ARRANGEMENT TEMPLATES.......................................................................................................................27

THE ROLE OF THE LEAD DRUMMER......................................................................................................28

LEAD DRUMMER QUALITIES...................................................................................................................... 28

THE NEXT STEP: MAKING DANCE MOVEMENTS.......................................................................................28

LEAD JEMBE PHRASES................................................................................................................................ 29

RESOURCES.................................................................................................................................................30

WORD SEARCH..........................................................................................................................................30

SUSU PRONUNCIATION GUIDE..................................................................................................................31

TRADITIONAL WEST AFRICAN RECIPES

..................................................................................................... 34

AUTHENTIC VILLAGE DRESS........................................................................................................................36

OTHER POPULAR TRADITIONAL INSTRUMENTS IN GUINEA, WEST AFRICA..............................................37

EDUCATIONAL RESOURCES.........................................................................................................................39

KALANI

Kalani is a master percussionist, world -music composer award-winning author, andOtfj=Schulvverk specialist. He is featured on recordings for Disney, Warner Bros., Tri-Star Pictures, Paramount Studios, the Nature Company, and Jim Hensen Records. Hehas worked with such music legends as Kenny Loggins. Max Roach, Barry Manilow,Vic Damone, and John Mayall and is the featured percussionist on the Yanni: Live atthe Acropolis video and CD. He released two CDs of original music: Pangea andInsights.

Kalani has authored several books fbr Alfred Publishing Company including AllAbout Congas, All About Jembe, All About Bongos, The Amazing Jamnasium, and the

award-winning drum circle facilitation hook and DVD Together in Rhythm. Other DVDs include Kalani's Ultimate Bongo Jam, Ultimate Conga Jam and Ultimate JembeJam. He is a featured percussion instructor at WorkshopLive.com and the founder anddirector of 'programs and training for Rhythm Gym, a 50/c3 non-pro/it organizationdedicated to promoting fitness through active music making (rhvthmgym.org).

Kalani offers Drum Circle Music TM certification training and other professionaldevelopment programs in the U.S. and abroad (drumcirclemusic.corn). Moreinformation can he found on his website, kalanimusic.cont

RYA N M. CA MA RA

Ryan M. Camara is the adopted son of Master Drummer M. Lamine Diho Camara fromGuinea, West Africa, and a recognized and respected performer and educator of thetraditional music and culture of Guinea, West Africa. He received formal training inethnomusicology as a student at UCLA and has studied in Guinea annually since 1996,training extensively and performing with master artists including Mamady Keita, BokaCamara, Ousmane Sylla, Sekouha Camara, and Ballet Matam, and with members ofGuineas National Ballet companies Les Ballets Africains and Ballet Djoliba.

Ryan has performed with such African legends as Prince Diabate, MouminatouCamara, Yamoussa Soumah and Oscar Camara. He has numerous recordings to hiscredit, including a variety of instructional CDs and For~-Fotes acclaimed Wonherewith members ofLes Ballets Africains.

Ryan has presented workshops at the University of California, Santa Barbara; theUniversity of Colorado; the University of'Montana; and Southern Oregon University; andelementary and secondary schools throughout C'ali/ornia, Oregon and Montana. Hecurrently serves as the Artistic Director for the non-profit cultural organizationDenhaya, Inc., is the founder of djemhelesson.org (an on-line lesson resource fbrdjembe and c/undun drumming), and continues to perform with Fore-Foie and his ownpercussion and dance ensemble, Wakili. He balances a busy touring. schedule withteaching traditional West African music through Southern Oregon University, theDenhava School ofDrum and Dance, anti the Ashland Schools Foundation.

The following are the WRAP core values with the best practices listed for each.

Progress

We can make and acknowledge our progress by

A. keeping our curiosity alive-pushing to learn more;

. motivating everyone to improve-even by the smallest measure;

'b. showing initiative and courage by trying new things and taking risks;

, showing resiliency and a sense of humor when we are challenged;

' . discussing our accomplishments at the end of every session.

Responsibility

We can show that we are taking responsibility by

4. being on time, well prepared, and actively listening to each other;

'. treating the instruments and each other with care;

4. being respectful of ourselves and each other;

A. learning about other cultures from reliable sources;

I'. showing up early to set up and staying late to straighten up.

Inclusion

We can agree to help everyone feel included by

" greeting each other and finding out how everyone is doing;

4, helping those who need or ask for it;

being patient with those who may need more time;

4. cooperating with our fellow musicians and dancers;

4, communicating our thoughts, feelings, and opinions.

