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Maloya

From Wikipedia
maloya
music genre, type of dance
Subclass ofmusic of Réunion, music of Seychelles Edit
Country of originFrance Edit
Intangible cultural heritage statusNational Inventory of Intangible Cultural Heritage in France, Representative List of the Intangible Cultural Heritage of Humanity Edit
Described at URLhttps://ich.unesco.org/en/RL/00249, https://ich.unesco.org/fr/RL/00249, https://ich.unesco.org/es/RL/00249 Edit

Maloya be one of de two major music genres of Réunion, wey dem usually for sung for Réunion Creole insyd, wey dem traditionally dey accompany am plus percussion den sam musical bow.[1] Maloya be sam new form wey get origins for de music of African den Malagasy slaves den Indian indentured workers for de island insyd, as de oda folk music of Réunion, séga. World music journalists den non-specialist scholars samtyms dey compare maloya plus de American music, de blues, though dem get little for common insyd.[2] Dem consider Maloya as sam threat give de French state wey dem ban for 1970s insyd.[3]

Dem samtyms dey consider am as Reunionese version of séga.

Ein Description

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AS dem compare plus séga, wey dey employ numerous string den wind European instruments, traditional maloya dey use only percussion den musical bow. Maloya songs dey employ sam call-response structure.[4]

Ein Instruments

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Traditional instruments dey include:

  • roulér - sam low-tuned barrel drum wey dem dey play plus hands
  • kayamb - sam flat rattle wey dem make from sugar cane tubes den seeds
  • pikér - sam bamboo idiophone wey dem dey play plus sticks
  • sati - sam flat metal idiophone wey dem dey play plus sticks
  • bob - sam braced, struck musical bow[5]

Ein Themes

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Maloya songs often be politically oriented[6] wey dema lyrical themes often be slavery den poverty.[6]

Ein Origins

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Na dem often dey present indigenous music den dance form of maloya as sam style of purely African origin, wey dem link plus ancestral rituals from Africa ("service Kaf" den Madagascar (de "servis kabaré"), wey as such sam musical inheritance of de early slave population of de island. More recently, however, Danyèl Waro introduce de possible influence of de sacred drumming of de Tamil religious rituals, wey dey nake Maloya' heterogeneous African Malagasy den Indian influences more explicit.[7]

Ein History

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Dem ban Maloya till de sixties secof ein strong association plus creole culture.[2] Dem ban sam sam maloya groups dema erformances till de eighties, partly secof dema autonomist beliefs dem association plus de Communist Party of Réunion.[5]

Nowadays, one of de most famous maloya musicians be Danyèl Waro. Ein mentor, Firmin Viry, dem credit am as say be rescue maloya from extinction.[2] According to Françoise Vergès, ebe Firmin Viry wey do de first public performance of maloya for 1959 insyd for founding of de Communist Party.[8] Na dem adopt Maloya as sam medium for political den social protest by Creole poets such as Waro, den later by groups such as Ziskakan. Since de start of de 1980s, maloya groups, such as Ziskakan,[1] Baster, Firmin Viry, Granmoun Baba, Rwa Kaff den Ti Fock, as sam dey mix maloya plus oda genres such as séga, zouk, reggae, samba, afrobeat, jazz den rock, emake eget recognition outsyd de island.[9]

Ein Cultural significance

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Dem inscribe Maloya for 2009 insyd for Representative List of de Intangible Cultural Heritage of Humanity of UNESCO top for France insyd.[10]

Na dis musical form be de subject of sam 1994 documentary film by Jean Paul Roig, wey ein title be Maloya Dousman.[11]

Make you sana see

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References

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  1. 1.0 1.1 Alex Hughes; Keith Reader (2001). Encyclopedia of contemporary French culture. Taylor & Francis. p. 225. ISBN 978-0-415-26354-2. Retrieved 2010-06-15.
  2. 2.0 2.1 2.2 Nidel, Richard (2005). World music: the basics. Routledge. p. 30. ISBN 978-0-415-96800-3. Retrieved 2009-07-31. maloya music.
  3. Denselow, Robin (5 October 2013). "Maloya: The protest music banned as a threat to France". BBC News. Retrieved 6 October 2013.
  4. Hawkins, Peter (2007). The other hybrid archipelago: introduction to the literatures and cultures of the francophone Indian Ocean. Lexington Books. p. 135. ISBN 978-0-7391-1676-0. Retrieved 2009-07-31.
  5. 5.0 5.1 James Porter; Timothy Rice; Chris Goertzen (1999). The Garland encyclopedia of world music. Indiana University: Taylor & Francis. p. 30. ISBN 978-0-8240-4946-1. Retrieved 2009-07-31.
  6. 6.0 6.1 Tom Masters; Jan Dodd; Jean-Bernard Carillet (2007). Mauritius, Réunion & Seychelles. Lonely Planet. p. 45. ISBN 978-1-74104-727-1. Retrieved 2009-07-31. origin sega music.
  7. Hawkins, Peter (2003). "How Appropriate is the Term "Post-colonial" to the Cultural Production of Reunion?". In Salhi, Kamal (ed.). Francophone Post-Colonial Cultures: Critical Essays. Lexington Books. pp. 311–320. ISBN 978-0-7391-0568-9.
  8. Francoise Verges, Monsters and Revolutionaries, pp.309–10, n.3
  9. Frank Tenaille (2002). Music is the weapon of the future: fifty years of African popular music. Chicago Review Press. p. 92. ISBN 1-55652-450-1.
  10. "Intangible Heritage Home - intangible heritage - Culture Sector - UNESCO". www.unesco.org. Retrieved 2018-09-17.
  11. "Maloya Dousman". Festival listing. African Film Festival of Cordoba. Retrieved 12 March 2012.
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