Last weekend, theatre-goers converged at the Alliance Franco Gambienne amphitheatre to see the latest from the Ebunjan Theatre Troupe. The presentation was ‘The Dance of Katchikali’, a dance –drama focusing on the genesis and legend of Bakau’s sacred crocodile pool.

According to a griot narrator, the Divine power had created the sacred pool in the midst of a small forest and placed there different spirits. The spirits represent all aspects of human aspiration and endeavour: wealth, success, fertility, good health, peace. The spirits take the form of crocodiles during the day and spirits at night. Higher than all the spirits, however, and shielding superior control over them, is the Great Spirit of the pool, named Katchikali. Everything seemed satisfactory and harmonious until the Divine power created humans, man and woman.

At that point in creation, harmony became destroyed and with it the beautiful environment that flourished, as humans wreaked havoc on their surroundings, chopping trees wantonly and generally creating a negative impact on the ecosystem. The spirits revenged by evicting humans from the forest, and Katchikali subsequently installs the Bojang family as custodians of the pool following a satisfactory test of the family’s loyalty, kindness, selflessness, and caring nature. The Bojangs care for the pool to this very day and assist those who visit the spirits with their various wishes, prayers and supplications.

The story is narrated with the support of the medium of traditional music and dance, with accompaniment of kora and drums. The effect ranged from quite strong to absolutely stunning. Much of this had to do with the deft and sprightly performance of the dancers. Eddie Mends Cole was in top form again as choreographer and dancer both: his imagination, creativity and effervescence never seem to wane. His magic was first revealed in the Troupe’s production of ‘The Magic Necklace’, and re-affirmed in the Troupe’s recent showing of ‘Hand of Fate?’ Professional koraist, Alhagie Mbye, led, accompanied, interspersed sounds with his kora adroitly between and through narrations, dances, songs, episodes, and still stayed as cool as a cucumber. Well, that’s a professional for you.

Esther Emeh, the great spirit of Katchikali, was as good as any spirit: how lightly she treaded, looking immaculate, noble, exalted, and emitting all the mystique she could muster. Of course the drama would not have been the same without the impactful narrating of Felix Downes-Thomas who played the part of the griot. His stage abililities were shown in Gogol’s ‘The Government Inspector’ as the shrewd Village Postmaster who unravelled the trickster Khlestakof, and as the concerned father in ‘Hand of Fate’  by Janet Badjan-Young. Other experienced actors included Ibrahim Ceesay who also featured in the Troupe’s performance of ‘The Government Inspector’ as well as in the Classic, ‘Man for All Seasons’. Marcel Thomasi and Ousman Jarju delivered the Prologue with great artistic flourish.

Some of the audience afterwards commented about the length of the performance which was judged and pronounced ‘too short’, and ending where previous plays of the Troupe broke for intermission. Comparatively short though it was, the show was yet enjoyable. What helped it gain ground and enthusiastic reception must have been in the area of stage effects, in particular sound effects, lighting, physical effects of smoke, trees, flowing river, and certainly its colorful and well-designed costumes.

The play’s brilliant director, Janet Badjan- Young, received a most deserved ovation at the end.

An artistic masterpiece! Congratulations Ebunjan Troupe!

Mr. Pa Modou Bojang, General Manager of Yiriwa Development Radio Station in Brikama Town, Western Region, has lately returned from the UK where he attended the World of Music Arts and Dance Festival (WOMAD) held at the new site of the Founder Peter Gabriel in Charton Park few miles away from London from 27th to 29th July 2007.

The festival, which brought together over two million people including 40, 000 artistes across the globe, was geared towards bringing about cultural exchange through music, arts and dance. This year’s festival marked the difference as over million people were reportedly seen singing, dancing and drumming in the muddy sands of the newly -built Charton Park.

Speaking to Travel Talk, Mr. Bojang described his trip to the UK as a resounding success.  He said attending the WOMAD festival has given him the opportunity to meet and mingle with the movers and shakers of the UK society.  According to him, during his stay in the UK, he was invited to attend the Tribe of Doris Festival that took place at the Wellington Park in southwest England from 22nd to 28th August. “The Tribe of Doris is the intercultural summer school that began 17 years ago and that this year’s event attracted over 40,000 people including artists from all over the world.

