After many years, we’re proud to announce the Mdou Moctar USA tour! Mdou & the band will be starting off on the EU/UK, then headed across the USA, with shows on the West Coast, Midwest, East Coast, down to the South.
I first heard Mdou’s music in 2010, and finally met him in person two years later. During the first meeting we recorded his debut album Afelan. At the time, Sahel Sounds was a nascent label taking its first stumbling steps in a tumultuous and confusing music industry, so when Mdou asked “How can I tour in America?” I responded disparagingly: “We can work together, I can help your music to travel, but I have no idea how to make a tour happen, above all in the USA.”
At select screenings, we’ll be screening our film, the Purple Rain inspired Akounak Tedalat Taha Tazoughai. But we also are talking about making a sequel of sorts, an ethnographic film from Mdou & the band as they cross America and explore what it means to tour in 2017. Maybe with a little bit of Spinal Tap thrown in. It is rock music, after all.
The new music video for Ami Yerewolo’s“A San Nièfai” takes Malian Hip Hop into a science fiction future. In the video, a trio of post apocalyptic survivors wander through the Malian countryside, stumbling on the destroyed and smoking ruin of the capital. Meanwhile, they are pursued by a vehicular gang with bandits piled into the back of trucks and screaming stunting motorcycles. The video alternates between Ami rapping in an underground mine shaft and a loose narrative that ends in a showdown between two warring factions. And of course, a dance sequence.
The stylistic choice for the video isn’t wholly surprising and is clearly inspired by the Hype Williams directed 2pac video for California Love and blockbuster Mad Max: Fury Road (the former of course being a remake of the 1979 Mad Max, alas). Aside from being a colorful video with a plethora of special effects and tentative narrative structure, the video stands out particularly in the West African context. It is well likely that “A San Nièfai” is the first commercial science fiction production from Mali.
I spoke with Sidiki Goita, director of the video, and co-founder of Vortex Groups, a Bamako based special FX startup. Goita is an engineer by trade, but over the years he’s grown his company to a dozen members, all in their 20s. While working on 3D design, logos, and advertising, Vortex Groups supplements their work with music video production. It’s a lucrative avenue of the struggling Bamako music industry, particularly in contemporary Malian Hip Hop. As Internet enabled cellphones replace the old bluetooth networks of music trading, sites like RHHM and Bamada-City are gatekeepers of new media. Malian Hip Hop artists rely on music videos to advertise and promote their brands. Vortex’s approach varies from the other studio houses, Goita explains. “When Vortex Groups produces a video clip, we make it as though it was a feature length fiction. We write a script, assemble a technicians, make a storyboard…and after finishing all these stages we proceed to scouting the location.”
For what appears to be a large production with cast and costumes, the video for “A San Nièfai” was assembled in pure DIY aesthetic, relying on found materials and free locations. The costumes were salvaged from found materials, transforming motorcycle helmets into armor, calabash turned into shields, and large woven potato sacks for clothing. The video was shot 40 km outside of Bamako at an old quarry for laterite, the iron rich clay used for the quintessential red mud bricks seen across West Africa. Goita was given creative freedom from the artist to make something very different from the standard Bamako Hip Hop video: “The idea of the clip was to break the monotony and the uniformity of the current African videos that loop on the music TV channels, summed up with drone shots of a singer surrounded by a crowd of dancers and also scantily clad girls. The second goal was to shock viewers to the consequences of civil wars, by showing apocalyptic images of their city.”
Science fiction has always been a genre of speculation and warnings, projections that reflect on utopic and dystopic futures. While fantasy and horror have a place in oral tradition, science fiction doesn’t exist in Mali. Only now are the possibilities being explored as technology allows low budget experimentation to redesign reality through 3D animation, compositing, and green screen. So why isn’t there more science fiction? “The problem that persists is a conflict of generations,” Goita explains. “The old ones who have mastered the network of studio production are not ready to leave the beaten track. They are content with simple cinema without technical stakes – just simple stories of love and politics.”
Sidiki Goita says the ultimate goal with Vortex Groups is to produce feature films. Their music videos are calling cards, examples of what can be accomplished with a little investment. “In the West, the cinemas are exhausted, they only make remakes and films of superheroes,” Goita says. “Like our mining resources, our stories and legends are not even exploited to 5%…The younger generation does not have access to funding to produce high-quality films. Foreign partners should trust African youth to finance projects. With less than $20,000, we could would make an African version of Mad Max which could rival productions with 10 times the budget!”
The first ever Tuareg language fictional film, based on the legendary rock-u-drama “Purple Rain,” Akounak or “Rain the Color Blue with a Little Red in it” explores the world of a musician trying to succeed in the raucous subculture of the Niger guitar scene. The protagonist, real life musician Mdou Moctar, must battle fierce competition from jealous musicians, overcome family conflicts, endure the trials of love, and overcome his biggest rival – himself. Carried by stunning musical performances from Mdou, the film is a window into modern day Tuareg guitar and an experiment in participatory ethnographic filmmaking.