Diversity

We can agree to celebrate diversity by

". acknowledging that everyone has different skills and needs;

-b, using our different talents to create the best possible outcomes;

'. trying out different approaches before making conclusions;

'. welcoming all ideas and perspectives, even when we may disagree with them.

Excellence

We can agree to work together towards excellence by

a, paying attention to every detail of the performance;

ay showing perseverance-even when it's difficult;

4. trying to improve in every way-even in ways no one else may notice;

' . being accountable for our actions;

a, never settling for less than our best effort.

To be completed after each corresponding lesson.

1. Add the Dundunba, Seke-seke, and Xylophone 1 & 2 patterns to the MacrouScore on page 17. Complete the section "The West African Region" on page6.

2. Add the Sangban and Kenkeni patterns to the Macrou Score on page 17.Identify and complete the description of the dundun drums in the "InstrumentGuide" on page 10. Complete the section "Where Does Our Music ComeFrom?" on page 7.

3. Add the notation to the song "A Boronco" on page 22. Complete the dundunportion in "Instrument Techniques" on page 14.

4. Add the Jembe 1 pattern to the Macrou Score on page 17. Identify andcomplete the descriptions of the jembe and bala in the "Instrument Guide" onpages 10-11.

5. Add the Jembe 2 pattern to the Marcou Score on page 17. Complete thejembe and bala portions in "Instrument Techniques" on pages 13 & 15.

6. Add the Xylophone 3 pattern to the Macrou Score on pagel7. Complete thesection "Music and the Mande Castes" on page 12.

7. Add the Krinyi and Jembe 3 patterns to the Macrou Score on page 17.Identify and complete the description of the krinyi and seke-seke in the"Instrument Guide" on page 11.

8. Notate the Macrou Jembe Break on page 18. Complete the krinyi and seke-seke portions in "Instrument Techniques" on page 15. Review the section"About Vocables" on page 21 and add your own vocables to one or more ofthe jembe patterns in the Macrou Score on page 17.

9. Notate the Macrou Ending Arrangement on page 18. Complete the section"The Role of West African Dance" on page 16.

10. Use the Macrou Dance Step Notation Templates to write out two of yourfavorite dance steps. Use a Performance Arrangment Template to create asequence of lead drummer cues, instrumental patterns, and dance steps onpage 25.

11. Add notation for the Dundunba, Sangban, Seke-seke, and Xylophone 1 to theYankadi Score on page 19. Notate the Yankadi Jembe Break on page 20.

12. Add the Kenkeni and Xylophone 2 patterns to the Yankadi Score on page19.

13. Add the Jembe 1 pattern to the Yankadi Score on page 19. Add notation tothe song "Bere Mu Sorbe" on page 23.

14. Add the Jembe 2 and Xylophone 3 patterns to the Yankadi Score on page19. Complete the section "Village Voice" on page 22.

15. Add the Jembe 3 pattern to the Yankadi Score on page 19. Complete thesection "The Role of The Lead Drummer" on page 28.

16. Complete the sections "Guinea and the Isles de Los" on page 7 and "Roume:Our Village" on page 8.

17. Notate the Yankadi Ending Arrangement on page 20.

18. Use the Yankadi Dance Step Notation Templates on page 26 to write outtwo of your favorite dance steps. Use a Performance Arrangment Templateon page 27 to create a sequence of lead drummer cues, instrumental patterns,and dance steps.

19. Review the section "About Vocables" on page 21 and add your ownvocables to one or more of the jembe patterns in the Yankadi Score on page19.

Extra Credit:

1. Complete the Word Search on page 30.

2. Learn and demonstrate one or more of the Lead Jembe Phrases for Macrouand/or Yankadi on page 29.

3. Recite Susu numbers from 1 to 20 on page 31.

4. With a partner, recite the Susu Greeting Dialogue on page 32.

5. Recite the Susu Performance Introduction on page 33.

The West African Region

West Africa covers a vast area of the sub-Saharan region of the African Continent oftenreferred to as the "Bulge of Africa." West Africa features a widely diverse geographicallandscape and a multitude of ethnic groups, each with its own language. Each ethnicgroup has unique musical instruments, rhythms, songs, dances, and stories that helpdefine and preserve their cultural identity.

Add numbers to identify each country on the map of West Africa. If needed, use linesto point to small areas.