“African artists were given prominence as African cultures were given more attention more than any other cultures. Many artists from the African continent including The Gambia, Senegal Zimbabwe, Nigeria and just to name a few performed at the festival,” he said.

The Yiriwa FM boss also revealed that while in the UK he attended a two-day workshop on globalization and cultural exchange at Bristol organized by Sul’art, a community-based organization that promotes cultures through providing entertainment to schools and prisons adding that forum was expertly coordinated by the Gambian sabarr teacher Modou Joof.

He further stated: “This trip has really accorded me ample opportunity to get access to partners in development for the future possible investment in this country.

“I was able to meet the BBC Bureau of International Development and Partnership where agreements were made on staff training and programme rebroadcasting. With this agreement there is a strong hope that every year one or two Yiriwa FM staff could benefit from the training package.
“I also met the Black Radio Organization in Bristol with whom so many things were discussed for the expansion o f Yiriwa Development Radio in Brikama.
“I was The Gambia goodwill ambassador to WOMAD and all these events because this is the first time that the Gambian media is being invited to these festivals.
I was able to present a paper on future investment in The Gambia at a forum organized by Gambians residing in the UK and their friends that took place in Liver Pool.

“At the investment forum I informed the gathering that The Gambia has lots of positive investment opportunities as well as an enabling investment climate and I have no doubt that if given chance not only Gambians residing in UK but many other business tycoons around the globe would invest in the country since The Gambia ranks among the most peaceful countries in the world.
“Also I attended the Northinghill carnival in London that brought together over one million people drawn over diverse societies in the UK.

“So I’m very thankful to the proprietor of Yiriwa FM Alhaji Basiru Darboe for paving the way for Yirwa’s participation and the organizers of WOMAD for inviting me to cover this year’s event. Equally I’m also very thankful to government of Gambia for the creation of a level playing field for us in the electronic media.
“My future plans include the setting up of a private television station in The Gambia that would be attached to Yiriwa Development Radio. This TV station would focus on airing programmes on environment, health, agriculture and education”.

Modern dance, made famous by Martha Graham, Isadora Duncan and Merce Cunningham, among many others, rebelled against the rigid, strict rules of ballet, striving to show emotions through more natural movement. Its basic form is parallel feet positions and angular arms.

Classes begin with basic exercises and proceed to short combinations the students perform in the center.

A typical class can include the following movements:

1. Curl down and up. In a standing parallel first position (feet pointed front a few inches apart), arms at your side, begin by looking down and continuing to curl the spine over, without collapsing into the waist. About halfway down, bend your knees slightly (demi-plié), keeping the knees aligned with your toes, all the while, continuing to curl the torso down. When you've reached the extent of your forward movement (arms will be dangling on or close to the floor), straighten your knees. Then demi-plié again, and begin "restacking" the spine upward. Again, halfway up, straighten the knees. When you're fully aligned upright again, repeat.

2. Side twists. Seated on the floor with one leg bent toward groin, the other crossed over with foot flat on floor, arms to seconde (arms at shoulder height, elevated slightly in front of side). Lifting from waist, twist opposite arm toward crossed-over knee, turning the torso as one piece. Grasp the outside of the crossed-over knee with the opposite arm, the other arm flows to dancer's lower back. Gently pull front arm to twist even further. After holding for about five seconds, lift arms back to shoulder height à la seconde and twist to face front. Repeat with opposite legs crossed.

3. Leg swings. Begin in standing parallel first position, arms in second. Tendu right leg (slide leg forward with toe pointed while balance is upright; no weight on the moving leg), then rapidly brush the right leg through first position and backward, letting the leg leave the floor, slightly bending the knee at the apex of the swing. Brush the right leg forward, through first position, and again let the leg leave the floor, bending the knee slightly. Repeat two or three times, then point the leg to the front on the floor and slide it back into first position. Repeat with the left leg.

