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 <[log in to unmask]> 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: <[log in to unmask]>
> To: <[log in to unmask]>; "The Gambia and related-issues mailing list"
> <[log in to unmask]>; <[log in to unmask]>
> 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
> ><[log in to unmask]> ]
> >
> >
> > 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" <[log in to unmask]>
> >> Date: 2006/08/09 Wed AM 11:27:14 EDT
> >> To: "The Gambia and related-issues mailing list"
> >> <[log in to unmask]>,
> >>    <[log in to unmask]>
> >> 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" <[log in to unmask]> ]
> >>
> >>
> >> 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
> >> can't remember them at the moment. Many budding Senegalese artists do
> >> nothing but sing people's praises and they are making it in Gambia
> >> because
> >> they know how to manipulate Gambians' egos.
> >>
> >> You are also right that the fact that Senegalese tv beamed into Gambia
> >> for
> >> so long is responsible to an extent. We now have a tv station and many
> >> radio
> >> stations. GRTS's status should be raised. When was the last time that a
> >> Gambian musician apart from Musa Ngum was shown on Senegalese tv? How
> >> many
> >> Senegalese musicians are shown on GRTS? When was the last time a Gambian
> >> musician was played on Senegalese radio? How many Senegalese musicians
> >> are
> >> played on Gambian radio? These are questions we need to ask ourselves. We
> >> all know that The Gambia has played a big part in the success of nearly
> >> all
> >> major Senegalese musicians. What has the Gambia gained from this? We need
> >> to
> >> try to point out just ONE benefit. I am struggling to come up with a
> >> single
> >> one. Another question we need to ask ourselves is who contracts
> >> Senegalese
> >> musicians and help in their international exposure and consequent
> >> development. As far as I know nearly all the promoters who contract
> >> Senegalese musicians to play abroad (Scandinavia, the UK, America) are
> >> Gambians. Yet another question we need to ask ourselves is why not a
> >> single
> >> Gambian song is played at Gambian parties. There are surely a couple of
> >> Gambian songs that are worthy. We should not and cannot just accept this
> >> state of affairs. The Gambian identity is being lost and all of us have
> >> to
> >> act to salvage it.
> >>
> >> Joko, thanks for a wonderful history lesson. Please find time to give us
> >> more. We need to talk about such issues.
> >>
> >> Have a good day.
> >>
> >>
> >>                                                     Buharry.
> >>
> >> ----- Original Message -----
> >> From: "Ceesay, Soffie" <[log in to unmask]>
> >> To: <[log in to unmask]>
> >> Sent: Wednesday, August 02, 2006 8:00 PM
> >> Subject: Re: [>-<] THE CORROSION OF GAMBIAN CULTURE: CAUSES, IMPLICATIONS
> >> AND POSSIBLE SOLUTIONS.
> >>
> >>
> >> Buharry,
> >>
> >> At this time, I can only say thanks for the truths in this piece and one
> >> more thing - the idea that one has to come from a particular group of
> >> people to be a singer/musician. Many talents have been smothered by this
> >> thinking, a thinking that ought to be turned upside it's head and done
> >> away with.  Greetings to the family.
> >>
> >> Ya Soffie
> >>
> >> -----Original Message-----
> >> From: [log in to unmask] [mailto:[log in to unmask]] On
> >> Behalf Of Momodou Buharry Gassama
> >> Sent: Tuesday, August 01, 2006 5:35 PM
> >> To: [log in to unmask]; [log in to unmask]
> >> Subject: [>-<] THE CORROSION OF GAMBIAN CULTURE: CAUSES, IMPLICATIONS
> >> AND POSSIBLE SOLUTIONS.
> >>
> >> [ This e-mail is posted to Gambia|Post e-Gathering by Momodou Buharry
> >> Gassama <[log in to unmask]> ]
> >>
> >>
> >> THE CORROSION OF GAMBIAN CULTURE: CAUSES, IMPLICATIONS AND POSSIBLE
> >> SOLUTIONS.
> >>
> >>
> >>
> >> By: Momodou Buharry Gassama
> >>
> >> Presented at the Gambian Cultural Week In Oslo
> >>
> >> Tuesday, 1st. August 2006-07-26
> >>
> >>
> >>
> >>
> >>
> >> The development of a society is determined to a large extent by its
> >> culture. Culture serves as the foundation that supports development at
> >> all levels as it shapes attitude. In determining the culture of a
> >> society, one looks at that society's way of life at a given time, that
> >> is, the way the society lives, worships, dresses etc. Based on this, one
> >> can differentiate between various cultures. The culture of the Wollofs
> >> of The Gambia clearly differentiates them from the Europeans of Sweden.
