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Momodou
Denmark
11841 Posts |
 Posted - 26 Mar 2008 : 18:21:18
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Arts & Music
Interview With Demba Danjo, Fiddle Specialist
With Musa Barrow
Demba Danjo is a fiddle specialist as well as an oral historian. In this exclusive interview with the Art and Music column, Mr. Danjo gives an account of his personal strife to learn this rather peculiar musical instrument. He further discusses the significance of African history especially in the bid to unite the continent.
Foroyaa: Could you introduce yourself to Art and Music Column readers?
Danjo: My name is Demba Danjo and I was born in Baro Kunda, Wuli West District, Upper River Region. I have got a rather unusual story that members of my family are from smiths by profession. However, I decided to become a fiddle player after learning it. Having said so it is worth pointing out that becoming a fiddle player did not prevent me from learning the trade of my father and grandfather which is iron smith.
Foroyaa: It is quite usual that an iron smith turns to a fiddle player, so what inspired you to change profession?
Danjo: Well, during my childhood days I used to play an instrument that resembles a fiddle. And as I grew older I began to develop more admiration for a fiddle. I had several dreams in which I saw myself playing fiddle. In a nutshell, it was my desire to visualize my dreams that truly inspired me to become a fiddle player.
Foroyaa: How did you start learning and playing fiddle?
Danjo: It was immediately after one of my those dreams that I rushed to one man who makes fiddles expressing my desire to have a fiddle. The man who actually thought I was joking charged two hundred CFA as the price. Having produced that amount the man brought the fiddle to me and returned me sixty CFA. He then told me that the reason why he demanded two hundred CFA was simply because he was testing my seriousness about the thing. In response I told him to take the change. After receiving my fiddle I fixed the strings and started playing it. The only person to have taught me how to play the fiddle was a personal friend who stayed with me just for a day and showed me how to become a better fiddle player. I started playing the fiddle while I stayed in the Senegalese town of Tamba Kunda.
Foroyaa: How long did it take you to become a full fledge fiddle player?
Danjo: It took me nothing less that six years to acquire all the skills necessary to be a full fledge fiddle player. After learning by practicing on my own in Tamba Kunda I had to go to Mali where I was taught by a fiddle specialist. Upon completion of my training in Mali I joined the Malian National Troop as a fiddle player.
Foroyaa: How did you join the Malian National Troop?
Danjo: Well, one of my friends worked with the then Malian Troop and I used to attend their rehearsals with him. Unfortunately the then fiddle player of the Malian National Troop passed away and my friend was asked to recruit a fiddle player. He then consulted me and offered me the job which I accepted. I worked with the troop for a period of four years during which we had toured many countries in the Sub-region. It was during one of those tours when we came to The Gambia that my father persuaded me to stay in Gambia. This was how my career with the Malian National Troop ended. When I was in the Malian National Troop we toured and performed in all corners of Mali.
Foroyaa: Apart from your prowess on the fiddle, you are also quite versatile in oral history. How did you learn history?
Danjo: I learned history from the same person who taught me to play the fiddle. The name of this fiddle specialist and oral historian is Jali Baba.
Foroyaa: Having been persuaded by your father to stay in Gambia how did you continue your artistic career in your native country?
Danjo: Well, in the country I have performed with many artists and joined many bands. However, I have now stopped joining bands, although I still play my fiddle on some occasions.
Foroyaa: Have you ever worked with The Gambia National Troope since returning from Mali?
Danjo: I have never worked with The Gambia National Troope, although several attempts were made to persuade me to join them. My reason for not joining Gambia National Troope was because I feared that I would not be adequately paid.
Foroyaa: You once ran a popular oral history show at Citizen FM Radio, how did that programme start?
Danjo: The late proprietor of Citizen FM Babucarr Gaye knew me and gave me air time on his radio to narrate African history. As the programme became popular he even wanted to establish a permanent salary for me. Unfortunately, we did not live to witness that as the radio station was taken off air.
Foroyaa: Apparently the closure of Citizen FM has an adverse impact on you as you were denied a source of income?
Danjo: Clearly the closure of Citizen FM came as a severe blow to me. It did not just deny me income, but I was also denied the much needed popularity which the programme started to give me. The radio station also served as a recording studio for me which I was denied.