4. Flat back. Standing in second position, arms down, bend forward from the hips, keeping the head and spine aligned and moving as one piece, until the torso is parallel with the floor. While bent over, take arms through second position into high fifth (arms held overhead) with palms facing each other. Keeping the arms still, raise the torso as a single entity erect. Turn the palms outward and push the arms back through second and down to the sides. Repeat.

5. Tendu. Standing in first position parallel, arms in second, slide the right foot forward, keeping the toes pointed and on the floor as far forward as possible without putting any weight on the working leg or shifting balance from the standing leg. Pull the working leg back into first position, letting the foot work through a relevé (heel up and ball of foot on floor) before it rests on the floor with weight momentarily placed on it. Immediately, slide the right foot to the side (it won't be exactly side but slightly in front), again keeping the toes on the floor and the foot going through a relevé before fully extended. Reverse, momentarily putting weight on the working leg when in first position. Then slide the foot to the rear until the toe is pointed, then slide it back to first position, leading with the toes. Slide the right foot out again to the side. Repeat the pattern with the left leg.

6. Leg overs. Lying on your back with your lower back against floor, arms extended to side at shoulder height, raise right leg up perpendicular to the floor (or as high as the student's flexibility will allow), without bending the knee and with the toes pointed. Lower leg toward the left side, trying to touch your toes to your left hand, keeping shoulders on the floor. After a few seconds, bring right leg back to upright, then lower to starting position, pushing the lower back into the floor and controlling the leg with your abdominal muscles. Follow with the left leg. It sometimes helps if the student looks opposite the working leg as it crosses over.

7. Lunges. From a standing first position, slide the left foot forward, bend the knee and place weight on the forward leg, keeping the back leg straight, foot in high relevé (heel elevated). Both hands are placed next to the left forward foot, which is flat on the ground. Shift weight on the hands to the right and lift the left arm straight up, looking at the left hand as it points to the ceiling. Return the left hand to the floor, and straighten the left leg, putting the right foot flat onto the floor. Slide the left leg to join the right, keeping the body in a "V," then slide the right leg forward and bend the knee, pulling the left foot into a high relevé. Raise the right arm to the ceiling, and then back to the floor. Straighten and slide the right leg to join the left, walk hands back to the feet and curl up to erect position.

8. Isolations. Standing in parallel first and with the head erect, bring the head back to the front, then drop it forward, erect, then backward, and back to erect. Look sharply to the left, back to front, then to the right, making sure the eyes actually see at each side.

Still standing with arms to side, drop your head forward, then to one side, to the back, the other side and back to the front. During this, keep shoulders still. Repeat a couple of times, and then roll the head to the opposite direction. End with the head facing front and erect.

Raise both shoulders up, and then back to normal height. Repeat about four more times. With arms to second, lift right shoulder up to ear, then roll it forward, lift it back up to the ear, and roll it backward. After a couple of repeats, shift to the other shoulder. Once both shoulders have been exercised separately, put them together, with one shoulder rolling forward and the other backward simultaneously.

Lower arms to the waist, then lift chest up and forward while keeping hips and shoulders still. Return ribs to normal, and then push them to the back. Repeating this a few times, then move the ribs from one side to the other. After a couple of repeats, circle the ribs first to the left (forward, side, back, side), then to the right.

Bringing arms up to second position, demi-plie and contract side to raise one hip, then let it return to normal. Repeat on the opposite side. Repeat hip raises about three more times, then thrust the hips forward, center and back. End with the hip circling first left, then right.

Once the warming-up and technique-strengthening exercises are finished, the teacher will give students moving steps and combinations to learn and execute. Samples could be the following.

1. Chassé. Stand with weight on leg foot, right leg pointed to side, arms in second. Shift weight onto right foot, demi-plié, slide left foot to join right, jump from both feet straight up vertically and land with weight on both but more on left so can immediately slide right foot out again, join feet and jump with a half-turn to face opposite direction. Repeat twice more, end facing front.

