PFCF Making a Difference For Young Women in Nepal

by Tintale Village Teaching Center

For many of us music has been a source of great healing and inspiration. In the most direct and literal way in the remote villages in the Udayapur District of eastern Nepal, drama, song, dance, and music are being used to save the lives of vulnerable children. Here, a small group of determined Nepali women are using music as one tool to educate young girls and their families about sex trafficking, including the ways girls are lured away, and the incredible hardships they endure in the hands of traffickers.

Information About Trafficking in the Area

by William Aura

Members of the Women’s group are being further educated regarding the latest trafficking techniques perpetrated in the Terai region. The kind folks at Maiti Nepal have graciously provided printed materials for the Mother’s Society. Information officer Achyut Kumar Nepal presented PFCF administrator Ishor Bajrachayra with a generous stack of handouts and posters offered for our effort. We are deeply grateful to Maiti Nepal for authorizing PFCF to distribute this vital information.

Music school in Kirina, Mali: work in progress (English/ Español/ Français)

by Francois Viguie

A few months ago, the Playing for Change Foundation started its third music school on the African continent. The school is located in the village of Kirina, 40 kilometers south from Bamako, Mali. Kirina is a griot village without any electricity network and a place where the inhabitants live in little houses with straw roofs made of bricks that have dried from the sun’s heat. The Griots play an essential role in the Malian culture: they transmit the oral traditions trough music and poetry. It is now our third trip to Kirina, thanks to our great friend and musician, Mahamadou Diabaté, brother of one of the greatest Kora players in the planet, Toumani Diabaté...

Help PFCF Provide Musical Intruments to Children in Mali

Our newest music school in Kirina, Mali, is nearly complete - now all we need are the instruments!

Traditional West-African Music Education

by Ecole De Musique de Kirina

Following the centuries-old Griot traditions, these classes focus on teaching traditional instruments such as Kora, Balafon, Tama, Djembé, and introduce an approach to musical theory. Classes are also given in dance, chant, English and French.

News from the Ground in Mali!

by Francois Viguie

Exactly one year ago, the Playing for Change Foundation crew was heading to Kirina for the first time, with a dream in its mind: to create a music school in that village in order to offer a space for their music and culture to be transmitted to the new generations. Today this dream has become a reality. When we arrived at the school this morning some kids were already playing music in the classrooms, jamming together while waiting for the teachers to start the classes. It’s hard to describe the sensation of seeing those kids playing music and dancing so naturally: 700 years of musical tradition in the village certainly helps.

Nadjo Kouyate

by Francois Viguie

Nadjo Kouyaté is 10 years old and studies balafon at the music school.  His talent and sense of rhythm surprised our teachers since the very first balafon class. His grandfather was a famous local balafon player, born and raised in Kirina.  When he died he hadn’t transmitted his musical knowledge to his son who decided to go to Guinea to learn balafon in order to honor his father. He never became a famous player like his father but when the music school opened its doors he encouraged his son to learn and study balafon. The young Nadjo seems to realize how important this is for his father and already demonstrates passion, perseverance and talent.

Una visita por la escuela de música de Kirina, Mali

by Francois Viguie

La Escuela de Musica de Kirina es la ultima escuela creada por la Fundacion Playing For Change: ha abierto sus puertas en octubre del 2010.

Une visite à l’Ecole de musique de Kirina, Mali

by Francois Viguie

L’école de musique de Kirina est la dernière école de musique créée par la Fondation Playing For Change.

A Visit to Kirina’s New Music School

by Francois Viguie

The Music School of Kirina is the latest music school created by the Playing For Change Foundation. It opened its doors in October 2010.

Kirina Students to Perform at Festival de Ciwara

by Ecole De Musique de Kirina

This Sunday, for the first time since the school in Mali opened, a group of 20 kids from Kirina are going to travel to Kati (100 km) to perform percussion and dance at the Festival de Ciwara.

The festival is a celebration of arts, music and stories presented by children of the theater and cinema class at the Ciwara school and the kids from L’ecole de Musique de Kirina.

A Sad Day in Kirina

by Francois Viguie

A sad day in Kirina: Youssoufou passed away.

A couple of months ago we started a new program at the Kirina Music School: traditional history.
Our teacher was Youssoufou Kamissoko, a 90 year-old wise man who was a descendant of the founders of Kirina. He knew perfectly the long history of Kirina and the history of Mali in general. Every week he traveled to the music school to tell the history of Kirina, and of the Malian Empire to all the village. I say “all the village” because it was not only students from the music school that attended Youssoufou’s classes. Teachers from the public school attended; villagers—men and women eager to learn more about their deep roots attended. We filmed some of these classes in order to document his knowledge and some of the stories he told.

Tama

The Tama or “Talking Drum” is a traditional percussion instrument very popular all over West Africa. It is traditionally a Griot instrument and it is considered one of the oldest percussion instruments in West Africa. The particularity of this instrument is that its tone can be pitched by pressing or releasing the strings that hold the skin. It was traditionally used to announce meetings in the villages and gather the villagers. Our tama teacher, Mountaga is a master tama player and handcrafter, and he is able to carve a tama is a few minutes!

