Thank you for your wonderful contribution. This idea is a very good one.

Internet marketing of Gambian Musicians / Very possible
This is a good way to go about it. With the Gambia Post and the Gambia L there can be a set up for a music, radio and entertainment TV site where people can listen and order music like e-bay. The Gambian artists have to send in their tapes and film and it can be set up and distribute the music to list members and a the wider readers audience of the internet who also will play a significant role in the sales. There will be agents in few countries who have a stock of the catalogue items and can distribute them by mail instead of the artists.

The calalogue
There is a catalogue of over 50 albums aviable from The Gambia music scene. But Gambians outside the Gambia do not know how to get Gambian music since most of the artists are not recorded by the major record labels that distribute music around the would.

How to buy
There is no deinative fomular in place to this but to set up a site and a paypal account there will be handful of Gambians friends of The Gambia and music lovers who will buy and will be interested in receiving continious mailing and information about the resleses and the calalogue of Gambian films and music to a target group.

I look forward to more suggestions on this matter.

Oko Drammeh
www.okodrammeh.com



Ginny Quick <[log in to unmask]> wrote: Hello, just a thought, and I've not really formulated this very well,
I know, but perhaps some on this list could get something going to
support Gambian Musicians / artists.  I mean, if you put both the
Gambia-l and Gambia Post lists together, that alone would be, well, at
least hundreds, if not thousands, of people.  But it's sort of like a
circular thing,  Gambian artists need to, and probably are, putting
out good music, but the people also need to support them to allow them
to continue to do so.


     So how do we do this?  Perhpas someone could post a list of
artists, and where to get their work, and that would be a start?

Just a quick thought.

