As the most famous Malian woman alive, Oumou Sangare embodies this alluring dichotomy like no one else. She’s the epitome of tough femininity; beautiful, elegant, determined, independent, talented…and, well, hard. She’s a singing sensation who also runs a business empire comprising a hotel, a farm, and a concession to import the specially branded ‘Oum Sang’ range of 4×4 pick-ups and SUVs from China. Her address book is stuffed with the private numbers of presidents, princes and potentates. She’s the godmother of ‘Case Sanga’, Mali’s answer to the X-Factor. She’s an official ambassador for the UN Food and Agriculture Programme and the unofficial ambassador of both Malian music and Malian womanhood. She’s duetted with Alicia Keys, Dee Dee Bridgewater and Me’shell Ndeogecello. She gets mobbed, petitioned, praised and pursued by fans the world over. Her voice makes you stop the car and peer skywards in wonder.

So, when Oumou Sangare began to cry during our interview, I was not only surprised but also embarrassed, intrigued, even impressed. These were definitely not grandstand tears à la Paltrow or Winslet. They welled slowly, imperceptibly at first, a mild intensification of the glisten in her eyes. Then, as the emotions gathered strength, Oumou gently chided herself for this uncharacteristic breach of her armour, repeating her trademark “wow!” and “I’m sorry, it’s hard hard.” Eventually, after bravely attempting to tough it out, without any superfluous fuss or theatricals, Oumou took herself off for a few minutes, and came back composed.

Until this moment of epiphany, the Songbird of Wassoulou had been talking dutifully and politely about her new album ‘Seya’, a veritable masterpiece in the offing, providing useful if measured insights into her creative methodology and the themes behind each song. She reaffirmed her central message of female pride and empowerment. She reiterated her condemnation of forced marriage, polygamy and the abuse of women, adding that since becoming a mother herself, she also felt a need to bring children and their suffering at the hands of poverty, war and aids into her championing embrace.

The chink came when she was asked to recount her early years in Bamako, the Malian capital. In 1970, when Oumou was two years old, her mother Aminata Diakite, also a renowned singer, had been forced onto the breadline by the cataclysmic decision of her father Sidiki Sangare to take a second wife and move to Abidjan in Ivory Coast.

“One day, when my mother came back from a trip,” Oumou recalled, “she saw that I had managed to clothe all her children in brand new clothes. “Oumou! Where did you find the money to pay for all this?” I answered, “But mum, I sing now. I earn plenty of money in the streets.” My mother started to cry. “That’s incredible,” she said, “It’s suffering that has forced you to become a singer.” It was a very hard childhood, but thanks be to God, all is well now. It gave me an incredible character. I can face up to any obstacle.”

Obstacles there were, and obstacles there continue to be. Oumou knows the darker side of fame all too well. In the chat rooms and blogs of Mali’s papers and magazines, she’s accused of driving one of her backing vocalists insane, acting in a porn film, ignoring the poor of her ancestral Wassoulou region in the south of Mali and even using too many skin-whitening products. All these stories evaporate like volatile poison under the heat of even a cursory investigation.

At the dawn of Oumou’s success, back in 1989, when the young starlet was buzzing around Bamako on her Yamaha Dan motorbike, drunk on life, dizzily riding the enormous wave of popularity unleashed by the release of her first ever album, the revolutionary ‘Moussoulou’, certain shadowy detractors spread rumours that she had died in a road accident. The news almost killed her long-suffering mother. Oumou’s outspoken condemnation of female subservience and her celebration of female pride and joy, even of a sexual kind, obviously twigged the beards of many a hoary old moralist. “But I coped well with success,” Oumou maintains. “I tried to be myself and stay close to womanhood. There were plenty of critics, but it was all very minor compared to the success.”

Oumou turned forty last year and ‘Seya’ wrestles with themes that befit life’s obligatory half-time pep-talk of the soul: destiny, mortality, good and bad fortune, loss, appraisal of the past, hope for the future, deep roots and the green foliage of joy. Sonically, the album is a magnificent reappraisal of the radical blend that made ‘Moussoulou’ such a blast of fresh air more than two decades ago. Then it was the inspired arranger Amadou Ba Guindo who helped Oumou to mix traditional instruments like the kamelngoni harp, the karinyan scraper, the djembe and cowrie-adorned calabash with a funky, modern and exuberantly hopeful approach, kick-starting what came to be known as the ‘Bamako’ sound. ‘Seya’ is this style’s coming of age. The cast of this epic undertaking is so huge that it’s a wonder that producer Nick Gold and arranger Cheikh Tidiane Check managed to hold it altogether, and produce something so raw, so true and so brilliantly focused.

