Cindy-Lou Dale

The media portrays Africa as a mere poverty-stricken, war-torn continent, clutching a massive begging bowl; but there is a side to Africa, few Western’s see. Like in Senegal where there’s a rich culture and tradition of hospitality, and mbalax music - a unique brand of contemporary pop music, with a vibrant twist and abstract fusion of Afro-Cuban sounds.

It’s the kind of music which evokes immediate and strong reactions, demanding attention through its unusual rhythm which is akin to some form of reggae, but its not. Even though it’s played on an electric guitar, you couldn’t call it rock. It’s heavily influenced by salsa, but different. There’s even some sax in it, but it’s not soul. But soul it certainly has as mbalax is an energetic mix of highly percussive sounds, accompanied by an acoustic guitar, and driven by the relentless tribal rhythm of the African goat-skinned Sabar drums.

Senegal’s music was first brought to Western audiences in the 80s through the likes of Paul Simon, Peter Gabriel, and Senegal’s home grown Youssou N'Dour; but it’s only in recent years that Western tourists have begun to frequent Senegal’s nightclubs.

Mbalax artists tend to all follow the same route to Senegal stardom by starting their music careers in their teens. Initially they’ll play at local events and progress to district nightclubs. Should their popularity grow they’ll move on to become a house band at one of the large stages in Dakar, Senegal’s capital, then possibly record a CD for release to the local market.

The soundtrack running through the pulsating city is one of mayhem. Rhythm is everywhere; from the ghetto blaster precariously balanced on a cyclists’ handlebars, to the booming bass of a passing bush taxi, or the crowded Marche Sandaga (market) where vendors of handmade drums and guitars sell their wares, to young Rasta’s on the beach at sunset, drumming their djembes in unison. There is no escaping it; music is the Senegalese way of life.

On the surface Dakar is a large, crowded and shabby sea-port city that seems to do its best to dissuade tourism. It’s the chaotic, raw, in-your-face and utterly exciting side to the ‘dark continent’ which chokes on exhaust fumes and is in perpetual gridlock during daylight hours.

But as darkness falls Dakar’s psyche changes. It puts on its best club gear and turns into a city whose one and only purpose is fun. Dakar is teaming with some of the best nightclubs in Africa – all driven by the hypnotic rhythms of mbalax music.

The intoxicating powers of mbalax can only truly be understood at a live performance where musicians work themselves into a distorted frenzy of sweat and blurred hands, to the applause and cheers of the enthusiastic crowd, who love every moment of it.

As the locations of specific bands are advertised only on Senegalese radio stations, word-of-mouth is often the only other way of finding them – ask around at local bars and street hawkers selling music CDs.

Once you’ve found a mbalax band to your liking, remember that you’re there for the music; there are no quiet corners for reflection, in fact there is little décor and mostly only dance-floor.

Dakar's nightlife is wild, with every bar packed before midnight. In reality though, it’s only the band on stage that differentiates one club from another, with entry-charges ranging from $8 to $15 – some including drinks.

To experience Dakar’s hippest crowd, be certain to dress for the occasion. Dance-floor chic is ruled by the Americanised slick urban-look, with designer jeans, cropped T-shirts and the latest hip-hop groove gear.

If it’s the working-man’s haunts you’re after, head to Dakar’s Harlem, a neighbourhood called Guédiawaye. The local nightclub there, the Le Ravin, is considered the roots of the city's music scene. The cover charge is negligible, making it affordable to ordinary Senegalese. In the city, where the hip club-goers dress strictly for show, at Le Ravin, fluid African boubous (long gowns with elongated arm holes worn over baggy trousers), share the dance floor with tight t-shirts and even tighter jeans.

Despite Senegal’s size, the country plays a key role in African arts and, culture. Over the past 300 years Senegal has inspired poets, novelists, and artists, emerging as one of the most significant patrons of African arts.

New York based Maguette Camara, for example; a celebrated choreographer, musician and dance teacher, who’s life changed because of a childhood game.

‘Back in Dakar, a friend’s father founded Ballet Bougarabou Dance Company,’ said Camara. ‘The dance school became our playground and where I became involved in dance and drumming. I would watch the members in the company and learn by their example, then I’d go off and practice, teaching myself to drum and dance.’

Camara first went to the USA in 1993 as a choreographer with a touring dance company. After some 18-months he stepped out of the spotlight, deciding instead to teach West African dance from Senegal, Mali and Guineas. He has since joined the faculty of the Alvin Ailey – a school for professional dancers, the academic school of dance at Barnard College (Columbia University), and the Battery Park City Parks Community Centre, where he works with young children, as well as the Djoniba Dance and Drum Centre.

Under Camara’s tutelage many successful professionals have emerged. Several of his past students are featured in a soft-drinks commercial; whilst others have joined professional dance companies across the United States. Recently, a prestigious award was presented to Camara by the Djoniba Dance & Drum Centre who consider him to be one of the most ‘outstanding teacher’ they have ever had.

When asked why I decided to teach, Camara replied: ‘It would be selfish of me to keep Senegal’s culture to myself. This is why I started my own dance company, Mané Kadang, with dancers and drummers from across West Africa.’

Camara has performed at Carnegie Hall, The Lincoln Centre Outdoor Concert Series, The World Trade Centre Jazz Festival, the African Museum in Soho, and opened the Rolling Stones World Tour at the Giants Stadium. He has also been featured on ‘Good Morning New York’ and has performed in numerous television commercials, exposing West African culture to a young American target audience.

Camara is a philosophical family man at heart and yearns after his homeland and his large family who still live there. He spoke about the greatest influences in his life.

‘Undoubtedly my mother, who is my spiritual guide and inspirational leader, but beyond her you don’t need to look too far. Men like Baaba Maal’s who has the strength of character and determination to help improve life for all Africans; Grammy Award winning Youssou N'dour who will never forget his Senegal roots; the cool mbalax sounds of veteran Senegalese musician, Omar Pene; Salif Keita – the master of West African rhythm; N'Diaga Mbaye’s traditional instruments; and the silky voice of Khar Mbaye who opens major Senegalese wrestling matches.’

The New York dancing community have embraced Camara, affording him the opportunity to teach and share his passion of African music. Initially it was difficult for him to remain culturally connected to Africa whilst living in America but he has, through his love of Senegalese music, found a balance.

‘I have been blessed with a God-given talent and consider it my duty, as an African artist, to help keep Senegal’s powerful culture of rhythm, dance and drums alive, sharing it with the Western world. When I see African dance and music merged with modern recitals, it gladdens my heart in knowing I played a small part in creating that.’

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