A Bird Dance near Saturday City: Sidi Ballo and the Art of West African Masquerade available in Hardcover
A Bird Dance near Saturday City: Sidi Ballo and the Art of West African Masquerade
- ISBN-10:
- 0253351480
- ISBN-13:
- 9780253351487
- Pub. Date:
- 08/20/2008
- Publisher:
- Indiana University Press
- ISBN-10:
- 0253351480
- ISBN-13:
- 9780253351487
- Pub. Date:
- 08/20/2008
- Publisher:
- Indiana University Press
A Bird Dance near Saturday City: Sidi Ballo and the Art of West African Masquerade
Hardcover
Buy New
$65.00-
SHIP THIS ITEM— Temporarily Out of Stock Online
-
PICK UP IN STORECheck Availability at Nearby Stores
Available within 2 business hours
Temporarily Out of Stock Online
Temporarily Out of Stock Online
Overview
In 1978, Patrick McNaughton witnessed a bird dance masquerade in the small town of Dogoduman. He was so affected by this performance that its dazzling artistic power has never left him. As he revisits that very special evening in A Bird Dance near Saturday City, McNaughton carefully considers the components of the performance, its pace, the performers, and what the entire experience means for understandings of Bamana and West African aesthetics and culture. The performance of virtuoso dancer Sidi Ballo becomes McNaughton's vehicle for understanding the power of individuals in African art and the power of aesthetics as a cultural phenomenon. Topics such as what makes art effective, what makes it "good," how production is wrapped in individual virtuosity, and what individual artistry suggests about society reveal how individuals work together to create the indelible experience of outstanding performance. This exuberant and captivating book will influence views of society, culture, art, history, and their makers in West Africa for years to come.
Product Details
| ISBN-13: | 9780253351487 |
|---|---|
| Publisher: | Indiana University Press |
| Publication date: | 08/20/2008 |
| Series: | African Expressive Cultures Series |
| Pages: | 328 |
| Product dimensions: | 6.40(w) x 9.50(h) x 1.10(d) |
About the Author
Patrick McNaughton is Chancellor's Professor of African Art at Indiana University, Bloomington. He is author of Mande Blacksmiths (IUP, 1988).
Read an Excerpt
A Bird Dance Near Saturday City
Sidi Ballo and the Art of West African Masquerade
By Patrick R. McNaughton
Indiana University Press
Copyright © 2008 Patrick R. McNaughtonAll rights reserved.
ISBN: 978-0-253-35148-7
CHAPTER 1
THE PERFORMANCE
CAST OF CHARACTERS
Sidi Ballo was without a doubt the featured artist and the very reason there was a bird dance at Dogoduman in June of 1978. Nevertheless, he was one among many performers, all of whom contributed to the shape of the event and the affect it created in the audience.
Drum Orchestra: from the Dogoduman youth association (ton)
Young Ladies' Chorus: from the youth association
Senior Lady Singers: featuring the very talented Mayimuna
Unmasked Dancers: very young members of the youth association
Masked Dancers: older members of the youth association, featuring the Ntomoniw mask wearers
Master of Ceremonies: the man in the deck-of-cards shirt, who facilitated the sequence of performers
Sidi Ballo's Apprentice: Sibiri Camara, a very talented performer in his own right
Sidi Ballo, the Bird Masquerader: already quite famous in large areas around Bamako and an extraordinarily talented, perceptive, and intelligent artist
The Local Blacksmiths: who were called out in the midst of the event to dance in their own honor
The Dogoduman Town Spokesperson: who entered the dance arena to proclaim the support of the city for the event
The Audience: who danced from time to time and engaged the performers with knowledgeable expectations and enthusiasm.
The Fototalaw: the photographers and audio taper from out of town, who heard about the event the night before and came to document it. They were Kalilou, Sangaré, and me.
Together, these performers created a wonderful evening as individuals working in a group, engaged in a common project. Their individuality gave the performance character, and their individual abilities contributed to its success. The effect was an intermeshing of effort to produce something that could not have been accomplished by anyone alone. In the précis and description that follow, Sidi Ballo will most frequently be clearly in the spotlight. But to do him and the event justice, the rest of the text will cast him amongst his fellow performers and the larger collection of social and cultural webs that gave the master masquerader his medium and his opportunities for success.