Djembe

The djembé is maybe the most popular West African instrument. The djembé is a native percussion instrument in Kirina as its origins are traditionally located between Guinea (50 km south from Kirina) and Bamako ( 50 km north of Kirina).  In the Bambara language, its name is derived from two words : “djé” which means “to gather” and “bé” translated as “peace”. The djembé is usually associated with dunduns which are the traditional bass drums. The djembé classes are led by different local teachers and often associated with the dance classes.

Balafon

The balafon is a tuned West African percussion instrument.  It is the ancestor of the marimba, xylophone and vibraphone, and has been known of in the Malian Empire since the 12th century. There are different types of balafons but the balafon taught in Kirina is the Malinké balafon, whose notes are displayed from left to right on a chromatic scale.

Traditional History

The village of Kirina has exited since the 13th century.  In 1235, during the Battle of Kirina,  the Ghana Empire was defeated by the Mandinka prince Soundiata Keita. Since then Kirina has remained a historical and spiritual symbol for many West Africans. We decided to set up a new discipline at the music school: traditional history, where anybody from the village can come and listen to the traditional stories told by the elders of the village.

French & English

In addition to the music classes, our mission is to help the kids to prepare for their future in other ways. We decided to introduce language classes at the music school after an agreement with the teachers of the public school. The idea of those classes is to give to our students the tools to be able to understand and compare their native language (Malinké) with French and English. The classes focus on basic vocabulary and grammar, as well as music vocabulary. Seydou Dembelé, who is also the administrator of the school and as been an English teacher for years in Bamako, is also our language teacher at the music school.

Kora

by Francois Viguie

The kora is a traditional West African instrument made with a large calabash, which is a type of gourdnative to the area.  The kora is the “king” of the instruments in the Griot culture. It traditionally has 21 strings and according to the legend, it was given to the Griots by the Devil in Guinea Bissau. Learning to play the kora requires tremendous discipline and passion; that’s why the kora groups at the school, led by master Griot player Ladji Diabaté, don’t exceed 15 students.

Dance

by Ecole De Musique de Kirina

Almost every kid in Kirina could hold their own with professional dancers in western countries.  The dance is a natural discipline that every kid learns from his very early age. The dance classes at the school are pure moments of joy and music. Most of the students are girls and all the classes are given by our extraordinary dance teacher, Oumou Mariko, and accompanied by a local percussion band.

Musical History and Theory

by Francois Viguie

One of the dreams of Mahamadou Diabaté, director of the music school, is to be able to work with the students to transcribe popular local themes to sheet music. This is in paradox to the oral tradition of the Griots, but it is Diabate’s bope that it will help preserve the traditional themes for future generations.  The first step towards this goal is an initiation to musical theory as a tool to be able to understand music in a different way than the traditional way.  The classes, taught by Diabate, also introduce different types of music to the students such as jazz, blues, reggae, and rock ‘n’ roll.  Since there is no electricity in Kirina, the children listen to these new types of music on a CD/MP3 player at the school powered by a car battery.

First year of classes at the Music School of Kirina in Mali

by Francois Viguie

Just one year ago, the Music School of Kirina, Mali, started to offer classes in traditional music and dance to the children of this outstanding West African village. The process of creating and building this school has been an unforgettable journey, and was carried on through the active participation of the villagers.

The school focuses on traditional music offering classes in dance, kora, balafon, tama, percussion, musical theory and history. The teachers of the music school have been enrolled for their pedagogic capacities, their talent as musicians and their commitment to the transmission of African culture. Seydou Dembelé, our head administrator also gives classes in French and English. Though French is the official language in Mali, most of the kids don’t speak French very well, despite the fact that all the classes at the public school are taught in this language.

The Change Is Here

by Francois Viguie & Mark Johnson

Today we share a new video celebrating a recent journey to visit our new music school in Kirina, Mali. This thousand-year-old village has no electricity or running water, but enough happiness and soul to fill all of our hearts. Join music legends, Baaba Maal, Toumani Diabate and Habib Koite to experience the joy, laughter and music that will now be preserved and most importantly shared with all of us. Together we change the world, one school and one song at a time.

Work Begins on New Classroom in Mali

by Francois Viguie

Despite a political crisis in Bamako, and a very uncertain situation in the North of the country, the Music School in Kirina is thriving and we have started new extension works this week. This extension represents a crucial step for the development of the project and we are very excited about it. The first structure that we are building is an open-air dance classroom. The classrooms of the music school were too small to welcome all our dance students in optimal conditions and this new space will allow our fantastic dance teacher, Oumou Mariko, and his students to express themselves in an adapted space. The open-air classroom will also be a multitask space that will be used for music instruction, performances, and workshops.

Under Construction, Coming Soon!

by Coming Soon

Check back soon for updates about the exciting classes taking place in this program.

