|The Courier N° 122 July - August 1990 - Dossier Tourism - Country Report: Mali (EC Courier, 1990, 104 p.)|
|Culture and the arts|
After an initial period of thought as to what the aims of a body devoted to subjects connected with cultural cooperation could and should be (The Courier reported on this), the ACP - EEC Cultural Foundation has considerably diversified its activities over the past year. And, with its organisation of the three events described below, it has made a successful entry into three specific cultural domains, those of Mauritian architecture, Caribbean history and African music.
Mauritian architecture was the theme of an exhibition of watercolours by Marc Gosswith comments by Raymond Chasle (Mauritian Ambassador to Brussels and Secretary - Ceneral of the ACP - EEC Cultural Foundation) at ACP House in the Belgian capital in June 1989, and bath texts and pictures are to appear in a book scheduled for publication in 1991. Caribbean history was presented in an exhibition entitled Primacias de America en La Espanola 1492 - 1542, also held in ACP House, in April 1990, and African music was in the limelight in Brussels on 30 April at an outstanding concert at which the ACP - EEC Cultural Foundation premid Jour dAction de Gr (Thanksgiving Day), a symphonic work by Burkinabomposer B.R. Guirma.
Houses of Mauritius and Rodrigues
by Marc GOSS
Before falling for the islands, I loved the desert and its oases, like Le Clo did. The towns and ksours, kinds of urban villages, of the Sahara are like islands in the middle of the immense stretches of sand and rock where, before the asphalted road came, people travelled on ships of the desert, meharis.
Le Clo talks about the sea as a visible boundary, saying he likes to think of the sea as a wall and of all there is on the other side of it.
An island, potentially, is a combination of two things. It is the home of a political (from polis, the Greek word for city) link of sorts between all the inhabitants, be they from town or country, and it is a place hemmed in by the sea, acting as a wall. It is a place of sea views, the only views which bear no physical trace of that human endeavour which can replace terra firma by unpredictable hurricances, and only reflecting memories of dreams and voyages, pure myths of untamed nature, wild and eternal.
Architecture is an expression, in materials and space, of this other place and the islands and their buildings still bear active witness to the most sublime achievements of architects the world over. Simple local styles have been transplanted and reinterpreted (see J. L. Pagand R. Chasle in Maisons traditionnelles de lIle Maurice, Ed. Oc Indien, 1980) and there are sophisticated buildings too, gothic and Renaissance churches, Buddhist temples and mosques from all over the East. And it has all been pertinently chosen, adapted to surroundings, climate and people and reinvented, where necessary, with all the incomparable charm of the islands culture, whose feet are firmly planted in this crowded land but whose thoughts travel about an inaccessible world hidden behind the wall of the sea.
This is no exotic dream, nor in the look of a foreigner who is blind and deaf to the poverty of the islands, to their isolation, their meagre resources and their menacing overpopulation. If many people, like Gauguin, for example, and Segalen and Brel, see the islands as havens of universal exoticism, catalysts of imagination and curiosity (particularly through tourism, which has to avoid over - commercialisation and the self - destruction that goes with it) and images of a distant paradise, still welcoming and peaceful, it is because they are closer to them than to the concrete jungles where their dreams take shape.
Island towns and facilities are often seaports ports (and, of late, airports). Built - up roads sometimes grow between the sea port and the airport, as has happened on Mauritius, with the risk of turning the whole island into an urban area, with buildings scattered at first and then everywhere, stifling and uncontrolled, soon creating a concrete jungle in the middle of the ocean, with the surrounding sea forcing the high - density, high - rise developments beloved of the speculators and all those who do not have to live or work in them.
Economic development is called for, of course, but there can be no real development without a proper setting in which to live - without that essentially cultural phenomenon, architecture. And such a setting is the islands main resource.
Mauritius domestic architectural heritage is remarkable, but under threat, for are todays buildings really worthy of the past?
This island was discovered by the Arabs and then by the Portuguese, settled for the first time by the Dutch, who called it Mauritius, then renamed Ile de France until 1810 when the British arrived. And independent Mauritius has a heritage from them all. Its people are of European, African, Indian and Chinese origin and its society is a multiracial and multicultural prototype, each group having brought in elements of its own culture and own land in the different waves of migration. And an distinctive national outlook and culture have taken shape.