PERFORMANCE PRÉCIS
Like most masquerade events in Mande or anywhere else, the Dogoduman performance possessed a rhythm and pattern. Certain things repeated throughout the evening as new things constantly emerged. In this brief synopsis, given to help orient you for the longer description that follows, I generally say "the bird," "Kònò," "the bird masquerade," or "the master masquerader" instead of using Sidi Ballo's name, because during a performance it is considered improper to state the name of a masquerader.
Warm-up and Preparation: The drummers tune their instruments. Drummers and singers warm up.
The Ntomoniw Enter: Two youth association dancers in delicate face masks begin the festivities.
The Unmasked Youths and Ntomoniw Again: Younger unmasked dancers perform singly and in pairs, and then the Ntomoniw return.
A Mande Intermission: The arena quiets as dancers take a break and the young women's chorus softly sings.
Sigi and Ntomoni: One of the Ntomoni masked dancers, representing a beautiful Fulani woman, performs a skit with a masquerade called Sigi, the wild bush buffalo.
Unmasked Dancers, a Second Intermission, the Bird Arrives: The young unmasked dancers return briefly, followed by a second intermission, again with the young ladies singing very softly. As the music builds back up in intensity, the bird, Kònò, enters the dance arena for the first time. Great drama and excitement ensue.
Unmasked Dancers, Drummers, and the Young Ladies' Chorus: As if releasing pent-up energy, the unmasked dancers take the bird's place as the drummers spill onto the dance arena and the singers circle around it. A sense of serene interlude is produced.
Kònò Returns and Greets the Town: The bird is back, with high-energy routines. Then he slows down and greets the musicians, important town members, and guests.
Off to the Races Again: More of the bird's high-speed dance arena maneuvering. He is now solidly establishing many of the gestures and the intricate and challenging actions that made him such a popular performer.
Kònò Hits the Wall: In a high-speed maneuver that comes with little warning, the bird flies through the air and slams into a house wall.
The Ntomoniw Dancers Return: The young masked dancers now return and execute a series of exacting and impressive dancing feats.
Children Dance as Sigi Hides and Waits: The very young unmasked dancers enjoy themselves again in the arena as the wild bush buffalo masquerade appears to hide off to the side. Now a new mask, representing a Mande hunter, makes an appearance.
Out Comes Sigi: An animal behaving badly, the wild bush buffalo emerges and joins the hunter in a hilarious skit. Then Sigi engages various audience members and executes a sequence of spectacular dancing.
Children, Kalilou, and Me — then a Break: With the drum orchestra playing extremely up-tempo, a group of young girls and boys come out to dance, some very dramatically. First Kalilou, then I am called out to dance. Then the audience settles into quiet conversation as we enter a long intermission.
Ntomoniw Masks Perform Feats: The break ends with the two young masked dancers who began the performance, this time dancing with tremendous vigor and performing arduous feats.
The Children, the Young Ladies, and Sangaré: The unmasked children return with the talented young ladies who performed just before the long break. Sangaré joins them.
Kònò Is Back: The bird returns and greets the drummers. He sways and moves slowly but seems tremendously agitated. He squawks at the senior singer Mayimuna, and anticipatory tension fills the air.
Kònò Turns Over and Dances Upside Down: In an exquisite sequence of carefully executed moves, the bird "falls" to the ground on its side and then turns completely upside down in a material reconfiguration one-third the height it has been all evening. Compressed inside, the master masquerader proceeds to slowly dance about the arena, feet not touching ground but rather the cloth top of the masquerade. It is a marvel.
Kònò Shows Us ... Nothing at All: Still upside down, the bird becomes extremely agitated and falls over again. The masquerade bottom now facing the bulk of the audience, the master opens this hollow cone of a costume for all to look inside. Sidi Ballo is nowhere to be found.
Feather Adjustment: All this dramatic activity has caused a band of vulture feathers to come loose. The performance stops briefly as the bird's apprentice makes adjustments. Bird and apprentice then move to the singers and drummers to pay their respects.
Sangaré and I Get the Hook: The bird's head becomes a hook that pulls Sangaré and me into the dance arena, where we greet the bird and dance our respect for him.