> >> Similarly, the culture of the Indians of North America clearly
> >> differentiates them from the whites of the same continent. The Gambia is
> >> made up of various tribes with various customs and practices. It is the
> >> sum total of these various ways of life that makes up Gambian culture
> >> and by extension the Gambian person. As a partaker in the dynamics of
> >> Gambian life, the individual is as important in the creation of Gambian
> >> culture as he / she is a consequence of it. That is why it is of vital
> >> importance that the shaping of the Gambian individual should not be
> >> accidental but should be clearly calculated.
> >> Great care should be taken to identify the qualities that are desired
> >> and ways and means created to bring forth such qualities. These should
> >> be nurtured, protected and promoted. In this age of interactivity, it is
> >> of utmost importance that Gambian culture is protected from the negative
> >> influences of other cultures and creative means instituted to enhance
> >> it. This has however not been done with its resultant corrosion. The
> >> creation of the Gambian individual has not been properly thought out but
> >> has been left to chance. That is why Gambian society is one of the most
> >> porous societies in the world. This has resulted in the corrosion of
> >> cultural values and the transformation of the Gambian individual. What
> >> has brought about such a state of affairs, what are its implications and
> >> how can the situation be remedied?
> >>
> >>
> >>
> >> As alluded to earlier, the failure to actively mould the Gambian
> >> individual and by extension Gambian culture is one of the main reasons
> >> for the corrosion of the country's cultural values. The failure or
> >> inability of the governments hitherto to create institutions, structures
> >> and mechanisms that would shape and influence the Gambian way of life
> >> and protect it from the dominating tendencies of outside cultures, has
> >> meant that many negative aspects of various cultures have found their
> >> way into the Gambian way of life.
> >>
> >>
> >>
> >> The bombarding of Gambians with foreign films and television stations
> >> has had an impact. Over the decades, Indian, American, Chinese,
> >> Senegalese and now Nigerian and other films have been responsible for
> >> the transformation of the Gambian character. The lack of local movies to
> >> counter the influence of the foreign ones has meant that people have
> >> been fed foreign cultures and many negative tendencies have been picked
> >> up. The barrage of materialistic tendencies contained in film and
> >> television such as MTV in the midst of abject poverty has given rise to
> >> materialism at the expense of cultural values.
> >>
> >>
> >>
> >> The promotion of foreign cultures especially as it relates to the
> >> creative arts such as music, at the expense of Gambian ones, is another
> >> reason for the deterioration of Gambian culture. The deliberate
> >> sidelining of Gambian musicians during the time of the former and
> >> current regimes has meant a gradual slide from the heydays of Super
> >> Eagles to the current wilderness Gambian music finds itself in. As the
> >> first band in West Africa to blend traditional African drums and Western
> >> instruments, the creation of the "Mbalax" sound can be accurately
> >> attributed to Super Eagles and its offshoot, Ifangbondi. The popularity
> >> of the group grew in West Africa at a time when most African countries
> >> were gaining independence and the concept of Panafricanism was near its
> >> zenith. They became one of the hottest groups in the region. They were
> >> very popular in Senegal at time when Senegalese musicians were mostly
> >> playing Latin music and Senegalese commentators were urging Senegalese
> >> musicians to adopt Super Eagle's approach and play Senegambian music
> >> when the group metamorphosed into Ifangbondi.
> >> The then PPP regime, without a clear cultural policy to enhance artistic
> >> expression, together with the Gambian populace and other factors
> >> resulted in the gradual decline of Super Eagles and subsequent groups.
> >> This was exacerbated by the bringing in of Senegalese musicians to
> >> perform on state holidays and functions at the expense of Gambian
> >> groups, a practice that still continues.
> >>
> >>
> >>
> >> Another reason for the decay of Gambian culture is the lack of
> >> facilities and structures that create, enhance and nurture culture. The
> >> lack of basic facilities for use by cultural practitioners has resulted
> >> in their inability to produce material to feed the need of Gambians.