Foroyaa: The then proprietor of Citizen FM Babucarr Gaye has passed away, what would be your tribute to him?
Danjo: The death of Babucarr Gaye was a big loss to the entire country as a whole. He truly stood for freedom of speech and expression. Despite his death his legacy will still continue to live with us.
Foroyaa: How would you compare the state of music in The Gambia and Mali?
Danjo: The state of music in The Gambia and Mali is incomparable. Music in Mali is far ahead of Gambian music. This is due to the fact that Malian musicians frequently perform and rehearse together. And above all they make a decent living out of their music. In sharp contrast, all those things mentioned above are not happening in The Gambia.
Foroyaa: What would you attribute the apparent disorganization in The Gambia music industry to? Is it due to the reluctance of Gambia artists to better organize themselves or lack of sponsorship?
Danjo: In this country the problem with the music industry is lack of sponsorship. Developing the music industry requires a good sum of money. And in The Gambia investors are not willing to invest in the music industry. For constant rehearsals to happen artists need to be assured that their experiences will be covered.
Foroyaa: What is your reaction to calls for the establishing of a music academy in the country?
Danjo: The whole idea of a music academy is splendid. However, practicalising it is another matter. Establishing a music academy requires huge investment. The reason why a music academy has worked so successfully in some countries is simply because investors have invested in the music industry. It is very rare to come across such investors in The Gambia. Basically, the people who know art in this country do not have the financial clout to support artists, while those who have the financial clout do not know the economic benefits art can bring.
Foroyaa: Despite Gambians producing some excellent instruments, why is it that Gambian music still lives under the shadow of the music of other countries?
Danjo: It is quite right that Gambia has produced some of the best instruments in the sub-region. However the reason why our music is still incomparable with the music of other countries is due to what I call lack of professionalism. Most of Gambia’s best instrumentalists have in fact left the country playing their trade in some neighbouring West African States. It should not be surprising that Gambians has produced some excellent instrumentalists, in fact Kora has its roots right from Gambia.
Foroyaa: Having traced the origin of Kora, could you shed light on the origin of fiddle?
Danjo: Fiddle was one of the earliest musical instruments in black Africa. Initially it had only one string and used to be carried by herdsmen. As the herdsmen looked after their cattle, they played a fiddle to entertain themselves.
Foroyaa: Is it compatible with the principles of art for artists to just shower praises on any one just for the sake of getting money or any other material gain?
Danjo: It is totally incompatible with the principle of art or music to shower praises on people who do not deserve such praises. It is greedy and unscrupulous musicians who selfishly praise people just for the sake of getting material gain. Upright musicians would always shower praises on people who truly deserve it and they would never hyperbolize it.
Foroyaa: How would you spell out that role of artists in pre-colonial Africa?
Danjo: In pre-colonial Africa the artist served as mediator as well as custodian of history. Artists played the role of peace envoys and advised leaders on sensitive issues. The music that artists played was in itself a reservoir of good moral lessons for young people. Marriages and other social events are negotiated by artists.
Foroyaa: How do you view the state of African history. Is it getting the attention it deserves?
Danjo: It is quite worrying that historians are not popular as singers. Most people especially young ones have less interest in history. There is no doubt in my minds that if appropriate measures are not taken our history could disappear from us.
Foroyaa: How would you describe the significance of history?
Danjo: History is so significant that it serves a reservoir of knowledge. It teaches one about the earlier generations and thought comparing what transpired in the past and today. One can have an idea as to what might come in the future. History teaches one how to interact and peacefully co-exist with other human beings.
Foroyaa: What was Pre-colonial Africa like?
Danjo: The boundaries are not the same as it is today. During those days there were powerful and large empires in Africa.
Foroyaa: Don’t you think African history if popularized could help efforts to unify Africa?
Danjo: There is no doubt that if Africans truly know their history efforts to unify the continent will be enhanced. The idea is a very good one because unity is going to yield strength. The reason why Western powers have been able to dominate us is because we are not united. Unity also begets understanding.
Source: Foroyaa Newspaper Burning Issues
Issue No. 35/2008, 26 - 27 March 2008
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