The types and techniques of building in all these places are apparent in the islands architecture.
The first houses are reminiscent of rustic dwellings in Brittany and Normandy and maybe (with the shingled roofs) the Jura, and they later inspired the nigger cabins of the era of slavery. But the patrician dwellings of the sugar dealers and other traders soon displayed signs of the sophisticated style then in fashion, Mauritius vernacular architecture borrowing from it, happily, with a romantic island approach of its own.
The influence of Palladio, the Renaissance genuis, whose works set the scene in Europe and its colonies - in Louisiana, Africa and Malabar and Dravidian India - is all over the Mascarenes.
Through the Palladian style, cursiously enough, houses began to hark back to an even earlier model, the Gallo - Roman villa, with a colonnaded facade and a large central room (as in Villers - sous - Ailly, Mayen and Stahl, near Trier) and the Mauritian (or Rodrigues) villa is laid out in exactly the same way, with a verandah - style facade between two pavilions and a communal room.
Going beyond any considerations of typology, this architecture developed a style of its own - creole as it is called in the language and popular culture of the same name - based on the then plentiful, high - quality wood worked by talented craftmen.
Patrician houses and working mens cabins alike have their facades, their columns, their fanlights and their balustrades adorned with lacelike borders and unusual mouldings and their wooden roofs and frontages painted - an approach which shows that a specific tradition can be born at the crossroads where foreign influence meets home - grown local talent.
Is this not something to be borne in mind when tackling the development issue? Have we forgotten that development is an essentially cultural notion embracing quantity and quality and economic, ethical, scientific and artistic considerations as well? Raymond Chasle, the Mauritian Ambassador to Brussels, has made no small contribution to getting development redefined with this in mind, both in Mauritius and in Brussels and in the Lomegotiations.
Architecture is what society uses to provide a place worthy of its memory and its future projects and, since materials, know - how, employment, techniques and economic considerations are all involved, it may be a way to global development too.
A number of local architects have embarked on a promising process of cultural reassessment and are innovating, while modernists remain content to imitate an already - outmoded fashion from elsewhere. And the work of the European post - modernists, who are now harking back to their traditions, sometimes bear a surprising resemblance to the creole style.
Reinterpreted, rehabiliated versions of the traditional houses of Mauritius and Rodrigues reflect the true modernism of living in pleasure and comfort in time and space.
A chapter in the history of Hispaniola
Spain and the rest of the Spanish speaking world are getting ready for gala celebrations in 1992 to mark the 5th centenary of Christopher Columbus discovery of America. The mariner stopped in the Caribbean several times before reaching the continent proper and, on 12 October 1492, he landed on the island that is now divided into Ha and the Dominican Republic. He called it Hispaniola, because it reminded him of the Spanish (Espanol in Castilian) province of Castille, and he apparently always remained fond of it.
The Primacias de America en la Espanola exhibition, part of the celebrations, was run, in conjunction with the Latin Union, in ACP House in April 1990, with the added intention of marking Dominican Republics accession to LomV, and there were some extremely interesting exhibits which institutions in Spain and Dominican Republic had loaned to illustrate the meeting of the two worlds . They included books from the Tabula Americae collection of facsimiles of old documents from the archives, a series produced in Spain at the instigation of the Spanish 5th Centenary Committee and specifically intended, of course, for bibliophiles and people who specialise in this period of history. There were also posters of paintings, maps, engravings and photographs of buildings, statues and currency, all from Dominican Republic.
All these documents are filled with emotion. It is impossible not to be captivated by the Libro de las maraxillas del Munzo, the Book of Wonders of the World by Marco Polo, the Venetian, with annotations in the margin by Colombus himself, or Columbus Book of the First Voyage, a manuscript by Brother Bartholomew de Las Casas, who accompanied him. Or indeed the Veitia Code Modos que tenian los yndios de la Nueva Espana de Zelebrar sus fiestas (how the Indians of New Spain Celebrate) or The Maritime Atlas of Juan Riezo - Oliva ( Atlas Portulano ) covering the known world in the era of discovery and printed in Naples in 1580.