1. Niger

2. Ivory Coast (Cote D'Ivoire)

3. Mauritania

4. Liberia

5. Nigeria

6. Mali

7. Guinea

8. Benin

9. Gambia

10. Togo

11. Senegal

12. Sierra Leon

13. Guinea Bissau

14. Ghana

15. Burkina Faso

16. Equatorial Guinea

17. Chad

18. Cameroon

The lighter shaded areas are generally considered the core 14 contemporaryWest African countries, and the darker shaded areas are surrounding countriesthat are sometimes grouped into West Africa.

Where Does Our Music Come from?

The instruments, rhythms, songs, and dances of the WRAP program all originate among -speaking ethnic groups who trace their heritage directly to the former Mali Empire ofthe 12th-14th centuries. The Mali Empire was famous for its scholarship, tremendouswealth, and amazing music and dance. Today, speakers inhabit portions of thepresentday countries of , and . The major ethnic groups responsible for the traditionslearned in the WRAP program are the and , largely located within the country of

guinea and the Isles de Los

The Republic of Guinea is a beautiful, vibrant, and culturally rich country, with fourdistinctive geographic regions. It is home to over 36 different language and ethnicgroups. While major cities like Kankan, Labe, Nzerokore, Kindia, Boke and the capitalcity of Conakry boast many modern amenities, most Guineans live in small villages, inmuch the same way they have for centuries. The WRAP program, in conjunction with theFore-Fote School of Drum and Dance, has developed a special relationship with thesmall Susu fishing village of Roume, the smallest of the three inhabited islands knownas the Isles de Los, located just off the coast of Conakry.

Identify each city or village by its number. On the spaces provided on themap, fill in the major ethnic groups of each region.

Roume: Our Village

On the island of Roume, virtually everything revolves around fishing. Most men workdaily, repairing their boats and fishing nets. They will often take their boats outovernight to catch enough fish to bring back to their families. In the morning, women

will take the fish that will not be eaten to the markets in Conakry. They sell the fish andbuy mainly rice, vegetables, and breads. Everything else that grows on the island isconsumed. Roume has plentiful mango, banana, coconut, and orange trees. The fruit ofthe tugi gbili (palm tree) is used to produce ture gbeli (palm oil) for use in cooking, andtugiye (palm wine), which is consumed at special events and ceremonies. Some familiesgrow yucca (manioc), and previous inhabitants grew their own rice and peanuts as well.

After school, all children are expected to do chores around the village. Boys work withtheir fathers, repairing boats and fishing lines and cleaning up around the village Girlswill cook, wash clothes, and take care of the youngest children. All young people pullwater from the wells and gather wood to make fires for cooking.

Favorite sports include swimming and soccer, and the island team competes againstother teams from nearby villages or Conakry. The island is home to a group of localmusicians who also work as fishermen. When music is needed for a particulartraditional eventmarriage, naming ceremony, boat launch, or even a Yankadi-Macroupartythe families involved will bring cola nuts to the musicians, and, as has been donefor centuries, ask them to play for the ceremony.

Compare and Contrast:

What foods do you eat that are also eaten on the island of Roume?

What types of chores or work do you do that are similar to those done by the people ofRoume?

Which of your favorite sports or activities are also enjoyed on Roume?

If someone from Roume came to visit you, what foods, activities, or places would yoube most excited to share? List 5 or 6.

Write pronunciations in parentheses where given.

The goblet-shaped ( ), called the by the Susu people, originated by at least the 13thcentury among the Mande-speaking ethnic groups located in and around the present-daycountry of . Its goblet shape comes from the large used to pound millet. Carved from asingle piece of wood with a skin stretched across the larger of the two openings, it istraditionally played with the hands in a standing position. The primary tones played onthe instrument cover a large sonic spectrum, making it both a solo and accompanimentinstrument.

The three 'ears" on the drum are called sesse or, in some regions, ksing ksing. They aresometimes attached to a soloist's drum to produce a rattle effect, giving the perceptionof increased volume and differentiation or coloration of sound.

The ( ) family of double-headed drums are cylindrically shaped with cow skin coveringboth ends. The three drums, from largest to smallest, are called ( ), ( ), and ( ) .Together, they provide the rhythmic and melodic basis for the ensemble. These drumsare traditionally played horizontally, fitted with a strap, and slung over the shoulder.The heads are played with a large stick (16" to 17" long). The drums are sometimesplaced vertically (see center drum in photo) and played by one person using two sticks.This arrangement is often referred to as "ballet style." In some areas, a bell, called a , isattached to the drum and played with a metal rod or bolt.

