Fiche Personne
Musique
© Malick Sidibé / Droits réservés
Ibrahim Nabo
Musicien/ne
Mali
© Malick Sidibé / Droits réservés
Français
Ibrahim Diadié Nabo est née d’une mère songhai et d’un père bozo, dans la région de Goundam, dans le Nord du Mali. Il a été initié à la musique par sa grand-mère, Fatalmodou Soriba, chanteuse reconnue dans le Goundam.
Il part pour Bamako et en 2003 il rencontre Sailf Keita qui produit son premier album, « Dounia ». Ibrahim définit sa musique comme une version modernisée de rythmes traditionnels songhai (comme le takemba) ; les paroles de ses chansons traitent de sujets contemporains, et les instruments qui les accompagnent sont d’origines très différentes, comme le donso goni utilisés par les chasseurs bambara et joué par Adama Coulibaly, ainsi que la guitare de Djéli Moussa Kouyaté.
Il part pour Bamako et en 2003 il rencontre Sailf Keita qui produit son premier album, « Dounia ». Ibrahim définit sa musique comme une version modernisée de rythmes traditionnels songhai (comme le takemba) ; les paroles de ses chansons traitent de sujets contemporains, et les instruments qui les accompagnent sont d’origines très différentes, comme le donso goni utilisés par les chasseurs bambara et joué par Adama Coulibaly, ainsi que la guitare de Djéli Moussa Kouyaté.
English
Ibrahim Diadié Nabo is an authentic new voice born in a poor family from Goundam in the north of Mali,
from Songhai mother and Bozo (and a pirogue steerer) father,
fostered and initiated to music by his grandmother Fatalmodou Soriba, known in Goundam as a good singer.
After the death of his father he left school in order to support his family
doing various jobs first in Goundam and then Bamako. In 2003 after an episodic career
he met Salif Keita who produced his first album Dounia.
Ibrahim defines his music as « hadja » a modernished version of the traditional Songhai rhythms
like fewa dimba ,hala or takanba (meaning take hands), all of which are tied to specific trades
or activities(growers, masons, butchers..)
Although he has preserved the originality of these genres, Ibrahim has renewed their spirit by writing lyrics that relate to contemporary realities accompanying them with instruments from different traditions like the donso ngoni of the Bambara hunters, played by Adama Coulibaly, or the guitar of Djeli Moussa Kouyaté.
Thoughts of wisdom and temperance are present throughout the eight original songs
that are many little fables, each with a firm, precise moral ;
they have the merit of throwing light on reality as Africans see and live it.
« Dounia is life.The song is a resume of my philosophy,after all those hardships.
The uncertainty of existence requires you to behave with humility and respect in society ».
from Songhai mother and Bozo (and a pirogue steerer) father,
fostered and initiated to music by his grandmother Fatalmodou Soriba, known in Goundam as a good singer.
After the death of his father he left school in order to support his family
doing various jobs first in Goundam and then Bamako. In 2003 after an episodic career
he met Salif Keita who produced his first album Dounia.
Ibrahim defines his music as « hadja » a modernished version of the traditional Songhai rhythms
like fewa dimba ,hala or takanba (meaning take hands), all of which are tied to specific trades
or activities(growers, masons, butchers..)
Although he has preserved the originality of these genres, Ibrahim has renewed their spirit by writing lyrics that relate to contemporary realities accompanying them with instruments from different traditions like the donso ngoni of the Bambara hunters, played by Adama Coulibaly, or the guitar of Djeli Moussa Kouyaté.
Thoughts of wisdom and temperance are present throughout the eight original songs
that are many little fables, each with a firm, precise moral ;
they have the merit of throwing light on reality as Africans see and live it.
« Dounia is life.The song is a resume of my philosophy,after all those hardships.
The uncertainty of existence requires you to behave with humility and respect in society ».
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