Lalo Kebba Drammeh was a legendary kora player from The Gambia, widely regarded as one of the greatest Mande koramasters of the 20th century. Born, in Kiang Kwinella in the lower river region, he is regarded as the greatest Gambian kora maestro. His virtuosity and deep understanding of traditional Mande music made him a highly respected griot, preserving and passing down centuries-old oral traditions. He was instrumental in popularizing the kora beyond The Gambia, influencing many musicians across West Africa and beyond. His music was deeply rooted in the classical Mande repertoire, yet his improvisational skills and technical mastery set him apart. His ability to blend intricate melodies with profound storytelling made him a sought-after performer and mentor to many younger griots. He adapted the djembeseng, Manding polyrhythmic very involving given by the djembe drums, to the kora. He became famous for adapting to the Kora of Djembeseng (a[…]
The Mande people of West Africa, particularly in modern-day Mali, The Gambia , Guinea, and Senegal, have a deep-rooted tradition of oral history, music, and storytelling. One of the most significant instruments in this tradition is the kora, a revered 21-string harp-lute. Its origins are shrouded in both oral legend and historical accounts, making it a deeply symbolic instrument of the griot (jeli) tradition—the hereditary musicians and historians of the Mande world. While the legend provides a poetic explanation, historians trace the kora’s origins to around the 16th–18th century, particularly within the Kaabu Empire (an offshoot of the Mali Empire). The Kaabu Empire (1537–1867) played a key role in the kora’s spread, as it  was a major cultural and musical center where griots thrived. The Mali Empire (c. 1235–1600), under rulers like Sundiata Keita, relied heavily on griots to preserve history through music and poetry. Although the kora itself might have emerged later in Kaabu, it became the instrument of choice[…]
Have you ever finished a book and thought, How did they write that? We journey into the minds of amazing authors. We explore their creative process. It’s a fascinating world. Think of it like stepping into their writing space. We see their desks, their favorite pens. We feel their energy. It’s about understanding the person behind the words. Their stories become even richer. Join me as we unlock the secrets of storytelling. Words are powerful. They can transport us to different worlds. Authors use language skillfully. They create characters, settings, and emotions. Imagination is the fuel for their creative fire. It allows them to think outside the box. They create something out of nothing. It’s like magic! They weave words into captivating stories. We get lost in their pages. This is the beauty of literature. It expands our minds. It takes us on incredible journeys. Maya Angelou found solace[…]
A continent of astounding diversity, Africa is a tapestry woven from the threads of countless cultures, each contributing to a vibrant blend of tradition, art, and history. From the ancient sands of the Sahara to the lush rainforests of the Congo Basin, we’ll uncover hidden gems and marvel at iconic landmarks. From the ancient pyramids of Egypt to the bustling markets of Morocco, from the vibrant traditions of Nigeria to the unique flavors of Ethiopia, and the inspiring story of South Africa, Africa will leave an indelible mark on any heart. Witness the warmth of its people, the rhythm of its music and dance, and the exquisite flavors of its cuisine. But more than that, you will experience the indomitable spirit of Africa, a spirit of resilience, creativity, and hope that continues to inspire the world. From historical landmarks to mouth-watering cuisines, let’s explore the essence of Africa’s diversity.[…]
Arts and aesthetics reflect a people’s traditions, values, practices, pervasive realities, and external relationships. In the traditional African setup, art is intricately bound up with spirituality and culture. Thus Somjee (1992, 49) observes that “… art objects are not mediators of aesthetics but of ritual processes and institutional law that define and maintain relationships of the sexes, age groups, clans, and with neighboring ethnic groups.” The boundary between art, social practice, and spiritual or religious performance is subtle, but real (see Jahn 1968, 57-58). To illustrate this fact, one only has to witness the performance of the following Ifa divination verse: The day Epe was created Was the day Ase became law Likewise, Ohun was born The day Epe was invoked Ase is proclaimed Epe is called But they both still need Ohun (Abiodun 1994, 73). This verse cannot be properly comprehended without acknowledging the Yoruba religious beliefs and[…]

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