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I was reading a profile of Hamid Karzai, the president of Afghanistan in the June 6/05 issue of The New Yorker, and I came across this fascinating excerpt.
"A few days earlier, I had been invited to dinner in Charikar at the house of Atta, a local strongman who was a former mujahideen commander. The entertainment was provided by a makhara, or traditional Afghan jester, named Samad Pashean. Long before the recent decades of warfare, maskhara performed for the country's monarchs; as in medieval Europe, they had license to lampoon the powerful. Pashean was one of the last remaining maskhara. He had survived the Soviet occupation, the civil war, and the Taliban years by wandering from one warlord’s base to another, plying his services. According to my host, he was also a hit man, a blackmailer, and a thief.
Pashean regaled us with skits, dances, and gossipy monologues. In one, he described how after a man insulted him he went to his house, killed him, and stole his shoes—for some reason, everyone laughed uproariously at that detail. Pointing to me, Pashean offered to kill anyone I wanted for the equivalent of two thousand American dollars. When I told him that his price was absurdly high, he good-naturedly indicated that he was ready to bargain.
Much of the humor was directed at Karzai, and it was not kind. Karzai was compared to a mountain dog who went hunting by himself, only to lose his way home in the snow. One of my dinner companions interpreted, "Karzai has been away, and with the Americans for so long, he has forgotten what Afghanistan is like." (Not everything was political. There was also a pair of skits about brides on their wedding nights which the maskhara performed in partial burka drag. It was tame, by Western standards, but the mujahideen fighters practically wept with laughter.) Another riff involved militiamen taking part in a demobilization program but turning in only defective weapons. "We Afghans have to learn how to eat for ourselves, like cows, who, with their cuds, know how to find the good stuff to eat, and how to spit out the bad," the maskhara concluded. "One day, we Afghans will be able to spit out Karzai." "
This reminded me of another “street performer”, a Griot, I read about in John Heilpern’s astonishing book "Conference of the Birds The story of Peter Brook in Africa" . I’m not sure if it’s still in print, but a google search will find used copies. here’s the excerpt followed by the definition of Griot from Wikipedia.
"As we sat round the fringes of the carpet another act suddenly upstaged us with an exquisite sense of timing. It was an ancient griot, master of the vagabond art of storyteUing and flattery. Dressed in brown to stand apart from the crowd he was yelling and pointing, screaming out tales and jokes that would be well rewarded. The griot certainly knew how to handle a crowd. We couldn't get started because of him. Eventually he turned to the group and addressed us with such extravagant gestures that we knew what he was saying. 'Silence! These people have come thousands of miles! Silence! These good and brave people have come through a desert to see us! We are honoured! And I personally will be honoured if they give me money! MONEY!'
You slap a note on his forehead, as is the custom. It sticks to the sweat, which is why I guess he didn't deal in small change. 'MORE! You're beautiful. MORE! You're wise and beautiful. MORE! You're incredibly wise and beautiful. . .
At last we could begin - but then to our amazement another act made its entrance. Four horsemen, singers and entertainers, professional rivals, unexpectedly made a magnificent entry. Swathed in fine and ornate robes, they rode in drumming and singing a high-pitched chant as the griot began again to address the crowd. If it was a coincidence, it was inspired. 'Welcome, horsemen! And what a crowd I've got for you! Boy, what a crowd!"
The horsemen looked at us with disdain and carried on performing. But the village elders decided they must wait their turn. The sultans of the entertainment world were ushered round the back, looking deeply offended.
Now the show could begin."
"Griots, pronounced "greeohs", are storytellers of West Africa who use poetry and rhythm to teach villagers about their history. Their home is the territory of the Mandinke people, i.e. the states of Mali, Gambia, Guinea and Senegal, where their tradition is alive to this day. "Griot" is the French term for this class of musicians; the local term is jeli.
This oral tradition was (and in rural areas still is) central to the preservation of history and culture in ancient African societies as written language was very scarcely used. Griots also traditionally play important roles as community arbitrators and peacemakers.