> >> The lack of suitable training and support institutions has meant that
> >> cultural practitioners have basically relied on themselves and the
> >> result has in many instances been less than satisfactory.
> >>
> >>
> >>
> >> Lack of finance and the reluctance of the business community to invest
> >> in Gambian cultural activities and institutions have resulted in
> >> substandard products that find it difficult to compete on equal footing
> >> with foreign imports. The failure of the governments since independence
> >> to invest in the cultural infrastructure of the country is also a
> >> contributory factor. As with all sectors, lack of investment and finance
> >> means a lack of suitable facilities with the resultant lack of quality
> >> output.
> >>
> >>
> >>
> >> Cultural practitioners also contribute to the deterioration of Gambian
> >> culture. The laissez faire attitude and the failure to create a
> >> respectable and saleable image are also to blame. The attitude of the
> >> early musicians, some of whom would not respect contractual obligations,
> >> respect stage etiquette etc. did not help and the negative image created
> >> since is still alive and affecting perception. The failure of the
> >> artists to research and find out the likes and dislikes of their
> >> customers means creating a product based on chance.
> >>
> >>
> >>
> >> Lack of patriotism and the apparent inability of the Gambian individual
> >> to support artists based on the desire to contribute to the promotion of
> >> Gambian culture is another factor. Whilst it is the prerogative of the
> >> individual to invest in a product that makes one happy, the need to
> >> promote the general good should enable people to realise the need to
> >> sometimes forego personal desires and support Gambian culture in order
> >> to help it develop. Given the fact that Gambian culture has not been
> >> invested in for a long time, it needs to be realised that for Gambian
> >> artists to compete with foreign imports, they need the support of the
> >> population both materially and morally.
> >>
> >>
> >>
> >> Yet another factor is the lack of statutory instruments and bodies to
> >> protect artists from exploitation and piracy. This means that artists
> >> barely realise anything from their creations. Many cultural
> >> practitioners face extreme difficulty scraping together the necessary
> >> finance to invest in the creation of their products. After succeeding,
> >> they watch in vain as others who have invested in the odd tape or video
> >> recorder benefit from their hard work. Information was received that
> >> there was movement toward legislating copyright laws (if it hasn't
> >> already been passed). This is good news.
> >>
> >>
> >>
> >> Music promoters and deejays bear a major responsibility for the
> >> deterioration and in some instances stagnation of Gambian music. Their
> >> investment in Senegalese musicians at the expense of Gambians has meant
> >> that Gambian artists don't have the exposure they need. At Gambian
> >> parties, one wonders whether there are any musicians in The Gambia or
> >> why the parties are labelled Gambian parties. This applies to both
> >> private and public occasions. One attends events such as Gambian
> >> Cultural Weeks, ALD etc. and in some instances not a single Gambian song
> >> is played. Gambian music promoters invest so much in Senegalese
> >> musicians contracting them to tour and in some instances producing them.
> >> This has meant the enrichment and development of Senegalese musicians
> >> and the degradation of their Gambian counterparts. The basic excuse is
> >> usually that Gambian musicians don't play what the Senegalese play and
> >> are not good enough but nobody pauses to ask how they can develop given
> >> that all their efforts are rejected and the necessary support they need
> >> is given to foreign musicians at their expense.
> >>
> >>
> >>
> >>
> >>
> >> The failure to fully integrate culture into the country's educational
> >> structure also bears responsibility. The elementary arts and craft that
> >> is part of the curriculum does not address the competence desired to
> >> prepare artists to produce competitive products. The non-inclusion of
> >> culture as a subject comprising music education, dance, oral and
> >> cultural history and drama from elementary to high school inhibits
> >> cultural creativity. These are just a few examples of the reasons for
> >> the corrosion of Gambian culture and in some instance its stagnation.
> >> What impact does the corrosion of Gambian culture have on The Gambia and
> >> its population?