David Kwizera

by Jennifer Pickering & David Kwizera

For over 8 years, David was the leader of his “band of brothers” living as streets orphans in an uncovered parking lot in Kigali. Each day was a struggle for food and survival. David is the elected leader of the LEAF Intore Troupe. He has a natural confidence, a big heart and a warm smile.

Meet our Featured Student David Kwizera

by Intore Culture & Music Center

For over 8 years, David was the leader of his “band of brothers” living as streets orphans in an uncovered parking lot in Kigali. Each day was a struggle for food and survival. David is the elected leader of the LEAF Intore Troupe. He has a natural confidence, a big heart and a warm smile.  When we asked David what he imagined for his future, David responded “most of us grew up on the streets, and it was not our choice. We are sad for the others that are still on the streets. We dream to have work, and when we can sustain ourselves, we wish to take in other kids from the streets. We want to reach other kids – not only from the streets, but youth in general. We want to empower other kids the way that we were empowered.”

Rwanda Expectations

by Stephen Beili

I have little idea of what to expect.  My mantra since my January 19 decision has been ‘leaving for Rwanda in 3 weeks, going for 3 months.’  Now, I’m on the first of my 4 flights to take me from Asheville, North Carolina to Kigali, the capital of Rwanda in central Africa.

In October 2010 at the Lake Eden Arts Festival (LEAF), I heard that 70% of Rwanda’s population is under 30.

Obstacles and Rewards

by Stephen Beili

When working toward building a performance center for traditional drumming and dancing for fifteen young men who grew up on the streets in Rwanda in the years following the genocide of 1994, one can expect to run into a few obstacles.  And then, thankfully, there are the rewards…

Three Months in Rwanda

by Stephen Beili

Three months being bored and cold in Asheville, North Carolina (where my work was slowing down and winter was coming on) or three months volunteering with Playing For Change and its partner in Rwanda, LEAF International?  I chose the latter…

First Week at Ntonga Music School

by Amelia Romano

My return to the Ntonga Music School has marked a week of opportunities, musical moments and challenging moments. As most remember, I studied at the University of Cape Town last spring volunteering at the Ntonga Music School every Sunday morning. This experience inspired my thesis in which I researched the Legacy of Apartheid in South Africa, with a focus on the Cape Flats, (the region where this school is located).

Amelia’s Blog, Week Three: Progress and Potential

The last two weeks have been hectic, hard but happening. In the second week I began defining key challenges at the school. The school currently has two main and accountable teachers and Pokie the visionary and director at the school. With the help of Titi, a Playing for Change Band member, and resident of Guguletu, I connected with local musicians and began to envision the potential at the school…

Coming Soon…

We will have a special student from this program featured here. Check back to see who it will be, and hear their story.

Under Construction, Coming Soon!

by Coming Soon

Check back soon for updates about the exciting classes taking place in this program.

Man in the Mirror

by Amelia Romano

The life skills course opened this Saturday with two questions: “What does life skills mean to you and what knowledge do you seek from this course?”

Opportunity to Interact with the Students of Ntonga

by Jeremy Goulder

We are excited to announce that for the first time ever, Playing For Change Family members around the globe will have the opportunity to connect and interact with one of the Playing For Change Foundation’s schools!

A Better World in South Africa

by Ntonga Music School

The Playing For Change Band’s percussionist Mohammed Alidu, and the band’s tour manager Erika Duffee, paid a visit to the Ntonga Music School during their stay in Cape Town, South Africa, in December 2010.  Despite school being on hiatus for summer break, three dedicated students from the Ntonga student ensemble, Yonelisa Wambi, Prince Mafu and Enkosinati, came to Ntonga to meet Erika and Alidu.  Alidu shared his musical journey with the students. Originally from the remote village of Tamale, in Northern Ghana, he now tours the world with the Playing for Change Band, and is the program founder of a Playing For Change Music School, the Bizung School of Music and Dance in Tamale, Ghana.  His journey is a source of inspiration to Ntonga students. It is one of dedication, perseverance, and patience.  After sharing his story, Alidu invited Yonelisa to play guitar and soon joined him on his talking drum.  This musical interaction revealed the power music has to connect humanity. Kids from the surrounding community soon joined the musical moment, forming a circle around the musicians.  As Alidu and Erika reminded the students, music is a powerful tool: it has the power to communicate without words. Erika and Alidu’s visit encouraged and reminded Ntonga students that success in any career is a combination of talent and luck.

“A Better World” original song by Yonelisa Wambi, Ntonga Music School student. Featuring Mohammed Alidu of the Playing For Change Band on the talking drum.

(Thanks to Amelia Romano for documenting and taking video!)

Madal Drum

by temp byline

Jeevan Magar teaches a class in the Madal.

Nepali Flute

by flute class byline

Jeevan Magar teaches a class in the Nepali flute.

Harmonium

by harmonium class byline

Dhruba Kumar Ghimire teaches the harmonium to the youth of Tintale. She also holds classes in voice, and employs her vocal proficiency as a teaching tool for her harmonium students.

The Tintale Women’s Alliance Journeys to Kathmandu

by William Aura

Pratigya, Devi, Manu and Asha of the Tintale Village Women’s Alliance traveled the rigorous 15-hour journey from Tintale Village to Kathmandu this past summer. They recorded a number of spirited folk melodies in the studio.