2. From a standing first position with naturally turned out feet, arms at side, lift right leg, knee bent at 90 degrees and facing front, toes pointed while raise arms forward to shoulder height. Simultaneously open right leg to side and arms to second. With a small elevé (lift heel off floor) and turning the left foot outward, shift the right leg to the back with knee still bent into a table or attitude. Lower left foot to flat. Straighten right leg (arabesque) and lower torso to left side, right arm pointing to ceiling, left arm stretching to side, then continue right arm to meet left in high fifth over the head. Keeping the right leg still, twist torso and arms so facing down, swing torso to front, contract stomach and bring arms in with an envelopé of the right leg (draw in to standing knee, then slide foot to floor), straightening to starting position. Repeat with the left leg, torso to right.

3. Stand with weight on right foot, left pointing back, arms in second. Walk forward, toes leading left, right, demi-plié and piqué (step onto straight leg) onto left demi-pointe (heel elevated), draw right leg in with bent knee while hug shoulders. Lower left foot to flat, developé right parallel leg through passé (toe of working leg to standing leg's knee) and forward while extend arms up, palms together to high fifth parallel. At peak of developé, elevé left foot and push arms down to side, palms down. Walk right, left, demi-plié and repeat on right foot.

African masks are unique to each tribe and their shape and accessories have special meanings for the different cultures.

Masks have been used by the world's diverse cultures for centuries. The ancient Greek actors used masks for special theatrical representations. Eighteenth century Europeans frequented masked balls where the masks were elaborately decorated with beads and feathers. The Chinese still use masks in their traditional dances.

African cultures have perhaps the richest mask traditions. In African societies masks are used for funeral ceremonies and harvest dances. They figure prominently in the right of passages for young men, and have become a source of pride in modern-day celebrations. Masks are unique to each specific African society and their shape and accessories have special meanings for the different cultures.

One of the most abundant types of masks among African cultures is the animal representation. Animal masks connect people with the spirit world that traditional African beliefs say inhabit the forests and open savannas. The Bwa and Nuna people of Burkina Faso call on the spirits to ward off destruction. Crocodiles, hawks and buffalo are the most frequently carved animal masks. Masked dances are held on market day, during initiations and at funerals to honor the spirits and evoke their blessings. The Nuna hawk mask carvers used an animal-like snout to distinguish it from the hawk mask of the nearby Bwa, who use a distinctly rounded mouth. The wings of both are carved with geometric patterns to represent moral principles. The zigzag lines refer to the often-difficult path of their ancestors. The checkerboard patterns show the forces of polar opposites such as light and dark, knowledge and ignorance, and men and women.

The Dogon of Mali also rely on animal masks for many of their ceremonies. The Dogon have complex religious beliefs that manifest in three cults: Awa - the cult of the dead, Binu - the cult of spirit communication, and Lebe - the cult of earth. There are nearly seventy-eight different types of masks associated with the cults. Most of the ceremonies are highly secret, but non-Dogons are most often introduced to the dance of the antelope mask. The mask is a rough rectangle box with several horns protruding from the top. For the Dogon, who are expert agriculturists, the antelope is the symbol of the hardworking farmer. Dancers wearing the masks hit the ground with sticks to represent the characteristic pawing of an antelope, but also the hoeing motion of the Dogon farmers.

The Bamana people of Mali also have a rich agricultural tradition. The Bamana believe that the antelope taught man how to farm. The intricately carved Bamana antelope headdresses are worn for special inauguration ceremonies. The horns represent the sprouting of grain. The antelope mask continues to hold a prominent place in Malian society. Many government agricultural societies use the mask as their logo.

Masks are also carved to represent a culture's ideal of feminine beauty. Female masks of the Punu of Gabon have highly arched eyebrows, almond-shaped eyes and a narrow chin. The raised strip running from both sides of the nose to the ears represents ornamental jewelry. The mask is topped by a dark black hairstyle, but the face of the mask is white to represent the whiteness and beauty of the spirit world. Despite being a 'female' mask, only men will wear it while performing a dance on high stilts.

For the Baga people of Guinea, the beauty of a woman is captured in her breasts and facial scars. Baga carved female masks can be as large as a Roman nobleman's marble bust. Usually carved of wood, the masks have elongated, flat breasts symbolizing many years of childbirth. Scratches across the cheeks mimic the facial scars coveted by Baga women. Many masks even replicate the tightly woven hair braids popular in most African cultures. Similar to the Punu of Gabon, the Baga 'female' masks are reserved for men only. In fact, Baga men compete openly for the right to wear the female masks in special ceremonies.

