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. ¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤ To unsubscribe/subscribe or view archives of postings, go to the Gambia-L Web interface at: http://listserv.icors.org/archives/gambia-l.html To Search in the Gambia-L archives, go to: http://listserv.icors.org/SCRIPTS/WA-ICORS.EXE?S1=gambia-l To contact the List Management, please send an e-mail to: [log in to unmask] ¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