The Dynamic Dialectic and the Eclectic Plaintive Rhythm in Bembeya Jazz’s, Black Beats Music

Souleymane Diallo

doi:10.32996/ijllt.2021.4.2.7

Abstract

The foremost line of the post-independent music evolves especially, from a simple to a more compound whole within the understanding of convention of representation and the association of experience become structural materials. Thereby, the basic component of conventional imagery, and the colonialist dynamic straightforward influences frame a new idiosyncratic type that evaluates the establishment of realty, memory and symbol. Correspondingly, through the foundation of intellectual and artistic image, the commensurate imagination of the musical nationalism schedule moves afar unconscious and insensate sensitivity. Indeed, the cultural and artistic body of the Bembeya Jazz and the Black Beats Band deconstruct the colonialist conventional perception of productivity; then, through extensive collective relation with their time and space, their nationalistic music exhibits boundaries of cross-examination regarding the realm of recombination, reconciliation and re-appropriation. Within the respect of material imagination and objective reality, verbal text, and contemporary Western musical instruments become the developing artistic cosmos within a new social and linguistic narrative is structured. Hence, the commitment of this article stands as a diagnostic process within we try to grasp the rapport of the indigenous value of imagination and the transcontinental stylistic effects inside the historio-context of redefining the self, sociolinguistic reflectivity, and perceptive sensibility in post-independent era.

Highlights

1 The formally renouncement and the completely withdrawal to the material affairs of the theoretical and practical colonial order of instruction, brought the post independent setting, and its musical nationalism to installing a formal statement inspired from a high authority of traditional signpost
It is within this respect, the Guinean Bembeya Jazz Orchestra and the Ghanaian Black Beats Band, through a particular artistic vision, intellectual material and in a substantial linguistic reality, underline a new musical purchased order, which focuses on the impoverishment of the collective vital forces, and intellectual and emotional disintegrating
From a traditional pentatonic style to a foremost diatonic weighbridge, the socially responsive artistic phenomenon throughout the post-independent program, defines a de-culturized vision. It is in this respect; the main line of this paper focuses on the interest and the belief of practical application of music and diverse musical instruments through the aesthetic and rational organization as regards nationalistic and post-independent program

Summary

Introduction

The assimilation of ideas, material and experience throughout the post-independent musical agenda, has instituted a revival process as regards African arts, and most Guinean and Ghanaian musical nationalism and languages, which stand sufficiently enriched and to become an influential intermediate for the new sociopolitical ideas that characterize the political and artistic picture. By taking into account the ancient oral tradition, narrating the mythical symbols or the history of nations, the Bembeya Jazz Orchestra and the Black Beats Band post-independent musical schedules forge a logical, and a sensible popularization of the cognitive structures of meaning.

Results

Conclusion