Sarju Nepali

This is one young man that seems to excel at everything he attempts. Born in the Dalit caste, Sarju would normally not have any opportunity for a formal education. Thankfully he has been sponsored to attend classes at the Tintale Village teaching center. He is the best drummer in Jeevan’s madal drumming class, and we are all proud of his accomplishments.

Passing on the Knowledge

by Tintale Village Teaching Center

PFCF Volunteers Rashmi Adhikari and Shyam Basnet interview harmonium player and music teacher Dhruba Kumar Ghimire in Tintale Village, Nepal. Village flute teacher Jeevan Magar joins in as the conversation runs deep from how a body responds to playing music to the importance of the teacher’s attitude.

PFCF Embarks on Journey to Nepal

by Shauna Murray

PFCF Asian Program Coordinator, William Aura, has set out on his annual journey to Nepal.  Over the eight weeks of his travels, he will be visiting and working with the Mitrata Nepal Music Program in Kathmandu, the Hari Kul Music School in Lalitpur, and the Tintale Village Teaching Center.  The dedicated students and teachers of these programs have made great strides since the last PFCF visit, and we are eager to see their progress continue.

PFCF Making a Difference For Young Women in Nepal

by Tintale Village Teaching Center

For many of us music has been a source of great healing and inspiration. In the most direct and literal way in the remote villages in the Udayapur District of eastern Nepal, drama, song, dance, and music are being used to save the lives of vulnerable children. Here, a small group of determined Nepali women are using music as one tool to educate young girls and their families about sex trafficking, including the ways girls are lured away, and the incredible hardships they endure in the hands of traffickers.

State of Nirvana Part 1

by William Aura

Nameste to you my dear friends. I have arrived in Kathmandu safe and sound. What a great joy it is to be back in this amazing country as a representative for the Playing for Change Foundation and the Aura Imports Sponsorship Project. There is important work to do and it will be my pleasure to update you as this collective effort unfolds.

State of Nirvana Part 2

by William Aura

Our first assignment is most pleasurable. All the gear is packed and loaded. The expanding entourage is off to visit Nanda Kulu and her marvelous kids at Mitrata Nepal. Mitrata has quickly become our most proficient music program in Nepal. The teachers and staff our extraordinary compassionate beings. They lovingly take care and protect over 100 orphaned and abandoned children. I’ve grown quite fond of the place. Just can’t seem to get enough of the vibes here. The children are an absolute delight and I am becoming close with a number of them. The desire displayed to learn music is frankly unmatched by anything I have ever seen. I’m uncertain who benefits more from our developing relationship - them or us. We are blessed by such a connection.

State of Nirvana Part 3

by William Aura

Oh boy. Here it goes. It’s Sunday morning and a contentious strike, locally known as a bandh, is called throughout Nepal. Everything shuts down. No taxi, no cyber café, no going anywhere. After the Maoist 10-year ‘People’s War’ to dethrone King Gyanendra ended, we all thought these depilating demonstrations were a thing of the past. Now Nepal’s Maoist party, back in power this year, has begun to reap the turmoil they sowed with other protesting groups calling general strikes one after another. For example, Nepal’s elite warrior community known as the Chhetris, have ruled the country in the past. And today they brought life in Kathmandu, Lalitpur and Bhaktapur to a grinding halt demanding they be recognized as an indigenous community in the new constitution.

Sarju Walks to School

by Whitney Kroenke

If a day came when you weren’t able to listen, learn or play, how much would you sacrifice to have music in your life?

For Sarju, a young boy in Nepal, a two-hour walk to music class across the rural mountains is a happy journey he makes each week. He is among 20 children who participate in classes through a program funded by gifts to the Playing For Change Foundation.

Sushmita

by William Aura

Sarangi student Sushmita is progressing quite well according to teacher Kiran Nepali. The country’s most beloved instrument is quite difficult to master. It takes an extraordinary effort on the part of the student to maintain their discipline. Sushmita is deeply dedicated to keeping the exotic sound of the Sarangi alive.

PFCF representative Van Vo and friends visit Mitrata

by William Aura

Representing PFCF, Los Angeles resident Van Vo and friends visited Mitrata Nepal this past summer. You could have heard a pin drop as he gave a thought provoking and inspirational pep talk to nearly 100 children residing in the orphanage.

Sarangi

by William Aura

The Sarangi is a folk Nepalese string instrument. Unlike Classical Indian Sarangi, it has four strings and all of them are played. Although originally used for voice accompaniments, the Sarangi gained a reputation as a wonderful solo instrument. The technique used is to play the main strings with the tops of the fingernails of the left hand. It is bowed with a heavy bow. The instrument is made of a block of tun wood, with a goatskin stretched over the body. When played by a master, the Sarangi is capable of closely imitating the nuances of the human voice.