Historically, these mendicant musicians were roughly analagous to the bards of medieval Europe, the most skilled making their livelihood outside of the village by performing songs praising royal patrons and extolling their virtues and deeds as well as those of their ancestors. The griots in turn were richly rewarded for their artistic service. Today, in the absence of the historical patrons, the griots instead turn their attention to successful businessmen who can afford to show their gratitude. Yet, the most essential service of the griot is, and remains, the storyteller and musical voice of their local community.
Compositions would get passed on to the griot's descendants to use in their repertoire, and some would make their way into general repertoire. Many such compositions survive to this day.
Griot roles are gender-differentiated. The men give genealogical information, recite historical epics, recount political events, mediate disputes and transmit news. The women sing praises and convey moralising entreaties. Both are equally important in enhancing the patron’s reputation and the integrity of the family name, although the men’s role is more prestigious. The men also play almost all the instruments in accompaniment of their own performances as well as the women’s. The men’s utterances are considered to fall into the realm of speech and oratory whereas the women’s are categorized as song. The women are showy, expressive and theatrical and have a much higher visual impact than the men do.
Griots traditionally accompany their compositions with one of the richest-sounding African instruments, the Kora, a complex chordophone that is technically classified as a harp-lute because it has structural features from both. The Kora is extremely versatile and lends itself both to accompanying recitation and complex improvisation. The traditional form of the instrument has twenty-two strings, but it is not uncommon nowadays to add a bass string, or see variants of the instrument with up to twenty-five strings.
The most famous griot clans are the Jobarteh (Diabaté in French spelling). Also known beyond Africa are the griot families of the Kanté, the Kouyaté and the Cissokho (also spelled Sissoko).
In Mali, the griots still play an important role as advisers of politicians and local chiefs. Those with the Kouyaté family name are considered djeli fama ("Kings" of the griots)
Best-known griots are Tata Bambo Kouyaté and Kandia Kouyaté. Both have achieved fame outside Mali.
"A few days earlier, I had been invited to dinner in Charikar at the house of Atta, a local strongman who was a former mujahideen commander. The entertainment was provided by a makhara, or traditional Afghan jester, named Samad Pashean. Long before the recent decades of warfare, maskhara performed for the country's monarchs; as in medieval Europe, they had license to lampoon the powerful. Pashean was one of the last remaining maskhara. He had survived the Soviet occupation, the civil war, and the Taliban years by wandering from one warlord’s base to another, plying his services. According to my host, he was also a hit man, a blackmailer, and a thief.
Pashean regaled us with skits, dances, and gossipy monologues. In one, he described how after a man insulted him he went to his house, killed him, and stole his shoes—for some reason, everyone laughed uproariously at that detail. Pointing to me, Pashean offered to kill anyone I wanted for the equivalent of two thousand American dollars. When I told him that his price was absurdly high, he good-naturedly indicated that he was ready to bargain.
Much of the humor was directed at Karzai, and it was not kind. Karzai was compared to a mountain dog who went hunting by himself, only to lose his way home in the snow. One of my dinner companions interpreted, "Karzai has been away, and with the Americans for so long, he has forgotten what Afghanistan is like." (Not everything was political. There was also a pair of skits about brides on their wedding nights which the maskhara performed in partial burka drag. It was tame, by Western standards, but the mujahideen fighters practically wept with laughter.) Another riff involved militiamen taking part in a demobilization program but turning in only defective weapons. "We Afghans have to learn how to eat for ourselves, like cows, who, with their cuds, know how to find the good stuff to eat, and how to spit out the bad," the maskhara concluded. "One day, we Afghans will be able to spit out Karzai." "
This reminded me of another “street performer”, a Griot, I read about in John Heilpern’s astonishing book "Conference of the Birds The story of Peter Brook in Africa" . I’m not sure if it’s still in print, but a google search will find used copies. here’s the excerpt followed by the definition of Griot from Wikipedia.
