[Dirk]

The same group also at the Segou festival.

[bubudi]

thanks, dirk. that's nice! i like the old fella dancing near the beginning who i'm guessing was a former koreduga.

[bops]

Here's what I shot. Looks like the same group as in Dirk's video (Groupe Benkadi de Segou), but a different location. Plus, I added a little bit of "les souffleurs" (horn blowers) at the beginning. Enjoy!

[e2c]

bops - thanks so much for posting that vid! (Are you a professional videographer, by any chance?) The music has a ferocious groove. (And a djembe played with a stick... hmm.)

I don't really know much about the background for these groups, and am wondering if anyone can fill in some details about the costumes and props...

Also... I hope American guys start taking the hint that dancing is for everyone. We have so few male dancers here. It would be nice to see a bit more balance.

[michi]

Awesome footage, thanks Bops!

Michi.

[music]

Here's a bonkolo version of Korojuga from Markala

http://malikan.web.officelive.com/default.aspx

[DjSato]

In Mamady's Wassolon album we hear the lyrics:

"E Komodenu, sisa bora Tamaninko
Taa wulida komo so la, sisi bora Tamaninko"

Which, according to http://www.paulnas.eu/wap/koreduga.html translates to

"Hey, you children of the Komo, see the smoke rising from Tamaninko
the fire started in the house of Komo, see the smoke rising from Tamaninko"

For me, this led to more questions than answers about the koredjuga. Does anyone know the context of these lyrics?

[bops]

In my opinion, the fire means that there's a party going on. It's not that the house is on fire, but rather that there's a fire outside the house.

When they say Komodenu, they're referring to members of the komo, not children. They're calling members of the komo to come to the fete.

[Paul]

Any recommendations for some good recordings of korejuga?

I learnt it with Drissa Kone a few years back. There is definatly more language on the dunun than in the Mamady style komodenu.

My understanding was that there can be some long variations which end up with a closed press note on the one. The dancer dances on the variations but has to stop in his tracks as the variation ends.
It's like a game of musical chairs between the dancer and dunun player.

I also understood that the classic accomp starting with a bass/slap flam is considered more of a solo accompaniment with variations off of that.

Cheers

[Gumbe_2013]

Here is another video:

[video]https://www.youtube.com/watch?v=TIyjvdUUjgk[/video]

Here you can hear Koredjuga at a workshop with Mamady Keita:

[davedances4u]

Nice work! posting Video clip of Koreduga clown procession. Ok.. that Video is in 5 FIVE! Time signature rhythm...
MamadyKeita recorded a 9 NINE! Time signature Komodenu for their Wassolo masterpiece album.. intricate stuff!
With all folk culture there is so much regional variation and various modes within any given ritual activity,
which the music reflects... So there's never just one way to play Koreduga or any other traditional rhythm too.

For Web seekers.. Here's an extensive "WAP" (W.AFrPercuss ) Data Base PDF of 126! Djembe Rhythms. Intriguing
http://www.paulnas.eu/wap/
http://www.dansdojon.nu/wordpress/wp-co ... ussion.pdf

but the best understanding comes direct from the horses cultural mouth, not from it's interpreters.. like me! ha ha...
Hey great job! on Video posting Koreduga Clown Dance.. picture's worth a thousand words.. so thanks!

PS. there is definately something deeep magical about playing Mamady style 9/3 Komodenu
it rolls along like a kids MerryGoRound.. Cosmic Clowns..