Meet Morello Cherry Djely Tapa at the Musiques Métisses Festival

After years of limitations, the Musiques Métisses festival has not missed its return to Angoulême with a huge audience to enjoy its three days of music and literature at the Chaois Magelli’s bucolic site. Happy to rediscover the sensations of live music, the festival-goers trembled, sang and danced according to a show as ambitious.

Gaël Faye, New York’s Joint Underground System and Antiballus, Reunion’s Christine Salem and, above all, Super Group Abraham Inc. (David Krakauer, Fred Wesley and Sokald) took the public to a festive trance while intimate Jordan and Stuart Jordan, Mixi, Daudlin, Lucas Santana and Diesel Tapa offer part of the exciting discovery with the concert.

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We met “Montreal Cherry”, who came to present the title of his multi-award winning album before a new album next February. Grow up A thunderous show that begins with a thunderous rhythmic groove, before fleeing to the Afro-futuristic sound of the militant singer with the glow.

How do you find your place in this great line of griots and artists?

It is true that my tradition is heavy, I come from a long line of strong women and great voices, you need to find your own voice, your guide. It was tough because I am the daughter of the great Diva Kandia Kawat and so far this has always been the comparison. I have chosen my own path, avoiding repetition, not only by reconsidering the traditional repertoire but also by bringing my contemporary view of the world.

Was it Montreal that developed this musical vision?

Yeah Al that sounds pretty crap to me, Looks like BT aint for me either. It opened the door for me, allowing me to practice my music and meet artists from different cultures and music styles. Many musicians from the Quebec scene have come to enrich my proud tradition, such as the African Soul Sister or Jean-Franোয়াois Lemieux and Caleb Rimtobaye, aka Afrotonics, for electronic music.

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How did you interact with this Afro-futuristic music?

It all started with Caleb and me rejecting this Afro-bit term. As if one word could define the rhythm of the whole continent. Every small village, every corner of Africa has its own identity and rhythm. For me, Afro-Beat is a way of walking, to work in a community, to match the rhythm of women who bring water, who pound buckwheat. As a kid, I used to walk with cadence, I sang rhythmically, it was my own Afro-beat. It all started there: how to find your afro-beat and bring it into the present and see how this traditional music can change time and place. For this Afro-futuristic reflection, therefore, there are dimensions of historical, time and space.

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You mentioned the rhythm. Which ones are used in the album?

My texts are written in Malenke, Casson, and Bambara, the languages ​​spoken in the Kayes region, from which I came. For music, I get a lot of inspiration from Biriko’s rhythms, which are my grandparents. Everything is based on applause, everything is fixed on applause and calabash. I compose in a traditional way, I use traditional scale to write music which is not. I find it awesome to be able to use contemporary music today, starting with my words and great art.

The subject of women’s condition in this disc is ubiquitous.

Yes, in Mali, for example, the situation is back. Historically, women had a place in Mandinka society. In this long history of our civilization we should not forget that in the 13th century the first government placed 18 women under the rule of Saundiata Keita. But we also need to be wary of Western attitudes toward African society, mentality and customs. That’s why I don’t talk about issues like forced marriage, which has been fought a lot, I like to sing about the strength of women in our society.

How can a person living in the West judge someone living in Africa by his or her behavior and customs? The mentality is not one, we women have doubts about their strength, their skin color, their hair structure and even their dress. They need to regain their confidence and regain this strength.

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You published the title in April You know what On ignorance and intolerance

I live in Quebec and Native American women in Canada disappear, victims of indifference and violence. More generally, we wake up every morning to hear of homicides on the radio, in France, in the United States, or at home. People can’t live together anymore, that’s enough, we have to talk about it. There is no place for violence in any home.

A musical method on a separate stage from the album lets you share these messages

Yes we are at a festival, a party place. This is the question of welcoming festival-goers because we are going to discuss it together. Before sharing ideas in a cool electro-acoustic rhythm and then returning to the party, we immediately invite them to several very grove and danceable tracks. Even if we’re in a brief composition, with two members missing, I have the opportunity to travel with the Montreal musician, guitarist Asan Sek, drummer Donald Dougbo, who has just released the jazz fusion album Coubli, and bassist Jonathan Arseniu. All are in high demand, working on several projects and traveling extensively. Everyone brings their own universe to create this mixed expression of music.

Jelly Tapa and her musician - Metis Music
Jelly Tapa and her musician – Metis Music

Radio France
– Guillaume Schnee

Listen again:
Special Metis Music Festival

Hearing:
“Home”, Diesel Tapar’s deep song

Hearing:
“Le Teoko – Teoko”, a forgotten album by Malian Idrissa Soumaoro

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