> >>
> >>
> >>
> >> The underrating and rejection in some instances of Gambian culture has
> >> been manifested in various ways from the artistic to the religious to
> >> the linguistic. As mentioned earlier, the culture of a society
> >> determines the type of individual resident in that culture. The
> >> appreciation of the culture of the society results in the appreciation
> >> of the individuals in that culture. The underrating of the culture
> >> results in the underrating of the individual. The result is a society
> >> without heroes, a society that looks outside for its heroes, a
> >> lacklustre society devoid of creativity. The biggest beneficiary in this
> >> instance is Senegal that has dominated Gambian cultural life. When
> >> Gambians want to seek spiritual guidance, they sideline the spiritual
> >> leaders and practitioners in The Gambia and travel to Senegal. When
> >> Gambians want to listen to Senegambian music, they opt for Senegalese
> >> music. When Gambians want to watch Senegambian films, they go for the
> >> Senegalese. While this might on the surface seem harmless, its effects
> >> on the national psyche are devastating. The looking outside for
> >> solutions has left a society without creativity. This is manifested in
> >> many ways leading to the mediocre performance of Gambian society in many
> >> sectors.
> >>
> >>
> >>
> >> The lack of development within the musical sector means the appreciation
> >> of foreign ones. As it is human tendency to identify with those one
> >> holds in high esteem, many Gambians try to emulate not only their
> >> foreign heroes but the cultures they represent. This is why one sees
> >> Gambian-Jamaicans, Gambian-Americans etc. That is why any dance or
> >> chorus line of a Senegalese song is readily adopted and becomes part of
> >> Gambian life. Senegalese dance styles such as "doh bi", "saa nehh"
> >> dance, "ventilateur", "hors", "leumbeul narr", "mbarass" and many more
> >> have been copied without question. Some of these dances are extremely
> >> sensual and antithetical to Gambian cultural values. Their unchecked
> >> intrusion into Gambian culture has a negative impact on the Gambian
> >> character. The same goes for the MTV-style music videos of skimpily
> >> dressed females dancing in provocative fashion and the culture of drug
> >> use inherent in Jamaican music.
> >>
> >>
> >>
> >> The film industry also brings with it great dangers especially for young
> >> people. In the countries where they are made, most movies are rated by
> >> bodies created to gauge what is suitable for viewing by young people.
> >> Since The Gambia doesn't have such bodies, movies are freely watched by
> >> all. Movies rated r or even x-rated movies are watched by young people
> >> further corrupting their values. Some of these movies are serious
> >> threats to the behavioural patterns of the Gambian population in that
> >> they carry too much violence, drugs, sex etc. This has in turn
> >> contributed to the increase in violence, crime and other vices.
> >>
> >>
> >>
> >> The religious area is not spared. The search for religious and spiritual
> >> guidance and solutions usually leads outside Gambia. The Senegalese
> >> religious sector as in many areas completely dominates and manifests
> >> itself in many ways. In some extreme situations, Gambian religious
> >> occasions and celebrations are postponed because many people travel to
> >> Senegal to participate in various celebrations there. Because of the
> >> preference for Senegalese religious leaders, Gambian religious leaders
> >> have found it difficult to reach prominence. Religious leaders, such as
> >> the late Alh. Babou Samba and many others have not been given the
> >> recognition they deserve. As microcosms of Gambia, Gambian communities
> >> abroad repeat and perpetuate the same tendencies. Apart from the
> >> Senegalese, Arab and Christian evangelists propagate all types of
> >> religious doctrines without challenge. Some of these doctrines
> >> contradict and in some instances even negate the basic tenets of Islam
> >> and Christianity but are accepted.
> >>
> >>
> >>
> >> Another impact of the corrosion of Gambian culture and the preference
> >> for foreign cultures is economic and infrastructural. Because of the
> >> investment in foreign cultural products especially Senegalese, the
> >> cultural industry there has developed and the Gambian one has stagnated.
> >> Gambia lacks basic production facilities because Gambians have not
> >> invested in Gambian culture. The total investment in Senegalese cultural
> >> products does not reflect on Gambia but helps to put Senegal firmly on
> >> the world map. Gambia has played a big part in the catapulting of most
> >> Senegalese artists to the positions they hold but this has not benefited
> >> Gambia. Apart from the mentioning of Gambian'
> >> s name in a song to satisfy and in some instances inflate an ego or two,
> >> Gambia and Gambians do not benefit from the success of the Senegalese
> >> cultural industry. Every budding Senegalese musician sings about how
> >> Gambians are "tabbeh" or generous but is it a question of " tabbeh" or
> >> "waaneh"? As the adage goes, charity begins at home. The same applies to
> >> religious and spiritual leaders. It is not strange to see Gambians queue
> >> with their hard earned cash when a Senegalese " serign" or marabout
> >> comes to town or send money to Senegalese musicians even without their
> >> asking for it. In some instances, these same people have been hounded by
> >> requests for financial assistance from their relatives back home and
> >> have failed to honour such requests. At shows and private occasions,
> >> Gambians "miraas" themselves when a Senegalese musician mentions their
> >> name in a song but give coins to a Gambian musician who does the same.