Bansuri

by William Aura

The Bansuri is an ancient musical instrument associated with cowherds and the pastoral tradition. The word Bansuri is actually the conjunction of two words – ‘Baans’ means bamboo and ‘Sur’ means musical note. It is one of the oldest musical instruments of Nepal. Intimately linked to the love story of Krishna and Radha, the Bansuri is mentioned in the Vedas and depicted in Buddhist art over 2000 years ago. Mythological accounts tell of the tunes of Krishna’s flute having a spellbinding and enthralling effect not only on the locals, but even on the animals of the region.

PFCF Embarks on Journey to Nepal

by Shauna Murray

PFCF Asian Program Coordinator, William Aura, has set out on his annual journey to Nepal.  Over the eight weeks of his travels, he will be visiting and working with the Mitrata Nepal Music Program in Kathmandu, the Hari Kul Music School in Lalitpur, and the Tintale Village Teaching Center.  The dedicated students and teachers of these programs have made great strides since the last PFCF visit, and we are eager to see their progress continue.

State of Nirvana Part 1

by William Aura

Nameste to you my dear friends. I have arrived in Kathmandu safe and sound. What a great joy it is to be back in this amazing country as a representative for the Playing for Change Foundation and the Aura Imports Sponsorship Project. There is important work to do and it will be my pleasure to update you as this collective effort unfolds.

State of Nirvana Part 2

by William Aura

Our first assignment is most pleasurable. All the gear is packed and loaded. The expanding entourage is off to visit Nanda Kulu and her marvelous kids at Mitrata Nepal. Mitrata has quickly become our most proficient music program in Nepal. The teachers and staff our extraordinary compassionate beings. They lovingly take care and protect over 100 orphaned and abandoned children. I’ve grown quite fond of the place. Just can’t seem to get enough of the vibes here. The children are an absolute delight and I am becoming close with a number of them. The desire displayed to learn music is frankly unmatched by anything I have ever seen. I’m uncertain who benefits more from our developing relationship - them or us. We are blessed by such a connection.

State of Nirvana Part 3

by William Aura

Oh boy. Here it goes. It’s Sunday morning and a contentious strike, locally known as a bandh, is called throughout Nepal. Everything shuts down. No taxi, no cyber café, no going anywhere. After the Maoist 10-year ‘People’s War’ to dethrone King Gyanendra ended, we all thought these depilating demonstrations were a thing of the past. Now Nepal’s Maoist party, back in power this year, has begun to reap the turmoil they sowed with other protesting groups calling general strikes one after another. For example, Nepal’s elite warrior community known as the Chhetris, have ruled the country in the past. And today they brought life in Kathmandu, Lalitpur and Bhaktapur to a grinding halt demanding they be recognized as an indigenous community in the new constitution.

The Facebook Revolution is Here PART 2

by William Aura

Arriving at the Mitrata building we see that my fine assistants Shyam and Sujan all ready there sipping tea in a shop across the street. Shyam somehow cleverly managed to make his way with his bike, but Sujan could not. He walked. I could not believe that because he lives all the way on the other side of Kathmandu. He must have walked for nearly ninety minutes - that’s dedication folks.

The Facebook Revolution is Here PART 3

by William Aura

Our gear is packed and heading outside the courtyard we see there is not a taxi in sight. Shyam thankfully has a bike so I can hop on the back of his Indian hog and haul the equipment. Sujan and Ishor will have to walk and seemed to be ok about that. They didn’t complain in front of me at least. Later we all gather again at the guesthouse for some food and relaxed conversation. That’s when Shyam’s face turns white as he receives a text from a friend who is in the Nepalese Army. He immediately writes Shyam that they have been put on high alert and tells him to be very careful today. The country may be heading towards a declared state of emergency. There is even talk of sending all foreigners home. Frankly this is just too much for me to accept at the time. We have purchased all this gear for Devi group and construction of our school desks for the village is underway. There is a lot riding on our efforts and we will not be dissuaded easily.

Under Construction, Coming Soon!

by Coming Soon

Check back soon for updates about the exciting classes taking place in this program.

Dilbahadur Sunar

Percussion teacher Hari Kul recently took in Dilbahadur, an orphan from a village west of the Kathmandu. Hari provides his education as well as music lessons. He notes this young man displayed a keen sense of rhythm immediately upon his first lesson. Eager to ask questions Dilbahadur gratefully absorbs everything his new teacher has to share.

New Clothes and Shoes for Students in Lalitpur

by William Aura

Music Program Administrator Ishor Bajracharya has delivered new school clothing and shoes to surprised music students Dilbahadur Sunar, Bhuvan Magar & Pushpa Shrestha.

PFCF Embarks on Journey to Nepal

by Shauna Murray

PFCF Asian Program Coordinator, William Aura, has set out on his annual journey to Nepal.  Over the eight weeks of his travels, he will be visiting and working with the Mitrata Nepal Music Program in Kathmandu, the Hari Kul Music School in Lalitpur, and the Tintale Village Teaching Center.  The dedicated students and teachers of these programs have made great strides since the last PFCF visit, and we are eager to see their progress continue.