"As we sat round the fringes of the carpet another act suddenly upstaged us with an exquisite sense of timing. It was an ancient griot, master of the vagabond art of storyteUing and flattery. Dressed in brown to stand apart from the crowd he was yelling and pointing, screaming out tales and jokes that would be well rewarded. The griot certainly knew how to handle a crowd. We couldn't get started because of him. Eventually he turned to the group and addressed us with such extravagant gestures that we knew what he was saying. 'Silence! These people have come thousands of miles! Silence! These good and brave people have come through a desert to see us! We are honoured! And I personally will be honoured if they give me money! MONEY!'
You slap a note on his forehead, as is the custom. It sticks to the sweat, which is why I guess he didn't deal in small change. 'MORE! You're beautiful. MORE! You're wise and beautiful. MORE! You're incredibly wise and beautiful. . .
At last we could begin - but then to our amazement another act made its entrance. Four horsemen, singers and entertainers, professional rivals, unexpectedly made a magnificent entry. Swathed in fine and ornate robes, they rode in drumming and singing a high-pitched chant as the griot began again to address the crowd. If it was a coincidence, it was inspired. 'Welcome, horsemen! And what a crowd I've got for you! Boy, what a crowd!"
The horsemen looked at us with disdain and carried on performing. But the village elders decided they must wait their turn. The sultans of the entertainment world were ushered round the back, looking deeply offended.
Now the show could begin."
"Griots, pronounced "greeohs", are storytellers of West Africa who use poetry and rhythm to teach villagers about their history. Their home is the territory of the Mandinke people, i.e. the states of Mali, Gambia, Guinea and Senegal, where their tradition is alive to this day. "Griot" is the French term for this class of musicians; the local term is jeli.
This oral tradition was (and in rural areas still is) central to the preservation of history and culture in ancient African societies as written language was very scarcely used. Griots also traditionally play important roles as community arbitrators and peacemakers.
Historically, these mendicant musicians were roughly analagous to the bards of medieval Europe, the most skilled making their livelihood outside of the village by performing songs praising royal patrons and extolling their virtues and deeds as well as those of their ancestors. The griots in turn were richly rewarded for their artistic service. Today, in the absence of the historical patrons, the griots instead turn their attention to successful businessmen who can afford to show their gratitude. Yet, the most essential service of the griot is, and remains, the storyteller and musical voice of their local community.
Compositions would get passed on to the griot's descendants to use in their repertoire, and some would make their way into general repertoire. Many such compositions survive to this day.
Griot roles are gender-differentiated. The men give genealogical information, recite historical epics, recount political events, mediate disputes and transmit news. The women sing praises and convey moralising entreaties. Both are equally important in enhancing the patron’s reputation and the integrity of the family name, although the men’s role is more prestigious. The men also play almost all the instruments in accompaniment of their own performances as well as the women’s. The men’s utterances are considered to fall into the realm of speech and oratory whereas the women’s are categorized as song. The women are showy, expressive and theatrical and have a much higher visual impact than the men do.
Griots traditionally accompany their compositions with one of the richest-sounding African instruments, the Kora, a complex chordophone that is technically classified as a harp-lute because it has structural features from both. The Kora is extremely versatile and lends itself both to accompanying recitation and complex improvisation. The traditional form of the instrument has twenty-two strings, but it is not uncommon nowadays to add a bass string, or see variants of the instrument with up to twenty-five strings.
The most famous griot clans are the Jobarteh (Diabaté in French spelling). Also known beyond Africa are the griot families of the Kanté, the Kouyaté and the Cissokho (also spelled Sissoko).
In Mali, the griots still play an important role as advisers of politicians and local chiefs. Those with the Kouyaté family name are considered djeli fama ("Kings" of the griots)
Best-known griots are Tata Bambo Kouyaté and Kandia Kouyaté. Both have achieved fame outside Mali.
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