> >>
> >>
> >>
> >> Another impact is the strangulation of Gambian creativity as creativity
> >> is not rewarded. This is manifested in the laziness that characterises
> >> Gambian designers, hair dressers and others who work with the creative
> >> arts. This has given rise to a copy culture instead of a creative one.
> >> Instead of creating fashion designs, hairstyles etc., Gambians just copy
> >> these be it from Nigeria, USA, Senegal or some other place. Because
> >> these things are copied from other places, many tend to subconsciously
> >> view products that come from those countries as superior whilst Gambian
> >> ones are inferior. That is why if one puts a 100% quality product in
> >> very nice packaging labelled "made in The Gambia"
> >> and a 10% quality product in a less attractive package labelled "made in
> >> Nigeria", "made in Senegal" etc., the average Gambian would probably
> >> choose the foreign product.
> >>
> >>
> >>
> >> In the linguistic area, Senegal and Gambia share nearly all languages.
> >> Gambia has lately not contributed to the development of the languages
> >> especially Wollof but has relied on the creation of popular expressions
> >> by Senegal. Senegalese expressions have made their way into Gambian
> >> Wollof from Senegalese music and films. Expressions such as "moko yorr"
> >> , etc. have become fashionable among Gambians. Even when Gambians want
> >> to prove that they are speaking proper Wollof, they acquire a Senegalese
> >> accent. When a Gambian and Senegalese are speaking to each other, the
> >> tendency is for the Gambian to put on a Senegalese accent and not the
> >> other way round. This demonstrates an inferiority complex brought about
> >> by decades of cultural domination. The flood of Nigerian movies into the
> >> country has ushered in the beginnings of another area of cultural
> >> domination. Imitating Nigerian dialects and using expressions, dress
> >> styles and other things from Nigerian films is increasing. If caution is
> >> not taken, the negative aspects of Nigerian life will soon become a part
> >> of Gambian life.
> >>
> >>
> >>
> >> After discussing the corrosion of Gambian culture, some of its causes
> >> and the impact on Gambian society, what can be done to remedy the
> >> situation? Many solutions present themselves, some easy to implement and
> >> others difficult. The need to remedy the situation is however apparent.
> >> Whilst some of the following suggestions might not be the panacea to the
> >> problems facing Gambian culture, they are at least starting points.
> >> Whilst some of the suggestions are mine, others have been derived from
> >> the study of national culture policies of Jamaica, Nigeria, South
> >> Africa, Sweden and the Council of Europe. Whilst the Gambia National
> >> Council for Arts and Culture has a culture policy, some of the
> >> suggestions herein contained can aid in upgrading it.
> >>
> >>
> >>
> >> The first is to have a clear set of achievable cultural goals based on a
> >> clear vision related to the envisioned Gambian individual. This should
> >> be complemented with the necessary structures and mechanisms necessary
> >> for their achievement. This means that the national cultural goals
> >> should not be vague but should be clear, pragmatic and achievable. The
> >> environment under which they are going to be achieved should be
> >> conducive. This should be an environment that that fosters, rewards and
> >> protects creativity.
> >>
> >>
> >>
> >> As education is a very important component of creativity, cultural
> >> education should be an integral part of the national curriculum. This
> >> means that music education, dance, drama, creative writing and
> >> composition, poetry etc. should be taught from primary through high
> >> school. Students who excel should be encouraged through grants,
> >> scholarships, international cultural exchanges etc. A national school of
> >> the arts should be created to enable students who want to further their
> >> education in culture to do so. Art educators and trainers should be
> >> professionally trained to provide quality education to aspiring
> >> students. Research projects to identify problem areas, identify possible
> >> solutions and document Gambian culture and cultural trends should be
> >> initiated.
> >>
> >>
> >>
> >> Another important remedy is to build the infrastructure necessary to
> >> make it possible for artists to produce qualitative cultural content,
> >> effectively market and distribute it. The investment in recording
> >> studios, production houses etc. should be encouraged by the government.