The ( ) is a type of log drum that originates from the forest region of southeasternGuinea, and consists of a hollowed-out section of tree trunk. The main opening and

two side slits create two bands of varying pitch. It is played with two wooden sticksand produces a variety of tones depending upon where it is struck.

The ( ), also called the , is a basket-shaped shaker from eastern Guinea comprisedof small rocks or seeds housed in a woven covering of burlap and leather. They arealways played in pairs using alternating hand motions.

The ( ), called in French, originates among the Susu ethnic group but is foundthroughout West Africa. It is an instrument associated with the griot or jell caste ofprofessional musician/historian/praise singers. Considered by many to be the precursorto the modern xylophone, this instrument consists of a frame from which 21 woodenbars are strung in decreasing length, each with guard resonators attached to the bottom.The bars are tuned to a heptatonic (7-note) scale, with each bar an equal interval fromthe next of about 120 cents, and they are struck with hard rubbercovered mallets. It canbe played either while standing (attached with a strap), or while seated on the ground.

Music and the Mande Crites

Musical Historians

In Guinea, there are many specialized castes of workers called Nyamakala. Thetwo most important Nyamakala in traditional music are the and

The caste are considered to be the professional musicians in Guinea.

The primary instrument of the "professional musicians" is the , with which themusicians impart the oral histories of the Mande. These musicians will oftenaccompany themselves on the ,or

The Soundtrack of Your Life

While the caste is credited with creating the first jembe and dundun drums, theinstruments do not have any hereditary restrictions and is allowed to play them. Theshape of the jembe probably comes from the , a common cooking tool used to poundmillet. (See photo.) The jembe and dunduns were created to accompany In Mandesociety, there is a traditional and for virtually every event in a person's life. Imagine youare a child born in Guinea. The drums roar as you are given your name. They help youmeet new friends as you dance to the beat under a full moon. They whisk you off toundergo initiation and welcome you home after you've been away. The music is the"soundtrack of your life," and by listening and participating, you learn not only aboutyourself, but also about the people around you. The drums wail to gather the villagetogether for weddings. They cry out to help settle disputes. They can be heardencouraging workers in the fields, and they are the focal point for all the biggest feastsand celebrations.

Women pounding millet In a mortar on the island of Roume.

Jembe

The jembe drum is a versatile instrument capable of producing a wide variety ofsounds. Traditionally, there are three basic tones that comprise its language. Bylearning to properly produce just these three sounds, you can play virtually anytraditional rhythm pattern.

Body Position

Traditionally, the jembe is played while . When played in a seated position, itshould be held at an angle similar to that in the position. This allows the bottom ofthe drum to remain open for air to escape. In both positions, proper body postureincludes having a straight back and the head and eyes facing forward, not tippeddown at the instrument.

To play the bass tone:

1. Start with your arm in a relaxed position at a comfortable height above thedrumhead (10"-14").

2. With palm down, raise your arm from the elbow (not just at the wrist or fromthe shoulder).

3. Allow gravity to pull your hand towards the head.

4. Strike the drum in the proper position for the desired note.

5. Allow your hand to rebound back to the starting position as the drum resonates.

The most important concept to grasp when playing any of the tones is to think aboutpulling the sound out of the drum, not holding it or pushing it through. To get the best

possible sound, pull your hand away from the skin as quickly as possible when strikingthe drum.

Using the pictures below, identify each tone and fill in the blanks.

The tone pictured above is the It is the -pitched tone.

To produce the proper sound, the palm and fingersare located . The fingers are and the thumb is

The tone pictured above is the It is the -pitchedtone.

To produce the proper sound, strike the drum withyour fingers (except for the thumb), and cross the edgeof the drum where The weight of the hand is focusedin the of the fingers.

The tone pictured above is the It is the -pitched tone.

To produce the proper sound, strike the drum withyour fingers . Cross the edge of the drum where Theweight of the hand is focused in the of the fingers.

Dundun

The dundun drums provide the rhythmic and melodic foundation for the ensemble.They are played horizontally or vertically and in different configurations of one, two,or all three drums within the various regions of Guinea and the surrounding countries.

There are two types of sounds that are played on the dunduns. The tone is produced bystriking the drum in the center, allowing the stick to the head. The tone is played bystriking the head and the stick to the head.

The kenken is traditionally played on the with the of thebeater.

When playing a dundun horizontally, your hand plays thehead and your hand plays the kenken.