Thanks to the detailed and meticulous translations of the lyrics, ‘Seya’ is also an album full of clues to the cartography of Oumou Sangare’s inner life. This is unusual for music from West Africa. Most of the time, the region doles up funky and mellifluous songs bearing wise axioms and edifying epithets of a universal nature for the general improvement of the populace. The tortuous pilgrimage of the individual soul is never laid bare as it is in our own tradition. ‘Seya’ is exceptional, but subtly so. On the surface it also trades in universalities, but between the lines there lurks a single solitary woman battling with fame, with painful memories and with a difficult daughter-father relationship.

The song ‘Sounsoumba’, for example, compares a young girl who has been forced into a loveless marriage, with a once strong and mighty tree which has been cut down to a pitiful stump. “I have become solitary / I am alone with God / I am crying softly,” Oumou sings. These words echo the pain of her distraught childhood. “Sometimes I would shut myself away,” Oumou remembers. “I would sing to console myself. I had no mother on whose shoulder I could rest my head for comfort. There were no stories at bedtime. So I sang. And I cried a lot.”

Oumou is also painfully aware of both the fragility and responsibility of fame. In the song ‘Kounadya’ she affirms again and again, almost as if to annihilate any hint of base arrogance in herself, that fortune is given by God and “your lucky star”. “You can lose your lucky star / Or you can take care of it / You must not spoil it.” When I asked Oumou if she applied this lesson to herself, her response was swift, betraying the slightest hint of resentment that I should even think otherwise. “Absolutely!” she exclaims. “I begin with myself. I try to show a good example. I thank God for this fortune, and I try and help younger artists move up the ladder in an attempt to give benefit t those who haven’t had the kind of opportunities I have.”
Perhaps the most fascinating song on the album, both musically and lyrically, is ‘Donso’. This smouldering crawling bluesy number pays tribute to the traditional hunters of the lush Wassoulou region where Oumou’s parents originate. These revered men were not only providers, warriors and protectors, but also healers, philosophers and musicians. Through a deep contemplation of the nobility of this hunting caste Oumou manages to reinstate a positive view of manhood in her own psyche, thereby healing the massive wound caused by her own father’s betrayal and abandonment. This wound, and the pain and anger that it generated, have hitherto defined Oumou’s music and her lifelong mission to champion the cause of women.

In 2005 Oumou’s father was killed in a car crash. Before he died, Oumou managed to reconcile herself with him, buying him a house and paying for his pilgrimage to Mecca in the process. She found out that he wasn’t quite the demon of her younger imagination, and had in fact lived a quiet and gentle life as an imam in Abidjan. ‘Donso’ celebrates this reconciliation, albeit obliquely. “What does death teach us / The best way to live is with wisdom / because we all die in the end,” she sings. “I praise my father Bari Sangare / Passing on is not the hardest thing / Passing on without leaving anything behind, that’s what’s the hardest / Now Bari Sangare rests in peace.”

‘Seya’, which means ‘joy’, is the guarantor of Oumou’s own legacy. It’s an album full of courage; courage to be honest, to forgive, to be wise and to move on.

Andy Morgan, (c) 2009

First published in The Independent – January 2009
http://www.myspace.com/oumousangare

The post OUMOU SANGARE – Tougher than tough appeared first on Andy Morgan Writes.

Festival Security in 2003. (c) Kate Morgan.

The article in Harpers and Queen came as a shock.  “Exotic.”   “Move over Glastonbury.”  “The most remote music festival in the world.”   “The romance.”  To see an event that was born in a spirit of deranged adventure mixed with post-conflict shoestring survival previewed in magazine that epitomizes affluence and the charmed life…I had to double take and double take again.  Six years ago, under the haunting light of a lunar eclipse, the first Festival in the Desert took place on a wide stony plain near the village of Tin Essako, in the deepest desert of the southern Sahara.  We were a motley assortment of musicians, technicians, journalists, ambassadors, duchesses, tourists and friends who travelled to that unfeasibly remote and yet utterly seductive spot to witness this renaissance of cultural pride and hope.  Our hosts, the nomadic Touareg of the Sahara, had latched onto the idea of using their culture to try and extricate themselves from years of rebellion, drought, isolation and underdevelopment.  The Festival was only a means to this end.  We were only a footnote in this wider project.  Harpers and Queen was very far from anyone’s mind.

The humble seed that was planted back in January 2001 has grown into a media bougainvillea of global proportions.  The take-off point came in January 2003 at the third edition of the Festival near the tiny village called Esskane, in the dunes west of Timbuktu.  LoJo, a group from Angers in France who were so instrumental in setting up the first edition of the Festival, came with a team of technicians.  The Sfinks Festival in Belgium added another crew.  They erected a stage of dreams which welcomed a procession of the Sahara’s finest: Tinariwen, Tartit, Tarbiat, Oumou Sangare, Ali Farka Toure, Afel Bocoum, Haira Arby, Seydoum Ould Eide and many more.  A smattering of European ‘names’, including Robert Plant and Ludovico Einaudi, added a frisson of celebrity status.

