Nommo Repertoire

Red = Name of Rhythm          Gold = Area in which Rhythm is found          Green = Culture

 

Coucou [ Konianke ]: a rhythm of the forest region of Guinea , near Beyla . It is used for the celebration of the harvest and any other joyous occasions. Traditionally is only played on djembes, while the solo is played on a larger, lower tuned djembe. Kuku  [ Koniagi ]: From the Beyla and Kérouané regions in the Guinea forest area. This rhythm is played for the end of the harvest festivities and during celebration festivities. It is played only on the djembe, as the dunun does not exist in this region. Two small drums are added to the sides of the soloist’s djembe. The whole is called a three headed drum. Another drummer keeps up an accompaniment on a small djembe. The kuku has been modified and adapted with dunun and djembe solos for the National Ballet Company.

 

Doundoumba Family : a rhythm and dance popular in the Siguiri , Kankan and Kouroussa regions. It originally comes from the Hamanah region, prefecture of the Kouroussa region. It is the “ rhythm of the strong man “. In traditional times it was played to settle disputes among the men of the village. The two in conflict would dance the Doundoumba , in the Bara among the villiage people. This would insure the safety of the competition which lasts from dusk to dawn. The Baranti, the master of the Bara, insures that the fes in the Bara among the village people. This would insure the safety of the two men and the maintain unity among the village. In modern times it is a kind of social initiation. Usually once a week the village or town people will gather in the Bara for a doundoumba , a competition that lasts from dusk to dawn. The Baranti, the master of the Bara, insures that the festivities run smoothly. He holds a handkerchief that he distributes randomly to one dancer at a time. The dancer then proceeds to the center of the Bara to do his or her best Doundoumba . It is all in fun and gives the youngsters a chance to see how the music and dance are done.   Women participate with their own specific movements. There are many variants of the dununba rhythm.

 

Fanga 2 : a welcoming rhythm.

 

Lamban 2 (Mali , Kayes region): originally from the Kouyate lineage of Mali , it has origins on the balaphone, but it’s commonly accompanied by doun douns and djembe. It is played for and by the djeli to thank the gods for creating the djeli caste. This rhythm is also called jalidon (Dance of the griots). In Guinea , it is called Lamban.

 

Lenjengo:  A Mandinka dance - usually performed at the end of harvest time. The female dancers carry ‘sawandang’ - the implements used for winnowing: separating the chaff from grains after the millet, maize or coos have been grounded.

 

Sorsoner 2 [ Baga ]: from the coastal region of Guinea . It is a rhythm danced in full moonlight by young girls out of respect for their mothers.

 

Yancadi 2 [ Soso ]: a lighthearted courting rhythm whereby young girls get the opportunity to express their love and admiration to the young boys. It is a rhythm of flirtation and seduction. It is often played in conjunction with Makru.

 

Djon don / Wölösö don 2 [ Wöllösö ]: a rhythm from the people located in the lower southeast region of Mali , near the border of Burkina Faso . It is played for and by the caste of indentured servants who served the Royal courts of Mandeng chiefs and royal families in ancient times. The dance was a show of family pride and solidarity.

 

Mendiani 2 [ Minianka ] : originates from the area between the Siguiri and Mendiana regions in Guinea and the Kayes region in Mali . Every village within these regions has a Mendiani, a pre-adolescent girl who has mastered the dance of Mendiani . The rhythm is played to test the skills of the dancers. The best dancer is then initiated into the secret society of Mendiani, which consists of previous Mendiani.

 

Sunu 3 [ Soninké ]: From the the Kayes region of Mali . This very popular rhythm is believed to date back to the pre-colonial era. At that time, in the village of Sagabari , there was a pretty young girl named Sunu Mamady (her father had the same name). Everyone loved her, and her qualities as a dancer were greatly appreciated. No festivity could take place without her participation. This rhythm was created in her honor by a djembefola troupe from her village. The dance is played to celebrate good harvests. It is a moment for young girls to demonstrate their grace and beauty, sometimes even their provocativeness and for young boys, especially in the Kaarta circle , to demonstrate their strength and vigor and show their acrobatic prowess.