Krinyi

The krinyi is capable of producing a wide variety of sounds depending on where it isstruck. Traditionally, krinyis are placed on the ground and played while seated withthe instrument between the legs. In modern ballet productions, krinyis are sometimesworn around the waist by attaching a strap to the sides of the instrument with nails orbolts. Krinyis are played using two medium-sized sticks. The proper krinyi sound isproduced by striking the entire tone bar with the of the stick (not the allowing the stickto rebound freely.

Seke-seke

Seke-sekes are always played in with an alternating motion. To produce the correctsound, hold as shown and play in an and motion.

Sala (Xylophone)

The African bala is either played while sitting on the floor, or while standing withthe instrument strapped to the player. Orff xylophones are played in one of threeways: sitting on the floor, sitting in a chair, or standing with the instrument in a stand.

The player's hands should come to rest slightly the instrument.

The wrists should start off in a position.

The index finger should NOT be placed on the of the shaft.

The best tone is produced by striking near the of the bar.

African bala

Orff xylophone

The Role of Weft African Dance

Traditional dance in West Africa is an extension of life's everyday activities. Dancemovements often reflect aspects of daily life including fishing, hunting, and harvesting.The role of the jembe ensemble is to play music to accompany these dances. Everydance has its own unique rhythm and is performed for specific purposes. As someGuineans say, "There is no reason to drum without dance, and no reason to dancewithout drumming." Music and dance in Guinea are different aspects of the sameexpression. While there are hundreds of dances and rhythms in Guinea, they generallyfall into one of the following three categories.

Ritual or Initiation Dances

These dances are done for specific initiation rites or are performed for ritualceremonies by those already initiated. These ceremonies often include the use ofmasks or other spiritual or sacred objects.

Nyamakala (Caste) Dances

These dances and rhythms are specifically associated with one's particularcaste. They are often performed at popular festivals by caste members toidentify themselves. Traditional castes include the Jeli (griots), Numu(blacksmiths), Garange (leather workers), and Fune (mimes).

Secular and Popular Dances

These are the dances of everyday life. There are special dances for namingceremonies, weddings, farming, and social events. Everyone in the villageparticipates and dances at these events, and it is a time of communal gatheringand great joy.

Identify the category of dance in each of the following pictures, and explain why it fitsinto that particular category.

Category:

Why?

Category:

Why?

Category:

Why?

Yankadi and Macrou are two separate rhythms and dances that are almost alwaysplayed together as part of the same ceremony. Often referred to as a "dance ofseduction," the Yankadi and Macrou is more of a social gathering, offering the perfectenvironment for people to meet and get to know each other. The rhythms and dances aretraditionally from the Susu ethnic group, located in the western coastal region ofGuinea, and are most often played at the time of a full moon. Young people fromdifferent villages gather and participate in this social mixer.

Notation Sc Scores

Macrou Score

Macrou Ending Arrangement

Macrou Jembe Break

Yankadi Score

Yankadi Ending Arrangement

Yankadi Jembe Break

Village Voice

Singing is an integral part of all traditional and ballet celebrations and performances.Songs are usually sung in a -and- style, with a single lead voice calling a groupresponse. Lead singers of traditional songs are usually members of the caste and willoften improvise lyrics within the song to acknowledge or praise certain importantindividuals or families. Song meanings cover a myriad of different topics andexperiences of the human condition. Traditional songs about certain people, places,and events are often juxtaposed in contemporary settings against pertinent modernissues of the day, including political corruption, AIDS, and unemployment. Whethertraditional or modern, the majority of lyrics continue to exalt timeless values such aslove and family. Traditional rhythms can have many songs associated with them andcertain songs may be accompanied by more than one rhythm.

Fill in the notes for the song "A Boronco."

A Boronco

"A Boronco" Translation

Fill in the notes for the song "Bere Mu Sorbe."

Bere Mu Sorbe

"Bere Mu Sorbe" Translation

Creating Dance Notation

Dance Terms

BACK: A step that passes behind the other foot.

BACKWARD (BWD): A step away from the audience (up stage).

BALL-CHANGE: A rapid weight transfer from the ball of one foot to the other.

CLOSE: Moving the foot towards the other to bring the feet together.

CROSS: A step that passes in front of the other foot.

FORWARD (FWD): A step towards the audience (down stage).

HOP: Landing on one foot.

JUMP: Landing on both feet.

SIDE: Horizontal movement with weight transfer.

STEP: A touch with weight transfer to the foot.

TOUCH: A touch of the heel or toe without weight.

TURN STEP: A rapid rotation of 180 to face the opposite direction.