State of Nirvana Part 1

by William Aura

Nameste to you my dear friends. I have arrived in Kathmandu safe and sound. What a great joy it is to be back in this amazing country as a representative for the Playing for Change Foundation and the Aura Imports Sponsorship Project. There is important work to do and it will be my pleasure to update you as this collective effort unfolds.

State of Nirvana Part 2

by William Aura

Our first assignment is most pleasurable. All the gear is packed and loaded. The expanding entourage is off to visit Nanda Kulu and her marvelous kids at Mitrata Nepal. Mitrata has quickly become our most proficient music program in Nepal. The teachers and staff our extraordinary compassionate beings. They lovingly take care and protect over 100 orphaned and abandoned children. I’ve grown quite fond of the place. Just can’t seem to get enough of the vibes here. The children are an absolute delight and I am becoming close with a number of them. The desire displayed to learn music is frankly unmatched by anything I have ever seen. I’m uncertain who benefits more from our developing relationship - them or us. We are blessed by such a connection.

State of Nirvana Part 3

by William Aura

Oh boy. Here it goes. It’s Sunday morning and a contentious strike, locally known as a bandh, is called throughout Nepal. Everything shuts down. No taxi, no cyber café, no going anywhere. After the Maoist 10-year ‘People’s War’ to dethrone King Gyanendra ended, we all thought these depilating demonstrations were a thing of the past. Now Nepal’s Maoist party, back in power this year, has begun to reap the turmoil they sowed with other protesting groups calling general strikes one after another. For example, Nepal’s elite warrior community known as the Chhetris, have ruled the country in the past. And today they brought life in Kathmandu, Lalitpur and Bhaktapur to a grinding halt demanding they be recognized as an indigenous community in the new constitution.

State of Nirvana Part 4

by William Aura

Thankfully the following morning is beautifully bright and all seems normal for now. Ah yes, the strike is over. Usually I wake up at 4am or so and get all the production gear prepared for the day. My number one Ishor joins me and we are off to navigate the burgeoning Kathmandu streets. We have a full day of activities planned.

We Are One PART 1

by William Aura

It’s Tuesday the 24th and unexpectedly another national strike is called. Again all the taxis quickly become scarce. I take a hike to find a newspaper and catch what is happening. The front page of the Himalayan times says it all. U.N. secretary Ban Ki-moon warns that the Nepal peace process is at risk if the county’s rival leaders do not meet a looming deadline to agree on a new constitution. The deadline is this coming Saturday yet the bickering continues. After years spent on this critical issue there still is no agreement on the important issues that divide the parties, namely the integration and rehabilitation of former Maoist combatants and key aspects of the constitution. Maoist weapon caches are required to be handed over Saturday. That goal is looks increasingly unlikely. It breaks my heart to see this struggle continue.  No one wins until a middle way is found.

We Are One PART 3

by William Aura

We are scheduled for a bright and early 7am music program session with Hari Kul. Ishor arrives at 6am to offer his support. Our equipment is organized and a taxi hailed. Upon arrival at the shop we are both quite surprised to see it is closed. We look around back and see his son getting ready to leave on his motorcycle. “What’s up?” we ask. The son’s pained face says it all. “There has been a death in the family. My relative died last night in her sleep and my father is helping to make arrangements.” Expressing our condolences we ask him to pass on to Hari that he and his family are in our prayers.

Spirit in the Room PART 2

by William Aura

Frankly I am absolutely exhausted. I usually attribute that to my advanced age, but I can see Ishor is tuckered out also. Traveling around Kathmandu and the outskirts of city do take a toll on ones energy. It may be the altitude also, but my back and feet ache from carrying this heavy gear. Yet there is an emerging sense of deep satisfaction that we are getting the necessary elements to share this amazing story with you.

Spirit in the Room PART 3

by William Aura

Hari is exited to show us the progress on the new music rooms recently rented by the foundation. This will most certainly allow him the ability to expand his student base. With a great sense of pride he takes us upstairs to show us his new working space. Hari is profoundly grateful for this opportunity. He has previously been quite limited with what he can do in the cramped quarters that primarily serves as a drum-making studio and music shop. There are times where I can hardly find a place to stand. Expanding his space is opening his mind in a new and dramatic way. I can see the twinkle in his eye as he again expresses a deep gratitude to PFCF for this marvelous gift. We also make arrangements to order ten new instruments for his students. The melodica, also known as the ‘blow-organ’ or ‘key-flute’, is a free-reed instrument similar to a harmonica. It has a musical keyboard on top, and is played by blowing air through a mouthpiece that fits into a hole in the side of the instrument. These kids would never be able to afford one of these without our support. They will without a doubt be warmly received.