Ginny

On 8/10/06, Momodou Buharry Gassama  wrote:
> Hi Musa!
>             Thanks for taking the time despite being busy, to read and
> comment on my piece. You asked for clarification on some issues. I'll do my
> best to answer your questions. You wrote:
>
> "There are things that I have gleaned from the piece that may need
> clarification. You seemed to be suggesting that there is a distinct cultural
> difference between the two countries - Gambia and Senegal?"
>
> The foundations for the cultures of the two societies are the same. This
> means that the people, the languages, the food, the dress etc. are the same.
> However, culture denotes the way of life of a society at a given time and in
> a given place. Even in The Gambia itself, there are various cultures. It is
> the sum total of these cultures that makes up the Gambian way of life. The
> way of life (culture) of Banjul is clearly different from the way of life of
> a small village near Fatoto. The values inculcated in the minds of the
> residents of the two places are not the same. Even within the same town, the
> culture of the Njie family at one end of a street will be different from the
> culture of the Sallah family at the other end. Banjul and Dakar are
> separated by over a hundred miles. Gambian and Senegalese interaction and
> experience with foreigners are different. It thus follows that there will be
> cultural differences in some respects even though the people are the same.
> What I am arguing here and the in the previous post is that The Gambia
> should not allow itself to be dominated culturally and otherwise by Senegal
> and any other country for that matter. By allowing itself to be dominated
> culturally by another country, The Gambia leaves itself open to negative
> influences from that culture. As stated earlier, the values of the small
> village near Fatoto are different from those of Banjul. If the village
> doesn't protect against the negative aspects of Banjulian culture, it will
> soon find destructive behaviour associated with such negative aspects to be
> part of its way of life. There are certain practices that have been
> integrated into the Senegalese way of life that are innovations and not good
> ones at that. The practice of "asset" at naming ceremonies and weddings for
> example found its way into the Gambian way of life through Senegalese
> influence and I have heard many Gambian women complaining at naming
> ceremonies, weddings etc. when they do not have money. There is a practice
> in Senegal, though not practiced by all put pretty prevalent that should not
> be allowed to take hold in The Gambia because of the unnecessary financial
> strain it puts on people.This is when a "njaykay" etc. brings for example,
> 10, 000 to a naming ceremony etc., the amount is at least doubled by the
> receiving family and the "njaykay" etc. takes at least 20, 000 home. Another
> negative practice is the "asset" at funerals in Senegal. These are just some
> examples of some practices in Senegal that should be guarded against. Some
> of these have become a part of Senegalese culture but are not part of
> Gambian culture. So you see, there are differences between Gambian and
> Senegalese culture. Negative practices prevalent in Senegal can brought into
> The Gambia by way of films. There is also a culture within the Senegalese
> film industry to portray "laaka kat yi" as funny-speaking, funnily dressed,
> bumbling fools. Just observe how the Fulas, Jolas, Bambaras, Narrs etc. are
> portrayed in Senegalese films.
>
> You also wrote:
>
> "As a Gambian, or to use your example Gambian parties, there is a domination
> of music from the Senegal, are you suggesting that they are not embracing
> their culture?"
>
> What I am saying is that they are dancing to a type of music that is played
> in both The Gambia and Senegal. By totally embracing the Senegalese
> musicians and rejecting the Gambian ones, they are in effect propagating and
> participating in the cultural domination of The Gambia by Senegal. They are
> providing exposure to Senegalese musicians. They are participating in the
> development of the Senegalese music industry and undermining the Gambian
> one. They are participating in the upliftment of the Senegalese music
> infrastructure and undermining the Gambian one. As an intelligent person,
> you must surely see the danger inherent in this practice. If you go to a
> Senegalese party, do you hear a single Gambian song played? However, if
> Gambians themselves do not play a single Gambian song at their parties, how
> can Senegalese be expected to do so? The Senegalese are very proud of their
> musicians and support them. I edited and mixed the first "Diakarlo" video
> series produced by Mam Less Thioune (Darou Mbaye's husband). I was very
> moved when a young musician (I would guess around 12) performed for the
> first time on stage. Members of his family, his neighbours and other
> well-wishers queued in a long line to give him present upon present and
> speech after speech was made encouraging him. With all the gifts and
> encouragement the boy got, I would not be surprised if he turns out to be
> the next Youssou Ndure. If he was a Gambian, he would be lucky to even see
> his brother or sister.
>
> You wrote:
>
> "When Gambians respond to dances like "Dohbi or Leumbal Narr" do you see
> that as operating outside of their cultural heritage? Is it not possible
> that Gambians are only reacting to the best artistic creation of our
> culture, irrespective of the artificial boundaries?"
>
> Some of these dances are very seductive. You see very young children dancing
> such dances. That surely is harmful and you must surely see the
> implications. Apart from that The Gambia should also strive to be able to
> produce musicians who can also create "the best artistic creation of our
> culture". This cannot be done when we do not support our musicians. As to
> the "artificial boundaries", please go to the Senegalese Embassy tomorrow.
> Tell them that you are from The Gambia and do not believe in the "artificial
> boundaries" and ask for a Senegalese passport or other rights accorded
> Senegalese citizens. If they grant you such, I will then believe that the
> "artificial boundary" doesn't exist. You see, The Gambia and Senegal are two
> separate countries with two separate governments. The Senegalese governments
> hitherto and the Senegalese people have provided the support, the