The past year, the film has toured around the world at various screening and festivals. We got to travel around with the film and meet lots of folks. Mdou got to come to the US for the first time and present the film in New York. We had loads of unexpected press, and learned that blogs are still killing it. We’ve even got to organize a few screenings for celebrities (we’re not saying who). It’s been a fun, weird journey, and we’re excited to keep moving forward – thank you for the support!
In 2015, I had the opportunity to work on a bit of a dream project entitled Uchronia, an exhibition and recording lying somewhere between conceptual art and experimental ethnography. The process was a series of collaborative “fake” ethnographies (or ethnographic forgeries) – a very flagrant self conscious expression in a field that and hides the role of the documentarians in documentary.
One of the more interesting recordings produced was the above titled “Bambara Affirmations” from
Bamako based Hip Hop producer/composer/rapper Luka Productions (facebook link). Modeled on the new age genre of affirmation music, the conception was a spontaneous, humorous conversation in Luka’s tiny studio, where we took clichéd and hackneyed phrases and translated them into Bambara (“you are transforming into a butterfly,” etc). The resultant track was mixed into a field recording and conjured scene: a stressed out Bamako taxi driver, gridlocked in stifling humidity of the fast growing riverside metropolis, concentrating on the soothing voice on the cassette.
Recently I proposed Luka to make a full album similar to the recording, based around the previous artifact, but further extrapolated. The first tracks have begun to trickle in via Whatsapp and Wetransfer, now to be mixed and mastered. They are at once familiar to Mali, lying between the measured griot speaking over a looping melody to the the verbal wordplay of contemporary Bamako Hip Hop, suggesting a continuity outside of the narrative of Western Influence in Global Hip Hop.
Luka says there has been a curious reaction to the songs: when he’s working in the studio, a nexus of Bamako Rap scene, many of the musicians and emcees are asking for copies of the tracks. As much as it is familiar, it is also something new – an artifact of a fake world. As we move forward into completion, perhaps they will find their way into an actual taxi, like some Borgean artifact. Will they carry forward a similar affirmation when reinterpreted by Bamako’s Hip Hop culture? Non-Bambara readership of the blog will have to remain in suspense for the moment. Stay tuned.
In June 2015, we traveled to a place that doesn’t exist.
The work was semi-ethnographic documentation of travel to a fictional Bamako. Over 10 days, photographer Maciek Pozoga and I meticulously documented the real and the unreal through photo and sound. The imagined capital evolved out of discussions with Bamakois: visual artists, science fiction scenarists, traditional griots, DIY filmmakers, and modern studio producers. At the forefront was perception of Mali and its capital – what it is, what it could have been, and what it will be. At the core was the idea of travel, that feeling of being in a strange land. On this journey we looked for clues of alternate pasts, hidden in architecture, dress, song, or deep in the dreams of possible futures.
The resulting exhibition, Uchronia: The Unequivocal Interpretation of Reality will feature photography from Maciek Pozoga, a photo book, edited by Pierre Hourquet, and vinyl record of field recordings documenting the journey – available during the exhibition (and later here at Sahel Sounds). The vinyl record, “Field Recordings from Alternate Realities” accompanies the photographs as soundscape to this unrealized world. The record draws on the experience of a number of musicians, including Mamelon, Luka Productions, and Super Onze – borne out of conversations and experimentation.
In studio with Luka Guindo, we listened and discussed mp3s of Craig Leon’s Nommos. Released in 1981, Nommos is a concept album based around the “Dogon creation myth” – a much referenced story that the Dogon tribe’s mythology was based around impossible astronomical knowledge, and that this knowledge must have come from the stars themselves. Leon composed the music New York after encountering Dogon art at the Brooklyn museum. Luka is Dogon, and I asked him about Sirius and the double star and the mysterious ancient aliens of his mythology. He had never heard of it. As ideas are filtered across cultures, they succumb to overwhelming cultural misinterpretations – coming from another place brings with it a penchant for the sensational and exotic. The questionable veracity of the myth, or even the historic veracity, is largely irrelevant, as this myth has become part of the West’s West African canon. It may well be reinvigorated as Bamakois discover Leon’s album.
Working with mythic objects is purposefully confusing. The results of this journey lie somewhere between the fiction and the real; a necessary component of realizing an idea across cultures, resulting in objects that straddle both worlds. Some of the field recordings may not be comprehensible at the moment. The Venn diagram of Luka’s contribution borrows context from Bambara speakers and Western vinyl collectors – a very small contingency. Vinyl records have an element of timelessness, only exaggerated in the presence of the fleeting digital. It is rumored that the Church of Scientology has left vinyl records of their scripture buried them in bunkers around the world – so when the surface of the planet is a smouldering crust, the survivors will come across these recordings and build an empire with their blueprint. Today’s fiction only needs time to pass into mythology.
Uchronia: The Unequivocal Interpretation of Reality runs from September 4th to October 16th, 2015 at 12Mail / Red Bull Space in Paris, France. The exhibition is produced by Red Bull and Carhartt WIP. (FB event page)