And how can the visitor pass by the first map of America, drawn by Christopher Columbus in 1493, or the plan of La Isabela, the first European town in America, founded in January 1494, or the first road, built of huge blocks of stone in March 1494 to link La Isabela to Saint Thomas de Janico via the Col des Hidalgos in the northern Cordileras? How can he fail to be interested in the first town council (24 April 1494), the first monastery (1502), the first hospital (1503), the first Chamber of Commerce (1503), the first currency (1505), the first lump of sugar (1506) and the first banana tree (1516)? Or the first uprising of the slaves (1522), the first peace agreement between the Europeans and the Indians (1533) and the first university (1538)?
Monsignor Lopez Rodriguez, Metropolitan Archbishop of Santo Domingo and Primate of the Americas, who presided at the private view as Chairman of the Dominican Standing Committee for the Celebration of the 5th Centenary of the Discovery and Evangelisation of America, mentioned various aspects of the exhibition (over and above its historical content) which seemed, not surprisingly, to echo the aims of the ACP - EEC Cultural Foundation human dignity (Hispaniola was the scene of its first proclamation in America), equality (the need to emancipate the black slaves was also announced on Hispaniola, as Raymond Chasle was to point out, in connection with the revolt which Toussaint Louveurte led at the end of the 18th century), and the inter - cultural dialogue, as Hispaniola is, par excellence, a melting pot of races and languages.
M. - H.B.
Jour dAction de Gr: Symphony
This symphony, by the Burkinabomposer Belemsida Renuirma, was first conceived as a ballet, which the ACP - EEC Cultural Foundation hopes to put on one day. But the work, as premid in Brussels on 30 April, is a piece for choir and orchestra and it was played by the Symphony Orchestra of Europe conducted by Pierre Roullier. Here is how the Foundation describes it:
Father Guirmas symphony Jour dAction de Gr for choir and orchestra, is a magical ballet in the popular tradition of the Mossi, one of the tribes of Burkina Faso.
All the Mossi songs, dances and rhythms which give the work its texture date to back into the mists of time.
Every year, after bringing in the crops, the Mossi held great festivities to offer thanks to God and manna to their ancestors in honour of the latest harvest which could not be eaten before the celebrations had taken place. The Moro Naba, King of the Mossi, and his vassals made huge amounts of beer from the new sorghum and sacrificed many animals in the process, turning it into a national festival, where everyone ate and drank their fill at the expense of the King (or Lord). In the Mossi language, they called it the beerfest of the King.
On the day of the ceremony, which was punctuaded by music and dancing, people from every class of society came to pay hommage to the monarch.
This is why sections of B.R. Guirmas piece are entitled Naab Rayuuya (festival of thanksgiving), Mossi Royal March , Naaba Zanne (entry of the dancers of the Warba, the folkdance of the Mossi of Ouagadougou), Ballad of the Mirgrants of Yatenga , Wenega (popular rejoicing), Fulani Dances and Peul Dances.
The composer remains faithful to the sources of tradition and successfully brings in variations and harmony, combining inspiration with masterful borrowing from Western music. . The words of the songs are from the oral tradition and there is every respect for the musical grammar of Burkina Faso in the use of popular melodies and harmony, both genre and technique being strictly authentic. By taking its inspiration from the folk dance and music of the ritual ceremony, Guirmas symphony is echoing the ACP - EEC Cultural Foundations concern with the promotion of a peoples cultural identity through its collective memory.
It is also a fine illustration of the inter - cultural dialogue, which is one of the fundamental areas of activity of the Foundation.
Since the instrumental sounds in a symphony orchestra exist in Africa, Guirma can score for Western instruments without changing the nature of the African music.
Here, then, he has produced a specifically African work for symphony orchestra in which tradition and modernity have been fused to bring out the values of traditional achievements.