First Month of Classes at the Bizung School of Music & Dance

The Bizung School of Music and Dance opened on May 17, 2010. Over 150 students have registered for classes and school is officially in session! PFC Band member Mohammed Alidu and his brother Abdul “Abraman” Rahaman have put together a comprehensive program of drumming, dance, xylophone, gonje, and singing. It is the 1st school of its kind in the Northern Region of Ghana. Copy this link and paste to your browser window to view the most recent photos from the school: http://tinyurl.com/2cz7tua

A Better World in South Africa

by Ntonga Music School

The Playing For Change Band’s percussionist Mohammed Alidu, and the band’s tour manager Erika Duffee, paid a visit to the Ntonga Music School during their stay in Cape Town, South Africa, in December 2010.  Despite school being on hiatus for summer break, three dedicated students from the Ntonga student ensemble, Yonelisa Wambi, Prince Mafu and Enkosinati, came to Ntonga to meet Erika and Alidu.  Alidu shared his musical journey with the students. Originally from the remote village of Tamale, in Northern Ghana, he now tours the world with the Playing for Change Band, and is the program founder of a Playing For Change Music School, the Bizung School of Music and Dance in Tamale, Ghana.  His journey is a source of inspiration to Ntonga students. It is one of dedication, perseverance, and patience.  After sharing his story, Alidu invited Yonelisa to play guitar and soon joined him on his talking drum.  This musical interaction revealed the power music has to connect humanity. Kids from the surrounding community soon joined the musical moment, forming a circle around the musicians.  As Alidu and Erika reminded the students, music is a powerful tool: it has the power to communicate without words. Erika and Alidu’s visit encouraged and reminded Ntonga students that success in any career is a combination of talent and luck.

“A Better World” original song by Yonelisa Wambi, Ntonga Music School student. Featuring Mohammed Alidu of the Playing For Change Band on the talking drum.

(Thanks to Amelia Romano for documenting and taking video!)

Colorado Benefit Concert with Midnite and Mohammed Alidu & the Bizung Family Band

by Bizung School of Music & Dance

We are very pleased to announce that the PFC Band’s own master drummer, Mohammed Alidu, will join the St Croix roots-reggae band, Midnite, for a very special benefit concert in support of the Bizung School of Music and Dance, the only tuition-free school in Northern Ghana.

Traditional Music and Dance

The Bizung School of Music and Dance offers classes in traditional music, focusing on traditional instruments such as talking drum, djembé, palogo, gonge and xylophone. Classes are also given in dance, chant and keyboard. The kids also learn how to repair traditional instruments, they have rehearsals twice a week, and every month the give a performance for the parents and the people who live in the area.

Bakissu Alhassan

by Bizung School of Music & Dance

Bakissu is 12 years old and classes first began at the Bizung School she has demonstrated a very special talent to her teachers and the other students. Bakissu is studying the Gonje (traditional violin), xylophone, percussion and is already a good singer. She is a real leader and she traveled with other students from the Bizung School to perform in two festivals outside of Tamale and represent the school. Last February a full bus of kids from the school went to Accra and performed at the National Theater during the Kidafest. In September, 5 students from the school traveled to perform in the Volta region, representing the Northern region of Ghana during a national festival.

Bakissu Alhassan

by Bizung School of Music & Dance

Bakissu is 12 years old and classes first began at the Bizung School she has demonstrated a very special talent to her teachers and the other students. Bakissu is studying the Gonje (traditional violin), xylophone, percussion and is already a good singer. She is a real leader and she traveled with other students from the Bizung School to perform in two festivals outside of Tamale and represent the school. Last February a full bus of kids from the school went to Accra and performed at the National Theater during the Kidafest. In September, 5 students from the school traveled to perform in the Volta region, representing the Northern region of Ghana during a national festival.

A Week in Tamale

by Francois Viguie

September 11th, Accra airport, Ghana: My flight from Bamako, Mali, just landed in Acrra. I’m supposed to meet with Abdul Rahman, director of the school, who is coming to pick me up. I’ve never met him before but he’ll be wearing a Playing For Change t-shirt so I can recognize him. After a brief glimpse at the people waiting in the arrival area of the airport, I see Abdul Rahman.  He is smiling and says, “Welcome to Ghana,” during our very first hug.  We have to jump on a propeller airplane to reach Tamale, where the school is located.  The flight is going to be quick and safe.

Bizung Students Experience Diversity of Life and Culture In Ghana

by Sara Maria Sorentino

Last month, five students from the Bizung School of Music & Dance were selected to participate in the 12th week-long Basic Schools Festival of Arts and Culture.  Held this year in Ho, the capital of the Volta Region, the children accompanied some fifty other students from the Northern Region to compete in various categories: Poetry recitation, Drumming & Dance, English Drama, Choral Singing and traditional dress. For all the Bizung children, it was their first time in the Volta Region and a wonderful chance to experience the diversity of life in Ghana.  The hilly, lush Volta Region contrasts dramatically with the Northern Region’s aridity and flat landscape.

The Jera Dance

by Sara Maria Sorentino

Jera is a potent dance.  As with most dances in the North, the history of Jera is deep, obscure and mysterious.  Most sources trace the origin to one particular hunter called Nanja who, while in the bush, came across an ill omen: group of dwarfs.  Jera came to be performed as part of a religious rite when returning from hunting trips, and later after midnight at the funerals of elders and chiefs.  On these occasions, some believe the drums can sound without a drummer.  The embedded religious significance of Jera is now decontextualized, and it is performed at all times and on a variety of social events.