The 250 strong contingent of whiteys stumbled around in the cream-coloured talcum-powder sand, drenched with sweat and wide-eyed with wonder.  The 1000 or so locals strutted their finest robes, their fanciest turbans, their most magnificent camels and the unearthly sounds of their traditional music.   A CD was recorded on a portastudio set up in a rusting old shipping container.   It sold like hot cakes, and a DVD followed.  Suddenly the Festival became a byword for extreme musical adventurism.  Attendance became a test of sang-froid and derring-do.  Big tour companies started offering all-in packages including first class tent accommodation.   The various ministries in the Malian capital Bamako began to realise that the northern deserts, rather than being a god-forsaken sink hole full of bandits and terrorists, could actually become a very bankable asset  in terms of tourism and cultural kudos.   All this success descended on the bewildered organisers like a sandstorm, at once epic, exhilarating and radically disorientating.

The painful truth is that speedy success dragged along a heap of uninvited problems in its caravan train.  The Malian authorities exerted uncomfortable pressure on Manny Ansar, the President of the EFES Association which was responsible for organising the event. It became official policy to keep the festival alive at all costs, despite spiralling debt, despite the pressure of alien crowds on the fragile desert environment, despite the growing discontent of certain Touareg who felt that the event was being hi-jacked and turned into a kind of Arabian Nights meets Woodstock Of The Sands fantasia.   No one locally could imagine that the Festival was anything other than immensely rich.  But the opposite was true.  The expense of freighting every single piece of equipment and infrastructure in huge burly Mann trucks over the atrocious track that links Essakane to Timbuktu had well nigh bankrupted the event.  Budgets were dismissed as fiction.  Grumbling suspicion became widespread.  Tinariwen, the musical heroes of the rebellion that had shaken desert society to the core in the early 1990s, went back home to Kidal in the far northeast of Mali to set up their own festival, Les Nuits Sahariennes d’Essouk.  They were pining for a return to the original mission; a celebration of desert culture, an event that brings the various different Touareg confederations, from Mali, Niger, Algeria and Libya together for three days of parlaying, problem solving and partying.

The Touareg are unified by a common language, Tamashek, and a common culture rooted in the Berber subsoil of North and West Africa.   But historically the various tribes and factions have often been rivals or even sworn enemies.   It was the rebellion of 1990 to 1991 that broke down these old enmities and forged something approaching a common Touareg destiny.  But old traditions die hard.  As the Festival at Essakane became the talk of the desert, the Touareg of Menaka, Tessalit,  Aguelhoc, In Gall or Agadez wanted a piece of the action.  Why should all the glory go the Kel Antessar, the tribe that rule the Timbuktu region, who have always been the most adept at playing politics and furthering their cause in the corridors of power in Bamako?   After all the original Festival in the Desert was nothing more than one of the Touareg’s annual traditional gatherings, a bit like our country fairs of yore, opened up to participants and audiences from all over the world with the help of some funding, a website, and friends in Europe.  In January of this year there were no less that six desert Festivals in northern Mali: at Essakane, in Essouk, Ashawadj, Gourma, Aguelhoc and Tessalit.   It’s no longer a question of THE Festival in the Desert, but of The FESTIVALS in the Desert.

At this year’s Essouk festival, about 150 nomad tents covered in terracotta stained hides were arranged in a wide crescent along a ridge near the ancient ruins of a medieval metropolis.  The setting was arrestingly grand.  On the sandy plain below was a tiny concrete stage, backed by a huge open sided truck.  The crowds were thinner than they might have been.  Local people were constrained by the fact that the annual feast of Tabeski was only a few days away, and they needed the time to get home and prepare for it.  Tourists had been turned off by a completely misguided message on the Foreign Office website advising against travel in the northern deserts of Mali.   Statistically, the area is about ten times safer than London, Bristol, or the centre of Trowbridge on a Saturday night.  The old myth about the desert being a parched hell-hole inhabited only by Touareg freebooters and renegade Al-Qaida elements still holds swa y in Bamako, and apparently also in the Foreign ministries of the UK, France and the USA.

That’s why the Festivals in the Desert are so important.  They give a region previously ravaged by conflict and insecurity the chance to show a peaceful face to the world.   They give the chance for the Touareg to prove that far from being bandits, they are a simply another African people in the pressure cooker of enforced modernisation, desperately trying to adapt their millennial nomadic culture to the merciless realities of a modern globalised world.  They give adventurous westerners the opportunity to travel to one of the most beautiful places on earth, and hear music whose alien splendour is as difficult to conceive as it is stunning.  And they give the world a chance to ponder how a friendly cultural get together can being some much needed pride, hope and confidence, where bullets and politically inspired machinations have previously failed.

Andy Morgan.  (c) 2006
First published in The Independent – Mar 2006

The post FESTIVAL IN THE DESERT #2 – Hope through music appeared first on Andy Morgan Writes.