The Bleachers: In a series of carefully executed gestures that appear to the audience quite matter-of-fact, though dangerous, the bird ascends the slippery-looking bleachers that grace the edge of the dance arena, performs in humorous fashion atop them, and then jumps off and motors about the dance arena. This feat was clearly anticipated with relish by many in the audience.
A Break for Thanks, and Kònò in My Face: A Dogoduman spokesperson enters the arena, announces the town's great respect for the master masquerader, and then publicly lists the financial contribution each community family has made to make the performance possible. He then acknowledges us, the fototalaw, as town guests, and I am "invited" to dance again. As I oblige, I am rushed by the bird.
The Blacksmiths, then Sangaré: Many people are now dancing with the bird. Mayimuna sings inspirational praise songs of blacksmiths, and the town's five smiths, plus me (an honorary blacksmith), dance in a line. Meanwhile Kònò moves to the drum orchestra and with a voice disguiser matches the drum rhythms, and then — using tones instead of full words — he praises the smiths. A visiting blacksmith from down on the Niger River plain gives a little speech of friendship and solidarity. Then Sangaré is asked to dance again, and Kònò calls out all the singers and drummers to dance with him.
Something Different — the Bird's Apprentice and a Break Dancer:Kònò has settled quietly at the dance arena entrance, and his apprentice now takes center stage, dancing solo with great accomplishment. Then a teenager enters the arena and executes a striking sequence of what any American would have called break dancing.
Mayimuna's Salutations:Kònò speaks in tones to praise people. Mayimuna takes stage center and sings beautifully, as the bird spins around her.
Leaping the Bench: As the evening winds down, Kònò uses a bench as a prop to leap upon and over, and then he executes another furious round of virtuoso dancing.
A Calabash from Which to Drink: The bird drinks from a calabash of milk, an interesting feat in response to an honoring gesture of offering cool refreshment.
The Performance Is Nearly Over: The drum orchestra takes the arena, and most of the audience dances as Kònò slowly orchestrates his final exit.
Mayimuna and the Young Ladies' Chorus Sing the Evening to a Close: Mayimuna sings that she is tired and is going home. The young ladies' chorus sings their laments. The Dogoduman bird dance ends.
PERFORMANCE DESCRIBED
I wrote the following description almost immediately after the Dogoduman performance — the next day — while the event's activities were still freshly ablaze in my mind but after I had gotten enough sleep to be careful about details. Then Kalilou Tera, Sekuba Camara, and I worked for days transcribing the songs and making sure they lined up with what I wrote. This provided an opportunity to verify the accuracy of my description.
Essentially, I just wrote what I had watched unfold. As the précis suggests, it is natural to divide the performance into episodes characterized by changes in action. I have added headings here that match those in the précis. Mostly they mark moments when the master of ceremonies whistled performers on and off the arena, or major dramatic shifts of action on the part of the bird.
Sometimes I will refer to Sidi's masquerade as "he," reflecting the Dogoduman audience's knowledge of who was inside the costume. Other times I will refer to the masquerade as "it" to emphasize its existence as a construction. And sometimes I will just say "Kònò" or "the bird" when the dancing or skit is emphasizing that identifying quality of the masquerade. I will not refer to Sidi Ballo by name, just as no one at the performance did, because that is considered bad luck and inappropriate.
The Dogoduman performance began in twilight, but as night emerged so did a bright moon. Kerosene lanterns situated here and there augmented the lunar light. In earlier times the beautiful iron lamps made by blacksmiths would have served this purpose. Like most youth association community performances, this bird dance was held at the fèrè, or public plaza (see plate 2).
Warm-up and Preparation
The town begins to gather in the early evening hours, well before the masquerades appear. The musicians and a performance official are among the first to arrive. There is a drum orchestra (see plate 3). There is the young man with a whistle, the jamaladilala, or master of ceremonies (see plate 3). There are two young ladies with calabash drums and more young ladies to sing with them, who constitute the young ladies' chorus (see plate 4). And there are several elder lady singers, featuring Mayimuna Nyaarè (see plate 5).