> >> Both private and public finance should be sought and invested. The
> >> government should create incentives for the private sector to invest in
> >> the industry. Investors should be encouraged to invest in the latest
> >> technologies necessary to produce products that can compete
> >> internationally. Tariff barriers and duties on culture and ancillary
> >> products should be removed to encourage both artists and businesses and
> >> facilitate investment. The government should also create a cultural fund
> >> and encourage businesses, parastatals and NGOs to contribute to it.
> >> Artists and other cultural workers can apply for grants to buy needed
> >> materials.
> >>
> >>
> >>
> >> As the media plays a very important role in the promotion and
> >> distribution of cultural content, the government should create a policy
> >> and enact necessary legislation to ensure that cultural practitioners
> >> get the exposure they need and to ensure that foreign artists do not
> >> dominate the Gambian airwaves. This means that the government should
> >> create quotas for Gambian cultural content and make sure that airtime
> >> requirements for Gambian culture are included in all radio and
> >> television station licensing documents. All stations should be required
> >> to play Gambian cultural content for at least a certain percentage of
> >> their total airtime. Gambian promoters should be required to include at
> >> least one or two Gambian artists whenever they bring foreign artists.
> >> There should be a special tax on foreign artists to be paid by promoters
> >> for engaging foreign talent and this should deposited into a special
> >> cultural fund to help develop Gambian culture. As The Gambia is facing a
> >> cultural state of emergency, drastic measures are needed to at least
> >> stabilise the situation as in all states of emergency.
> >>
> >>
> >>
> >> The government should also enact legislation that protects cultural
> >> content and practitioners and accords intellectual property rights.
> >> Enforceable instruments and enforcement agencies should be created to
> >> ensure that cultural content is protected and that artists are not
> >> unduly exploited. These agencies should provide methods to help artists
> >> and investors realise potential revenues from their creations. They
> >> should also create schemes such as pension schemes and insurance plans
> >> to secure and enhance their social and economic status.
> >>
> >>
> >>
> >> Marketing and promotional schemes, activities and projects should be
> >> undertaken to enhance Gambian culture and raise the Gambian identity.
> >> These schemes should aim to promote innovation and cultural excellence
> >> through for example, the creation of a cultural excellence foundation
> >> that identifies and rewards innovators and those who excel. Strategies
> >> and programs should be created to promote and raise the culture industry
> >> to the level of traditional industries.
> >>
> >>
> >>
> >> A cultural interest group should be formed that comprises a Gambian
> >> artists union and representatives from the ministry responsible for
> >> culture to put pressure on crucial agencies to further the interests of
> >> artists. This group should also serve as a one-stop agency that
> >> generates and propagates information about Gambian culture and artists
> >> and also provides administrative support for them. The agency should be
> >> charged with organising cultural fairs that showcase Gambian talent. It
> >> should also be charged with organising a yearly festival that brings the
> >> best Gambian artists together.
> >>
> >>
> >>
> >> Another suggestion is the provision of incentives and rewards for
> >> artists. This can take the form of providing awards and titles such as "
> >> drummer of the year", "actor / actress of the year", "bassist of the
> >> year" etc. Street names should be named after artists who excel.
> >> Monuments and parks should also be dedicated to artists. This will serve
> >> as an encouragement to artists.
> >>
> >>
> >>
> >> The film industry should be stimulated. Production facilities should be
> >> invested in. Mobile film and video units should be created to travel the
> >> length and breadth of the country to spread the creations of Gambian
> >> artists. This will help bring artists and the consumers closer and
> >> spread the work of the artists.
> >>
> >>
> >>
> >> There should be co-operation between the tourism and culture industries
> >> in the form of strategies that mould the final product received by
> >> tourists. This would ensure that a clear vision of Gambian culture will
> >> be presented to foreigners that will positively reflect on the image of
> >> the Gambian individual.
> >>
> >>
> >>
> >> After having looked at the reasons for the corrosion of Gambian culture,
> >> the impact on the country and the possible solutions, it can be
> >> concluded that the failure to mould the Gambian individual has had a
> >> negative impact on various aspects of Gambian life. This has resulted in
> >> the decay and stagnation of various sectors. However, not all hope is
> >> lost. If the government institutes corrective measures, the situation
> >> can be arrested and Gambian culture can be rejuvenated enough to take
> >> its rightful place among the cultures of the world.
> >>
> >>
> >>
> >>
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