Arms

BACKWARD (BWD): Rotating the arms from the shoulder in a "backstroke"motion.

CROSS: Crossing the arms in front of the torso.

FORWARD (FWD): Rotating the arms from the shoulder in a throwing motion.

OPEN: Extending the arms to either side of the body.

SWING: Moving the arms as if walking.

Creating A Dance Score

The following is an example of how you can use dance terms to sequence and notatedance steps. When choosing a dance term, carefully consider weight (does the foot bearweight or not?). Some terms may not fit exactly. Use the one that makes the most senseto you or add a new one.

Dance Step Notation Templates

Use the following Templates to notate several dance steps for Macrou and Yankadi.Copy blank Template pages as needed.

Macrou

Yankadi

Arrangement Templates

Use the following Templates to notate your own performancearrangements.

Example:

Let's Play Key

Macrou Performance

Yankadi Performance

Lead Drummer Qualities

Before taking on the role of the lead drummer for the ensemble, teachers and studentsmust be able to do the following:

O Perform the three basic sounds of the jembe with clear articulation.

O Demonstrate the ability to play at a louder volume than the rest of the ensemble.

O Demonstrate the ability to play in rhythm, and for extended periods of time.

O Demonstrate a thorough knowledge of all instrument patterns.

O Demonstrate a thorough knowledge of ensemble arrangements, including breaks.

0 Demonstrate a thorough knowledge of all dance steps.

The lead drummer has a responsibility to both the drummers and dancers. As the leaderof the musical ensemble, this person is responsible for signaling where and when tostart, stop, or change rhythms or parts, and for setting the group's dynamics and tempo.As the soloists for dancers within the context of a performance, the lead drummer's mostimportant obligation is to appropriately signal dancers to start, stop, and changemovements. In order to perform these functions, two of the most important elements of asoloist's role must be mastered.

The or is played by the lead drummer to signal changes in the music or dance, enablingall members of the group to respond at the same time. It is most often used at the start

of the rhythm, like a drummer in a rock band pounding sticks together and shouting "1,2, 3, 4" to signal the band to begin playing. It is also used at the end of a piece ofmusic to indicate when the group is to stop playing, or inside the rhythm to changedance steps or choreography, like a dancer saying "5, 6, 7, 8" before going to the nextmovement. It should also be the loudest part of a solo so it can be clearly heard,deciphered, and responded to by both musicians and dancers.

is a French word that means "heating up." It is commonly used in Guinea to describe arepetitive pattern played by the lead drummer to signal an upcoming break. This patternis used to transition between slower sections of music, where songs are being sung, andfaster sections of music, where dances would begin, It is also typically used at the endof certain energetic dance movements, and it is virtually always played to alertperformers of the ending break.

The Next Step: Marking Dance Movements

The lead drummer's obligation to dancers extends well beyond playing the break in theproper place. Traditionally, the lead drummer will accent or mark the movements of thedancers by playing specific musical figures. These special musical phrases bring out thecharacteristics of the specific rhythm or step and add to the overall effect. While thisskill takes years of practice to completely develop, teachers and more advancedstudents can explore some traditional solo phrasing for Yankadi and Macrou and beginusing it right away.

Below are some lead jembe phrases that you can use for soloing and to accompanydance steps. Each of these can be heard on the CD in the performance tracks for eachrhythm.

Lead Jembe Phrases

Yankadi Lead Phrases

Macrou Lead Phrases

Word Search

Find the following words in the puzzle below. Search forwards, backwards, vertically,horizontally, and diagonally.

Sum Pronounciation guide

Proper greetings are important Susu social customs. Greetings can last for severalminutes, and it is considered very impolite not to properly greet people any time youmeet or see them. The following chart shows some of the most difficultto-pronouncesounds in the Susu language and their phonetic English equivalents.

NUMBERS

GREETINGS

GREETING DIALOG

PERFORMANCE INTRODUCTION WITH TRANSLATION

PERFORMANCE INTRODUCTION MONOLOGUE

Susu Performance Introduction

Guine anun khame wo nusanen fa fera mukhukha Yankadi-Macrou. Khulunyi, fare anunsigui na kui khakhili na ara (koe, yanyi, gessege) kelifera Guinee, West Africa. LaGuinee na kui na makhase anun fare abara findi baloe ra n'de be. Na makhase munsema,di nu bari, khili safe, futi khiri, wali anun fe gbetee. Yankadi-Macrou makhase anun farea ma senkhine won n'tan nyama nene na na ralan anun won kha bore compininya nyitakhun. Mu kha kolon wo ma nyakha mane mukha makhase anun fare ra.