It should be recalled that Father Guirmas other compositions include the theme music from Wend Kundi, by the Burkinabilm - maker Gaston Kabor
The Symphony Orchestra of Europe, itself an inter - cultural enterprise with members from 14 different countries (seven of them in the EEC), was joined on this occasion by singers, including two Africans - Opportune Nana - Tapsoba, the Burkinablto, and Venance Mobio, the Ivorian tenor. An enthusiastic audience warmly applauded them all and gave an ovation to the composer.
M. - H.B.
The spirit and vitality of the West African peoples
In June last year the French version of Ola Baloguns film, River Niger, Black Mother, had its premi at the European Commission in Brussels in the presence of the producer himself and of the wealthy Nigerian businessman and press baron, Chief M.K.O. Abiola, the latter having flown in, it was said, specially for the showing. In a few months time, the English version will be out and, together with the French, will be distributed among ACP countries. The production has been financed by the European Development Fund under the cultural cooperation agreement of LomII.
A 60 - minute documentary, which will also form the basis of a book, the film evokes, through the River Niger, the history and culture of the peoples across whose lands the Great River flows, from its source in the Fouta Djallon hills to the Delta creeks where it empties into the Atlantic Ocean. This awe - inspiring river has, since time immemorial, been the silent witness of the rise and fall of great empires and has been, and always will be to a great extent, the moulder of the characters and beliefs of the diverse peoples who live near it and by it. Providing an unbroken link between the past and present, the River Niger symbolises the common ancestry of the West African peoples one mother, the Black Mother.
Ola Baloguns essential task has been to let this silent mother take us on a journey, through time and space, to remind West Africans of their dignified past. The river speaks to us not only through the historic cities like Niani - ba, Djenne, Timbuktu, Gao, Niamey, Bornu, Lokoja, Onitsha and Bukuru, but also through the griot (minstrel), the traditional means through which history is handed down from generation to generation in West Africa.
The griots here are none other than the Kouyates (an old man relayed by his brother), descendants of the great Balla Fas Kouyate, who, in the thirteenth century, secured (for himself and his clan) the exclusive right to the griot profession from King Soundjata Keita.
The film inevitably lingers for long in the upper reaches of the Niger as the griot, playing the balafon and assisted by a female member of the family, sings and narrates the story of Soundjata Keita, founder of the great Mali empire. The episodes are enacted by the Mali National Ballet Troupe. The epic poems and songs tell of the marriage of Soundjatas mother, the ugly, hunchback Sogolon, the woman buffalo , to king Naraghan, the birth of Soundjata a cripple, the usurpation of the throne by his brother, Dankaran Touman, with the connivance of his mother, Sassouma Bar at the death of the King, the humiliation of Sogolon at the court, Soundjatas recovery of the use of his legs, his flight into exile, his return to Niani to claim his fathers throne after defeating the cruel and fearsome Soumaoro in a military campaign, and the founding of the Mali Empire.
A shot at Djennes remarkably well - preserved architectural style of the Middle Ages provides the opportunity to evoke memories of the powerful emperor Kaya Magha and the splendour of Wagadou Empire.
The film moves into the desert to remind us of the caravan of Mansa Musa and his famous pilgrimage to Mecca - a caravan which must have crossed the Niger - the rise of Sonni Ali Bers Songhai Empire, the destruction of that empire by the Moroccan army in the sixteenth century, the rise and fall of various other empires and the advent of the Europeans in the nineteenth century. Here, we are reminded of the profound influence Islam has in this part of West Africa with shots of Islamic architecture in Timbuktu and a Koranic school near Sankore mosque.
As we follow the course of the Niger southwards, the film moves away from the historical perspective to the observation of the customs, and lifestyles of the different peoples who live along the banks of the Niger: Tuareg, Soninke, Songhai, Haussa, Yoruba, Nupe, Igala, Ibo, Itsekiri, Urhobo and Ijaw. These peoples perform rituals that in one way or another concern the Great River. We are shown fishermen on the Niger, farmers tilling the land and master blacksmiths at work. The role of the Niger as a means of transport and communication comes across clearly.