> investment, the conducive environment that the Senegalese musicians need and
> this has resulted in the excellence displayed by Senegalese musicians and
> other artitsts. This has in turn helped the Senegalese economy,
> infrastructure, society etc. When a thousand Gambians buy a Senegalese
> musician's casette for 5 Dollars a piece, that is 5, 000 Dollars that will
> be spent towards building a house in Dakar and in the process employing
> maybe ten labourers who will in turn will be able to feed and contribute
> towards their children's education etc. Maybe he / she will invest in
> building a recording studio to produce many more "artistic creations". See
> the logic? Now if you invested the same amount in a Gambian musician, maybe
> he / she will buy a taxi and employ my cousin or your cousin as a driver and
> take one person out of the unemployment line. Maybe he will build a studio
> and take hundreds out of the employment line. The Gambian governments
> hitherto and the Gambian people have failed the Gambian musicians in that
> all our investments and support have been given to the Senegalese musicians.
> This has resulted in the stagnation of Gambian music. This is what should
> not have happened. This is what should not be allowed to continue. Please
> don't interprete my arguments as meaning that I do not listen to or buy
> Senegalese music. I can confidently say that I have more Senegalese music
> than most Senegalese. I started collecting music from Senegal and The Gambia
> in the mid eighties. I have Senegalese music that many Senegalese have
> probably forgotten or would never buy because they are not the party
> "mbalax" type. I have music from Takarrnasseh, Baobab, Xalam, Aminta Fall,
> No. 1, Star Band, Ouza, all the early Etoile etc. to the contemporary
> artists. I also go to Senegalese shows and dance to Senegalese music. I
> however also have and buy all Gambian music that I can buy. I attend any
> Gambian show that I can and I support and encourage any Gambian musician
> that I can. This is because I realise that it is the Gambian musicians that
> represent my country and when I invest in them, I am investing in my
> country. When Youssou Ndure is at international festivals, no matter how
> much Gambians have invested in him, he does not represent The Gambia. He
> represents Senegal and proudly so. We should also strive to support our
> musicians so that we can have someone who can represent us and make us
> proud.
>
> You also wrote:
>
> "Nationalism will not be enough to bring about the development of our
> artist.. When I listen to a Yousou Ndure, or a Vivian, I am connected to it
> because I can relate to every aspect of their music, the melody is
> beautiful, and there is a cultural connection of some sort. Just because
> they happen to fall on the other side of the artificial boundary do not
> register that I am committing cultural betrayal."
>
> Nationalism might not be enough to bring about the development of our
> artists but it is a starting point. If we all start supporting our artists,
> this will give them the conducive environment and the necessary finance to
> be able to invest in their work. This will in turn result in products that
> will be the "best artistic creation of our culture." The reason you connect
> to "every aspect" of Youssou Ndure or Vivian's music in terms of melody,
> professionalism etc. is because they have had the necessary support from
> their people and from Gambians. No matter how determined Youssou Ndure was
> when he started, if the Senegalese treated him the way we treat our artists,
> he would have given up a long time ago. Youssou and Vivian can create the
> kind of music they create because they have the infrastructure and
> facilities plus the necessary support. If we as Gambians provide the
> infrastructure and necessary support, you will soon be be listening to
> Gambian music that you can connect to, where "the melody is beautiful, and
> there is a cultural connection of some sort". If you however fail to buy
> Gambian music or support Gambian musicians in any way, you are indeed
> failing them whether you see it that way or not. We all have a duty to
> upkeep and promote Gambian culture whether we accept the responsibility or
> not.
>
> In response to your final paragraph, I agree that the Gambian musicians must
> be able to compete. However, we must provide the support necessary to
> resuscitate
> the Gambian music industry that has been ignored for decades. I think you
> are making a mistake in stating that people are not necessarily "calculating
> in their responses from what side of the boundary is the music coming from".
> I have tried to help sell some Gambian musicians' cassettes. You will be
> very amazed at Gambians' attitude to Gambian musicans. I can remember a
> woman who "mirass"ed herself when a Senegalese musician was around. When I
> tried to help a Gambian musician and asked her to buy a copy of the cassette
> I was selling for the musician for just 30 Kronor, she just without even
> looking at the cassette to see who it was remarked: "Gambian musician yi
> munyun dara". This musician is one of the top musicians in The Gambia. The
> funny thing is that i was at a party where they played a song from the same
> musician and she was killing herself on the floor. Another example took
> place not too long ago. Together with some friends, we visited a Senegalese
> and he went through some dvds to entertain us. He saw a film by Gambia's
> Yetteh Group. He said it was given to him months ago by a friend but he
> didn't even bother to watch because it would be a waste of time because it
> wouldn't be good. You are misteken to say that perception does not count.
>
> I hope I have answered your questions and made the clarifications you
> requested. If you still have any questions, don't hesitate to ask them. Have
> a good evening.
>
>
>                                                                     Buharry.
>
>
>
> ----- Original Message -----
> From: 
> To: ; "The Gambia and related-issues mailing list"
> ; 
> Sent: Wednesday, August 09, 2006 8:54 PM
> Subject: Re: Re: [>-<] THE CORROSION OF GAMBIAN CULTURE: CAUSES,
> IMPLICATIONS AND POSSIBLE SOLUTIONS.
>
>
> >[ This e-mail is posted to Gambia|Post e-Gathering by
> > ]
> >
> >
> > Buharry:
> >
> > I thank you for a well written paper, especially dealing with such an