The best representation of female beauty is the famous Idia's Mask from Benin. This mask is believed to have been commissioned by a king of Benin in memory of his mother. The ivory carvings depict the realistic deep-set eyes, full lips and wide forehead of the women of Benin. The king would have worn the mask on his hip during special ceremonies to honor his dead mother.

African masks are also made for moral lessons. Most African societies have no extensive written culture and masked dances serve to teach people right from wrong. The Senefou people of the Ivory Coast carve masks with eyes half-shut and lines drawn near the mouth to represent tranquility. Such masks are used to portray the virtues of self-control and patience. The Temne of Sierra Leone use masks with small eyes and mouths to represent humility and humbleness. Bulging foreheads carved with designs symbolize wisdom.

In Gabon, certain masks can enforce obedience on those in power. Such masks have strong chins and mouths to represent sternness. Eyebrows arch down to form the nose, depicting a strong individual. Other masks have exaggerated long faces and broad foreheads to represent the soberness of one's duty that comes with power.
War masks are also popular among African tribes. The Grebo of the Ivory Coast carve war masks with small, round eyes to represent alterness and anger. The sharp straight nose depicts an unwillingness to retreat. A block under the nose represents the teeth, which are bared in aggression.

Although African masks are sold in most African (and American) markets, these masks are only replicas of the original masks used in African societies. Most African masks are passed down from one generation to the next, and masks that have truly been used in African ceremonies are almost never found on the open market. Most Africans are still economically tied to the land, and modern religions have not replaced traditional masked dances for harvest blessings. For those Africans who no longer participate in village life, the masks are still used in public ceremonies - a proud reminder of their African heritage.

The Director of Press and Public Relations at the Office of the President has described the bi-annual Kanilai International Festival as a thundering success, saying that this year’s edition was unprecedented in the sense that the turn out was impressively overwhelming.

Mr. Ebrima JT Kujabi told journalists that President Jammeh should be, as a matter of prudence, heartily commended for coming up with such a groundbreaking initiative, adding that it is increasingly becoming evident that the Festival is a powerful tool to promote not only tourism but also sub-regional integration.

“Organising such a successful mega cultural bonanza is not a small feat,  thus the President must be given the accolade  for the initiative,” he said.

The State House press boss went on to pay tribute to all those who contributed towards the total success of the event.

 
Backed by Cotton Club Band

The Gambia’s classic Cotton Club in highbrow Fajara will involve in a weekend of musical fiesta as part of efforts to excite the senses.

From today and tomorrow, the environment of Cotton Club will be charged with heavy sound vibrations as the Senegalese salsa mbalax maestro, Kamuyandeh is poised to join forces with the Cotton Club band to give music aficionados a treat of a lifetime.

In an interview with this paper, the no non-sense manager of Cotton Club Mr. Nderry Sallah said that the weekend jam is organised to provide entertainment in a bigger better package to their valued customers.

“Member contribution is D150 per person per night,” he said, while urging all and sundry to avail themselves of the opportunity by attending the two-day history- making musical splash.

Having caused sensations in the just-concluded much-acclaimed Kanilai International Festival, Cuarteto Harvest, a famous quartet musical outfit from Venezuela yesterday paid a courtesy call on The Point, as they are set to leave the country on Saturday after a successful trip to the Smiling Coast.

The group, who arrived in the country about three weeks ago, was here on the invitation of the Gambian leader to partake in the Kanilai Cultural galore.

Speaking to this paper in an exclusive interview, the bandleader, Mr. Anilar Martinez, thanked President Jammeh and the Gambian people for the hospitality accorded them, saying that they really enjoyed their stay in the country. He said: “The Gambia is a wonderful country and the people are so nice, friendly and hospitable,” adding: “Your president is a friendly man and he has invited us again to visit this country in November this year.”

Meanwhile, this is the first time for the Venezuelan band to visit Africa. The band was formed in 1976 and since then they have been making waves in the entertainment scene in Venezuela and beyond. In fact it was reported that the band took second position in the Kanilai cultural competition.