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The musician Yoro Ndiaye stopped at Saint-Louis for a performance at the French Institute of the city. Between rehearsals and rest, the Senegalese folk-singer is exhausted, but hopes to produce a good performance. In the meantime, he has kindly answered our questions: Mbacké his hometown, his projects, his love for Saint-Louis …
De Mbacké, city on the edge of Touba the capital of Mouridism, on stage, it was not obvious …
That's right, nothing predestined me to music because who says Mbacké, said Touba naturally, the city of Khadimou Rassoul. My father always attended the "dahiras" (confreres associations) and the rest of my family identified with Mouridism. In our family, there is no one playing an instrument. As I usually say, music has come to me and it is a destiny that I fully assume.
Still, there is still this influence of Mbacké in your repertoire.
You know, it's the medium that determines the individual. In my songs, we find themes that relate to Mouridism. I also feel my attachment to this religious community in my words and ideas. Even beyond, I claim a spirit Baye Fall (note: the path created by Sheikh Ibra Fall, a companion of Khadim Rassoul, founder of Mouridism). In addition, qualities such as humility and availability are the foundation of this state of mind that rhymes with respect and "positive attitude"; important virtues for every person
Tell us about your projects?
I felt the need, at a given moment, to organize myself. This is how I set up a production company called "Afrique mélo" to intensify production. Through this label, we decided to give a chance to a dozen young artists around a concept called "Sunu folk". A project in partnership with the International Organization of La Francophonie (OIF) which has supported us a lot. In this context, we have expanded our premises and renewed our tools because at the beginning, I had just a home studio.
What is the label "Sunu folk"
This is kind of initiative that allowed me to start my career well. A project initiated by the Guissé brothers and called "Senegal folk" put me in the limelight. Subsequently, we too wanted to accompany young people. It is in this wake that "Sunu folk" was born. A pan-African vision composed of young artists: a Mauritanian, a Burkinabé, a Cameroonian … One of my dreams is to help new talents rise to the level of the international music scene. I want to travel also with these young people, to tour Senegal with them to show the public what we have achieved.
Can you come back to the project Senegal folk?
"Senegal folk" was an initiative of the Guissé brothers. These artists had received funding from the Cultural Initiatives Support Program (PSIC), a fund initiated by the European Union in the late 1990s, which resulted in a compilation of which I was a part. This is the same approach that we will reproduce. Only, the difference lies in our desire to do, with "Sunu folk", a festival so that this dozen young people have a promotional framework. As godfather, we chose Ismaël Lô, a pioneer of African folk. Then, it will also be a tribute to those who play the guitar and who also sing.
Is your career on stand-by?
I put it in parentheses while waiting to finish with the youth promotion. I have in sight of an international album to show all these experiences acquired over the years. Through my travels and encounters, I want to share all of this in this upcoming production.
How do you see folk music today?
Folk music is not supported in Senegal, especially from the media point of view. It is usually broadcast during break times. Prime hours are monopolized by mbalax, which hampers the development of folk. This is why many folk musicians are snapped up by the mbalax they play to exist artistically.
You are more and more frequent in Saint-Louis. What links you to this city?
It's true that Saint-Louis remains a city that I only discover for work, but it is attractive in terms of culture and heritage. It is a place conducive to research and emulation of any artist. I think that I will now devote a week to come and recharge my batteries. The organizers of the Jazz Festival often approach me, but I have never had the opportunity to perform. I hope to play one day for this prestigious event and it would be with pleasure. This could, perhaps, be done next year.
Interview by Amadou Maguette NDAW
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