The beauty and poetry of this film lie in its double movement: in time and in space. We watch the sun rise in the upper reaches of the Niger where we are plunged into the thirteenth century and the legend of Soundjata Keita. This closes with the sun setting over the hills of Kulikoro. We move on to Djenne and we are in the seventeenth century, and by the time we reach Lokoja, Onitsha, Warri and Buguma we are in the twentieth century, watching the present - day rulers of Nupe and Onitsha perform ceremonial duties and Kalabari masquerade dancing. We are, we are told, in the mysterious stretch of the river . The film dissolves in the twilight as the Niger flows, along with the libation poured by a masquerade, into the sea bearing with it tales of the human settlements and landscapes that it has crossed as well as a logacy of the magic, legend and historical deeds that embody the spirit and vitality of the peoples of West Africa .
From the photographic point of view there is no doubt that Ola Balogun performed very well in portraying in 60 minutes the physical features, grandeur and beauty of a river that spans some 4 200 km and which flows through different climatic conditions and vegetation. From the rocky slopes of the Fouta Djallon, the river flows northwards, through the granitic caves of the Manding hills and the flat grassland of the Savannah to the inner delta and lakes between Mopti and Timbuktu. It then curves southwards through the desert and down, in a breath - taking sweep, flows through the lush tropical rain - forest and the mangrove trees of the Niger delta before disappearing into the Gulf of Guinea. In its course, the Great River is sometimes tumultuous, cascading over rocks in great waterfalls; sometimes it is quiet and shimmering in the sunshine, and sometimes it is dark and mysterious.
Ola Balogon has succeeded in explaining the customs and lifestyles of the different peoples for whom the Great River means life itself. Given the resources available, these are achievements that deserve commendation but this cannot detract from the fact that these achievements are minimised set against the vastness of the subject which he took on. The legend of that larger - than - life personality, Soundjata, for example, given its historical importance, the richness of the material, deserves a film of its own. It is indeed not surprising that the legend took a disproportionate part of the 60 minutes. Soundjatas epic battles will make a very good film. More than that, Soundjata was an archetypal leader whose qualities are sadly lacking in Africa today. This film inevitably misses out on the formative period of his character, his innate generosity put to test by the three witches, (the co - conspirators of Sassoma Bar), the founding of the Mali Empire which was not coercive but by the will of the varios kingdoms as evidenced by the swearing of allegiance at Kaba, presided over by the able Balla Fas Kouyate, and the rough system of checks and balances Soundjata introduced in the Empire between the Kings and the nobles to prevent the former slipping into despotism. This said, River Niger, Black Mother is a film that is good to watch.
The Pan - African Association of Writers is born
Representatives of literary organisations from 40 African countries, meeting in a constitutive congress in Accra Ghana, last November, set up a continent - wide organisation called the Pan - African Association of Writers (PAAW).
This event was the culmination of half a century of efforts by men of culture among whom are people who become political leaders on the continent. The beginning of these efforts goes back to the first Congress of Black Writers and Artists held at the Sorbonne in Paris in 1956. Since then there has been a series of fruitless attempts - fourteen of which the last was the literary anti - apartheid symposium held in Brazzaville in May 1987.
The birth of the Association was marked by the signing of a proclamation and the election of a Constitutive Council of nine members (Guinea, Algeria, Nigeria, Rwanda, Angola Tanzania, Ghana, Senegal and Niger). The Pan - African Association of Writers is open mainly to literary organisations and distinguished men of culture be they Africans or not.
The Association proposes, amongst other things, to:
- bring together men of the pen in the continent in
order to coordinate efforts in the achievement of their common and noble
- encourage the existence of one literary organisation in each African country;
- stimulate cooperation between PAAW and literary organisations all over the world;
- set up an African publishing house and an appropriate system of distribution of works;
- protect the royalty rights of authors;
- establish a literary prize;
- create a continental literary review
The importance of the current achievement and the compelling character of the commitment to the future have been established. The credit goes to those who gave birth to the idea and nourished it for so many years. A good part of the credit goes also to the present generation, especially the statesmen and men of culture of all continents who morally and materially supported the creation of the Pan African literary organisation.
The first step having thus been taken, it remains for the established programme to be carried out.
Charles TOLNO, member of the Pan - African Association of Writers, Conakry, Guinea.