Traditional West African Recipes

Canci Ye (khan-see-YEH)

Canci ye (literally translated as meaning "peanut water") is the Susu version of a famousWest African staple, peanut sauce. Canci ye is very popular throughout the Susu regionand is usually cooked with fresh fish, chicken or goat and a variety of fresh vegetables.The following recipe is adapted slightly to reflect the difference in availability ofparticular items between Guinea and the U.S. This delicious recipe will feed 12 to 15people.

Heat in a large saucepan:

Saute:

Stir in:

Add (in reverse order of cooking time):

Simmer on medium heat, stirring often, until fully cooked (45-60 minutes).

Reduce heat and add:

Cook separately:

Meat-dish options:

When habenero peppers shrivel, remove from sauce and place in a separate bowl. Turnheat off. Your canci ye sauce is ready! Serve sauce over rice. For spicier food, breakopen a cooked habenero pepper on your plate and add very small amounts at a time.Enjoy!

*Fire Warning!

Habenero peppers add a wonderful flavor, similar to that of the bengbe peppers ofGuinea, which are an integral component to canci ye; however, habeneros areextremely hot! You may wish to skip them if cooking for those with sensitive palets,such as the elderly or young children. If you do add habeneros, handle them with careand try not to break them open in the sauce.

Eat smart and healthy:

Always use fresh, locally and/or organically grown ingredients whenever possible!

GUINEA SORREL (Bisap)

Guinea sorrel, more commonly known as bisap, is a popular drink throughout Guineaand all of West Africa. Made from dried hibiscus flowers, it is the perfect traditionalbeverage for your Canci ye.

Ingredients:

Optional:

Gently rinse hibiscus flowers (sorrel or roselle) and set aside.

Bring water to boil in a large saucepan.

Add hibiscus leaves. Remove from heat and allow flowers to steep for approximately10 minutes.

Strain water into a pitcher and add sweetener to taste.

Serve chilled or over ice.

While the mint/vanilla combination is the most popular, other flavorings are added insome parts of West Africa. These combinations include the following:

Tip: This drink is similar to the popular Mexican drink Jamaica (HAH-my-kah).Herbal tea may be substituted for hibiscus flowers. To match the color, use tea thathas a reddish hue.

Authentic Village Dress

Bring your performances to life with traditional West African costumes.

Authentic girls' dugis and boys' goubahs can be easily made or purchasedfor your students. For more information and resources, check the WRAPwebsite at www.drum2dance.com.

Girl's dugi (DOO-gee): shirt, skirt "lapa,"and head wrap. Boy's goubah (GOO-bah): pants, shirt, and head wrap

Other Popular Traditional Instruments in guinea, West Africa

There are many other instruments found in Guinea and thesurrounding region. The following is a brief description ofsome of the most popular ones.

Kora

A harp-lute with 21 strings arranged on both sides of a notched bridge, the kora'sbody consists of half a large calabash partially covered in calf skin and a large,rounded wooden neck to which the strings are attached. The kora is played withboth the thumb and index finger of each hand. It originates from the Griot or Jelicaste.

Bolon

The bolon is a type of harp comprised of a large calabash and curved wooden pole to

which three or four strings are attached. The bolon can be played standing, or byholding one hand on the neck and plucking or pinching the strings with the thumb of theother hand. It can also be played the more popular way, seated with the thumbs of bothhands plucking the strings. The bolon was said to have been used traditionally inhunting ceremonies, but it is now heard in all types of popular Guinean music.

Sico (Siko)

Originating from the Temne ethnic group in Sierra Leone and quickly adopted bythe Susu ethnic group of Guinea, the sico is a flat, square-shaped drum with goatskin attached to one side. Sicos are usually played in sets of five or six. Thelargest sicos, called the baba, are played upright with one hand. The smallerdoumblock and solo are played with two hands while held between the legs, andthe mid-sized rollin is played on the ground with two sticks.

Rote

The bote is a small, bowl-shaped drum from Western Guinea with cow skin stretchedover one side. It is played with a flat mallet in one hand. The other hand plays a bellthat hangs from one finger and has metal rings attached to the other fingers. This drumis often used to accompany the bala for weddings and other celebrations.

Gongoma

A popular instrument from the western coast of Guinea, the gongoma consists of alarge half calabash with a thinner piece of wood affixed over the open part. Three tofour sawblades are then attached and plucked with the fingers of one hand while theother hand taps on the calabash or wood top. The gongoma is played to accompanysinging.