> > important issue - culture. You have to forgive me, lately I have focused
> > on reading topics from the post dealing more to the up coming elections in
> > September, but I still managed to read your piece. There are things that I
> > have gleaned from the piece that may need clarification. You seemed to be
> > suggesting that there is a distinct cultural difference between the two
> > countries - Gambia and Senegal? As a Gambian, or to use your example
> > Gambian parties, there is a domination of music from the Senegal, are you
> > suggesting that they are not embracing their culture? When Gambians
> > respond to dances like "Dohbi or Leumbal Narr" do you see that as
> > operating outside of their cultural heritage? Is it not possible that
> > Gambians are only reacting to the best artistic creation of our culture,
> > irrespective of the artificial boundaries?
> >
> > Personally. I share with you that it is the role of individual,
> > Governments, musicians and artists to bring about the development of our
> > culture. But, culture like everything else in our community will excel
> > when individuals and institution invest in it with resources and passion.
> > Nationalism will not be enough to bring about the development of our
> > artist.. When I listen to a Yousou Ndure, or a Vivian, I am connected to
> > it because I can relate to every aspect of their music, the melody is
> > beautiful, and there is a cultural connection of some sort. Just because
> > they happen to fall on the other side of the artificial boundary do not
> > register that I am committing cultural betrayal.
> >
> > Finally, I do not think Gambians that embraced and like music from our
> > Senegalese cousins, or Senegalese that embraced Ifang in the past are
> > necessary calculating in their responses from what side of the boundary is
> > the music coming from They like the music that they are hearing, and are
> > culturally connected with it. Gambians musicians of today, like other
> > industries will have to compete against Senegalese, and even other African
> > industries for that matter, to sell their wares. Undoubtedly, there is a
> > need for support, but I do not think people are going to like music just
> > because it happens to be from the Gambia. I can really see the distinction
> > when compared to music from the West or even other part of Africa, but in
> > the case of our cousins in Senegal, I think we all operate within the same
> > cultural umbrella.
> >
> > But, I am still waiting for the clarification; I guess you already know
> > where I am coming from after my rambling. (Laugh)
> >
> > Thanks again
> >
> > Musa Jeng
> >
> >>
> >> From: "Momodou Buharry Gassama" 
> >> Date: 2006/08/09 Wed AM 11:27:14 EDT
> >> To: "The Gambia and related-issues mailing list"
> >> ,
> >>    
> >> Subject: Re: [>-<] THE CORROSION OF GAMBIAN CULTURE: CAUSES, IMPLICATIONS
> >> AND POSSIBLE SOLUTIONS.
> >>
> >> [ This e-mail is posted to Gambia|Post e-Gathering by "Momodou Buharry
> >> Gassama"  ]
> >>
> >>
> >> Hi!
> >>     I have to first of all apologise for the tardy response. I did not
> >> have
> >> internet access while in Oslo and did not have time to go to an internet
> >> cafe. I would like to thank Fye Samateh for sending a message on my
> >> behalf.
> >> Thanks to all who responded to the article.
> >>
> >> Ya Soffie, the "idea that one has to from a particular group of people to
> >> be
> >> a singer/musician" has indeed smothered the talent of many gifted
> >> individuals. That is why it is necessary to include comprehensive
> >> cultural
> >> education in the Gambian curriculum. Hopefully, this and other
> >> initiatives
> >> can help to revive the Gambian music industry.
> >>
> >> Pa Musa, it is indeed necessary for all Gambians to help in any way. It
> >> is
> >> also necessary for the government to have a comprehensive cultural policy
> >> and put mechanisms into place that would help in effectively implementing
> >> it.
> >>
> >> Thanks Sidibeh. The search for the cultural identity should be an
> >> integral
> >> part of the search for the political kingdom. We cannot extricate the
> >> Gambian individual and all his endeavours from Gambian culture. Nor we
> >> can
> >> we extricate Gambian culture from the individual as they make each other.
> >>
> >> Dave, Oussou Njie, George and Oko, thanks for your kind comments.
> >>
> >> Amat, I agree with you that Youssou Ndure is professional. While his
> >> domination of Senegambian music cannot be denied, his domination on the
> >> Gambian scene was not accidental but was instigated to a large extent by
> >> the
> >> PPP government and its support organisations. Joko Forster makes some
> >> excellent comments on this. One thing we need to realise is that in
> >> largely
> >> uneducated societies, many people tend to identify with what the
> >> government
> >> and elite do. If the government keeps bringing in Youssou to play on
> >> state
> >> functions and all the "hip" people bend over backwards to go the shows,
> >> ordinary people will do the same. When Senegalese musicians were
> >> dominated
> >> by foreign sounds and personalities such as Super Eagles, the Senegalese
> >> government had the common sense to counter this trend by investing in the
> >> cultural sector in the form of a school of arts and other facilities. It
> >> did
> >> not stop at saying Gambia and Senegal are one, let's just keep on
> >> bringing
> >> in Super Eagles. The Senegalese government realised its responsibility to
> >> the Senegalese people and acted to promote their interests.
> >>
> >> Youssou Ndure perfected the art of praise-singing before becoming
> >> successful
> >> enough to not need it. Remember "Ndey Mbergan", Absa Gaye and many
> >> others?
> >> Even recently, he sings about Astou Aach. I remember once hearing a joke
> >> about how Youssou is "aay gaaf". The moment he dedicates a song to a
> >> successful person, that is the beginning of his / her downfall.
> >> Ifangbondi
> >> was a very patriotic group singing about Gambia and many relevant issues.
> >> Ifangbondi realised the diversity of the Gambian populace and wanted to
> >> represent all Gambians in their songs and not just one dominating tribe.
> >> Ifangbondi did not praise-sing. I can only remember the Ya Mama Ndow song
> >> where Ifangbondi talked about an individual. Maybe there are more but I

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