The drummers tune their drums by placing them near a small fire to change the tension on the drum heads. They casually practice some of their rhythms and solo riffs, and as the performance approaches, they play increasingly longer segments of songs. The women singers also warm up. They sing bits and pieces of the songs they will perform, preparing their voices and psyching themselves for the hours ahead.
Meanwhile, Sidi Ballo is a few streets away from the crowd, preparing himself and his bird masquerade with the help of his apprentice, Sibiri Camara (see plate 6). He faces much hot, hard work (see plate 7), so he removes his shirt and changes into the baggy shorts that he will wear inside the bird costume. He also makes a sacrifice to the night's success. He puts on amulets — lots of them — and activates the supernatural side of his performance abilities with incantations and offerings. This is private, important business, carried out with matter-of-fact professionalism. It is part of Sidi's expertise, part of the knowledge, sensibilities, and skills he has developed over years to become a virtuoso masquerader. When he is done, the performance can proceed.
The Ntomoniw Enter
The performance begins with two dancers in delicate face masks (see plate 8), popularized versions of a type that used to reside exclusively in a very different context, the Ntomo young men's initiation society. These dancers and their masks are called Ntomoniw, "the little Ntomo." The jamaladilala, or master of ceremonies, whistles them to the dance arena's entrance. They stand there together for a moment until the jamaladilala whistles again, and one moves slowly toward the arena center, taking a few steps, then squatting down and bowing, over and over again. The drums are slow and subdued at first, but then they become boisterous, and the dancer moves with speed and grace, holding his arms out and spinning them in big circles with the onbeat, while swinging his shoulders forward alternately and performing staccato triplets with his feet as he first moves forward, then moves back, over and over again.
These staccato triplets are impressive, consisting of three extremely rapid little steps — left, right, left — clustered tightly together as a rhythmic node and then followed by three more — right, left, right — with each node occurring as one beat in the 4/4 music measure that grounds the drum orchestra's performance.
The Ntomoni does all this so quickly that he appears to be floating; he radiates great agility and balance. He holds scarves in his hands and constantly casts them out in great arcs of color that add to the performance's compelling affect. The other masked dancer does all this too, as the evening becomes charged with excitement and the importance of expert dancing becomes obvious.
The Unmasked Youths and Ntomoniw Again
Now the jamaladilala whistles these two masks out and calls a series of unmasked young men, singly and in pairs. The two young lady singers with calabash drums stand up and move around the arena's edge. Then the jamaladilala calls the Ntomoni masked dancers back, and they perform a little bit longer as the men's drum orchestra moves into the center of the dance arena briefly and then moves back to the ladies' chorus.
A Mande Intermission
There is a pause in the action as everybody stops and waits. We are about twenty minutes into the performance. The masks are gone. People sit and chat or joke, or they mill about as the young women's chorus sings very softly. The drummers are not playing, and there is a relaxed, casual feeling in the air.
(Continues...)
Excerpted from A Bird Dance Near Saturday City by Patrick R. McNaughton. Copyright © 2008 Patrick R. McNaughton. Excerpted by permission of Indiana University Press.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Table of Contents
Contents
Acknowledgments
Introduction: An Explosion of Art at Dogoduman
Part 1. The Bird Dance at Dogoduman
1. The Performance
2. How to View a Bird Dance
Part 2. Sidi Ballo and the Disposition of Individuals
3. Sidi Ballo at Dogoduman
4. A Closer Look at Sidi Ballo
5. Individuals Intertwined
Part 3. From Dogoduman to an Aesthetic of Affect
6. Sidi Ballo's Aesthetic Milieu
7. Form Reconsidered in Mande Light
8. A Mande Aesthetic Profile
9. An Aesthetic of Affect
Part 4. Making Meaning with a Bird
10. Expanding the Beholder's Share
11. An Atmosphere for Sidi Ballo's Bird Dance
Conclusion: Bird Masquerading Is Alive and Well
Notes
Bibliography
Index
What People are Saying About This
For the first time, a scholar makes us experience the charisma and 'star—appeal' of the men behind the masks in Africa. McNaughton makes the 'Mande' world vivid and brilliantly succeeds in his goal of using stories about individuals to bring societies to life. No one will think about African masquerade in the same way again after reading this book.