Acceso usuarios
Maria Konoshenko
This paper explores multilingual popular music in the Republic of Guinea (West Africa) by focussing on hereditary musicians of Manding origin, known as jelis or griots. I demonstrate how jeli songs developed in the course of recent Guinean history as divided into three periods: the Colonial period (1898–1958), the Decolonial Socialist Regime of Sekou Touré (1958–1984), and the Liberalisation period (1984 – present). While the Colonial period featured the dominance of European music and languages in the public domain, the jeli music and Maninka language appeared at the forefront of Guinean popular music stage in the radically decolonising Socialist regime of Sekou Touré. The Liberalisation period saw a growing capitalist economy and the rise of Susu urban music. In this more competitive context, the jeli songs have become truly multilingual, featuring other local Guinean languages, mainly Susu and Pular, which now appear as mixed registers, or urban vernaculars, influenced by French through code-mixing and borrowings. The transitions between local languages, however, are constrained by the song structure, first, reflecting the actual patterns of multilingual language use in Guinea, but also potentially signalling more discreet identities of the musicians reinforced via using Maninka jeli family names as professional ‘brands’.