Fuld (Malinke, Susu), or Tambin (Fula)

This type of transverse flute is made from the conical vine and is popularamong the Fula (Peul) ethnic group of the Fouta Djalon region of Guinea. It hasthree finger holes and can produce one complete diatonic scale. Typical keysinclude F, Fm, G, A6, and A.

Wassakhoumba

The wassakhoumba is a hand-held clapper/rattle made from curved or angled sticksonto which several calabash discs are attached. Popular among the Fula (Peul) andSusu of Guinea, they are traditionally played for circumcision ceremonies.

Educational Resources

World Rhythms! Arts Programs

WRAP offers materials and workshops that support the WRAP curriculum. Educatorsare encouraged to join the WRAP user group to receive special membership benefits,additional resources and information.

Company Fore-Fote

An educational and performance organization dedicated to preserving andpromoting the traditional music, dance, and culture of Guinea, West Africa.Founded by Master Drummer M. Lamine Dibo Camara, Company Fore-Fote offersprofessional drum and dance performances, workshops, school and universitydemonstrations, residencies, CDs, videos, and more. Fore-Fote also hosts drum anddance workshops on the island of Roume in Guinea, West Africa, suitable forteachers, performers and recreational drummers and dancers.

Denbaya, Inc.

A 501c(3) non-profit cultural arts organization based in Ashland, Oregon, offeringschool and university programs, community celebrations, courses and workshopsfor the northwest United States. Denbaya (which means "family we care for" in

many West African Mande dialects) is committed to building interculturalunderstanding through the medium of performing arts and education.

Djembelesson.org

Ryan M. Camara's educational website offering complete jembe and dundun drumminglessons online. Using advanced audio, video and multimedia, djembelesson.org offersstudents and teachers from around the world the type of quality instruction previouslyonly available through ongoing master classes or special workshops.

Drum Camp

Drum Camp is a week-long retreat for beginning to advanced drummers anddancers. Classes feature techniques, history and applications, improvisation, skillsdevelopment, and more. Healthy meals and comfortable housing in a beautiful forestsetting are included.

Drum Circle Music

Kalani Music offers training and certification, based on Kalani's award-winning bookand DVD Together in Rhythm. Drum Circle MusicTM (DCM) is an innovative andeffective approach to group music making and expressive movement that fostersimportant life skills and musical intelligence. DCM is used by drum circle facilitators,educators, therapists, activity directors, healthcare workers, and community musicinstructors.

Rhythm Gym

A 501c(3) non-profit, Rhythm Gym provides children and communities with healthymusic-based programs that promote core timing, physical fitness, and social skillsdevelopment. Founded by Kalani, Rhythm Gym features unique "Fitness Drumming"activities that combine movement, playing drums and percussion instruments, andexercise. Programs, training opportunities, and resources are available on the Rhythm

Gym website.

Additional Websites:

alfred.com (music books and medial

vicfirth.com (sticks, mallets, drumming gloves)

kalanimusic.com (educational, professional, therapeutic, and recreational drummingprograms and medial

ABOUT TH E AUTHORSP.R.I.D.E. AND THE WRAP CORE VALUES AND BEST PRACTICESLESSON ASSIGNMENTSWEST AFRICA: AN OVERVIEWWHERE DOES OUR MUSIC COME FROM?ROUME: OUR VILLAGE .................................................................................INSTRUMENT GUIDE ...................................................................................MUSIC AND THE MANDE CASTES .........................................................................INSTRUMENT TECHNIQUE ...............................................................................THE ROLE OF WEST AFRICAN DANCE .....................................................................YAN KADI AND MACROU ................................................................................MACROU ENDING ARRANGEMENT ..........................................................................YANKADI SCORE ......................................................................................YANKADI ENDING ARRANGEMENT .........................................................................ABOUT VOCABLES .....................................................................................SONGS"BERE MU SORBS" )DANCEDANCE STEP NOTATION TEMPLATESPERFORMANCE ........................................................................................THE ROLE OF THE LEAD DRUMMER .......................................................................LEAD JEMBE PHRASES .................................................................................RESOURCES ..........................................................................................SUSU PRONUNCIATION GUIDE ...........................................................................TRADITIONAL WEST AFRICAN RECIPESAUTHENTIC VILLAGE DRESS ............................................................................OTHER POPULAR TRADITIONAL INSTRUMENTS IN GUINEA, WEST AFRICA .......................................EDUCATIONAL RESOURCES ..............................................................................