A Pious Poetics of Place




1. Tata Diabaté, “I take refuge in God from the accursed Devil” (praise song) [video]

This passage begins with a citation of the Ta’awwudh (Arabic, “I take refuge in God from the accursed Devil”), sung twice through parallel melodic descents with successive resolutions to the tonal center to emphasize its lyrical significance. This phrase is often evoked before Qur’anic recitation, or before embarking on a sacred task, which, in this case, symbolically heightens the morality of Tata’s invocation of public praise. (pg. 116)

2. Tata Pound, “Allahou Akbar” [audio - commercial recording excerpt]

In this passage, and in the previous refrain, the rappers’ juxtaposition of colloquial and classical language (Bamana and Arabic), clear articulation of Qur’an text, and intertextual treatment of scripture on an Islamically themed track resonates strongly with the poetics of recognition articulated earlier by Tata Diabaté. (pg. 123)

3. Moussa Niang and the Symmetric Orchestra, “Tapha Niang” (Little Big Planet soundtrack) [video]

“Tapha Niang” is one of the [Symmetric Orchestra’s] many versions of the piece “Mali Sajo” (two are featured on the [2006] album [Boulevard de l’Indépendence]), a staple of the contemporary griot repertoire in the Mande heartland. Senegalese vocalist Moussa Niang sings the song in his native Wolof, though he opens with a short citation of Qur’anic verse, from the same Sura (al-‘Umran) cited earlier by Tata Pound: “Every soul shall taste death” (“Kulu nafsin dha’ikat al-mawti”) to which he adds, “All that is on Earth will perish” (“Kulu man ‘allay fanin”) from Surat Al-Rahman, verse 26. (pg. 124)