Guitar Workshop at the Bizung School

by Matt Wasowski

In all my years as a musician and teacher, I have never seen an entrance like that of the students at the Bizung School of Music and Dance.  While the rest of us prepared the performance space at the Youth Home and Cultural Center, setting up microphones and dialing the console, a driver had been sent to bring these young musicians across Tamale for their show.  About twenty minutes before the concert was set to begin, we began to hear the drums.  As the sound got closer, voices began appearing on the sonic landscape and soon, the students appeared about a hundred yards down the road.  They had been drumming and singing all the way from the school to the venue.  We could hear them coming from nearly half a mile away!

The Adowa Dance

by Sara Maria Sorentino

Surely one of the most stately, graceful, dances in West Africa, the Akan “Adowa” takes its name from the impressive animal, the antelope.  With its silent, swift movements, the antelope is evocative of the ideal warrior, and that is how this funeral dance is said to originate.  Feet move quickly; the waist with moderation.  But it is the hand gestures that figure at the center of this regal dance: the subtle flexing and rotating of the wrists, and the lightly closed fists spreading outwards into open palms, are highly symbolic forms of non-verbal communication.  The drumming too, on the large “atumpan”, is full of proverbs in Twi, the Ashanti language.  Interestingly, this drum (called Timpani in the Dagbani language) is said to have gained importance during a peace treaty between the Ashanti and the Dagbambas (the ethnic group of most of the Bizung students).

Gonje

by Sara-Maria Sorentino

The gonje (alternatively spelled gondze or goonje) is a mysterious instrument—strange and uncanny even to those among whom its playing is commonplace.  The sounds, the technique, and the crafting of the gonje all make for an intensely singular aural experience. Decorated with scarves and a specially designed brass ball for ornamentation, it is nearly inexplicable for an outside observer to discern how a mass of string tied to a resonator can produce such a range of sounds.  The gonje screeches and wails and hums better than the most accomplished avant-garde saxophonist.  What is probably an ancestor of the lute, the fiddle and the violin, the single-stringed gonje is found in different variations across West Africa.  Gonje musicians became members of the royal court of Dagbon (the ethno-linguistic territory for the Dagbamba people, in which Tamale is situated) in the 19th century during the rule of the Dagbamba paramount chief Naa Yakubu I, although the gonje, said to have come from a town called Yambi in what is now Burkina Faso, has been integral to Northern Ghana for many centuries.

Xylophone

by Sara-Maria Sorentino

The xylophones at Bizung are not indigenous to the tribes of the Northern Region.  We brought them here from Lawra in the Upper West region of Ghana, close to the borders of Burkina Faso and Cote D’Ivoire.  The big frames and the dangling gourds make for an imposing instrument, with a bright, sprightly sound unusual to the pace of life in Tamale.  Bizung teacher B. A. Kolaan learned xylophone formally during the 1970s and 1980s at Winneba University, and certainly has the pedagogic skills and patience to teach this challenging instrument.  Pentatonic, with three octaves, the children’s mallets have considerable distance to cover.  Besides the difficulty in getting the layout of the keys—from G to D (the notes are written in chalk for reminders)—there is the problem of timing.  The most basic principle of West African music may be “3 against 2”, also known as hemiola.  This sort of polyrhythm creates a tension-release mechanism, wherein beats converge and diverge, cyclically (and almost philosophically).  On the xylophone, hemiola can be executed with the left playing three while the right plays two beats or, for beginning learners, one pupil can play the two part, while the other child plays three beats over this recurrently.  A joy to listen to and a challenge to play, Kolaan uses simple choral patternings to introduce this fundamental concept.  In Dagari, the language of the people where the Ghanaian xylophone predominates, one such song used at Bizung is as follows:

Art Workshop at the Bizung School

by Francois Viguie

A few months ago, a Brazilian organization called “Bem te Vi”, who organizes art workshops for kids around the world, got in touch with the PFCF in order to give a workshop in one of our music schools. After being in places such as Angola, England, the amazonian forest and Spain, Bem te Vi was set to come to the Bizung school of music and dance in Tamale, Ghana, to challenge our kids on their artistic creativity during a week.

Bizung Students Perform Live Throughout Ghana

by Sara-Maria Sorentino

Bizung children are bringing their talents to their communities. Having performed at several events around Ghana, and been broadcast on live television, word on the Bizung school got out.  Like traditional lunsi drummers and gonje fiddlers, they started getting invitations to provide the entertainment for nearby weddings and naming ceremonies.  Music forms a customary, indispensible part of all Dagbamba gatherings.

The Language of the Dagomba

by Sara-Maria Sorentino

Teachers and students at Bizung know a myriad of different native languages such as Twi, Ewe, Gonja, Hausa, Kusasi, Bimoba and Buli, but the majority of the students at Bizung speak Dagbani, the language of the Dagomba people in Ghana’s Northern Region.  It is in this subtly commanding tongue—the idiom of their families, community and ancestors—that the children best express their hopes and dreams, and that their musicality emerges.