Mbemba Bangura - Master Djembe Drummer: I Want to Learn the Užičko Kolo
- Slavica Jovović
- Jan 11
- 13 min read
The village is the foundation of everything. I am happy when I play. America is a beautiful country, but its culture is shallow. Rhythm and dance are inseparable. Music is communication
In early November, the sounds of Guinea could be heard at the Museum of African Art in Belgrade, during workshops led by master djembe drummer Mbemba Bangura, concluded with a live performance. For three decades, Bangura has been a key figure in shaping the drumming and dance scene in the United States. He travels the world as a performer, teaches young musicians, creates choreographies, and collaborates with numerous dance companies. He has recorded three albums - Wali, Fanji, and Wofabe - and has appeared as a guest musician on many other releases, as well as on Wulina’s instructional DVD series Wamato (“Everybody Look!”).
Bangura entered the world of music at the age of seven, while attending elementary school in Guinea, where he was born and raised.
-Children in Guinea grow up like children anywhere else - they play, play football, basketball, do all kinds of things. At that time, not many children wanted to play the djembe - it wasn’t popular. No one in my family played drums; there was no such influence. In Guinea, every school has its own music and dance competition, and while they were looking for candidates for one of those competitions, a friend of mine said: ’He can play’.
-That was the first time I started playing - the first time I really put my hands on a djembe. Before that, I only tapped my fingers on the table, and that was my first rhythm. I performed for the first time in 1969, at a school performance as part of the competition. That was an important day for me, because afterward I was invited to become a member of the city ballet, a troupe that gathered children up to the age of 17.
By the age of fourteen, he had shown remarkable talent and skill and was invited to join the national ballet in the capital - Ballet de Conakry. There, he became the lead drummer and gained great popularity within the city’s music community. Preparations for competitions were serious; everyone rehearsed for at least five months for a performance. After seven years of playing with the city ballet, Mbemba became a master drummer and was invited to play for Ballet Djoliba, the most renowned and prestigious ballet in Guinea at the time.
-When I moved to the National Ballet, which was a higher level, we rehearsed every day for four to six hours, from Monday to Thursday, and sometimes on Fridays. When you are in the national ballet - that is your job. There were 53 people in the entire group, but fewer traveled on tours. Everyone has to know everything - to play and to dance - because you can be placed in different positions within the troupe. When you are young, they move you around, and you learn a lot.
In this troupe, he worked side by side with other master drummers, among whom his long-time friend Mamady Keïta stood out in particular; together they created many musical arrangements. With this group, he traveled to the United States for the first time. After several European tours and two tours of the U.S. with Ballet Djoliba, Mbemba decided to begin a solo career and in 1988 founded his first dance troupe, Africa Soli, in Amsterdam. Two years later, he moved to the United States, where he now lives and works in New York. He helped establish the Fareta School of Drum and Dance, one of the most important centers of its kind in New York. Several years later, together with master dancer Youssouf Koumbassa, he founded Les Ballets Bagata.
On instruments in Guinea
-In Guinea, and in West Africa in general, there is an incredible source of music and instruments - many traditional instruments. The djembe is very popular, but it is not the only one. There are also the balafon (a wooden xylophone-like instrument), ngoni (a string instrument), kora, dundun, and many others. Many instruments are associated with specific ethnic groups. These rhythms later influenced the development of blues, rock, pop, and even electronic music. There are many different rhythms and songs, and each has a purpose - for weddings, rituals, harvests, initiations, masks… Music in the village is not only for entertainment, but also a means of communication and healing.
On ballet / dance
-In Guinea, when we say ballet, we mean a national dance troupe. Everything begins with traditional dances that come from villages and different ethnic groups. When those traditions are shaped into a stage form and presented to an audience, that becomes ballet, meaning a national dance company. It is traditional dance, not classical ballet as the term is understood in Western culture. These are very professional dancers - but before reaching that level, they first learn in the villages, and then they can be selected for city or national ensembles.
Rhythm and dance are inseparable. Everything is rhythm - whatever you do, whether you cook, walk, study, you have rhythm - and that is where dance begins. Traditional dance takes place in villages - at weddings and ceremonies. There we see music and dance together. Each ethnic group has its own rhythms and instruments. Some families have strong musical traditions, so children learn from their parents; music often passes through generations.
The idea of national dance troupes was initiated by Keita Fodeba, who founded Les Ballets Africains, bringing together artists from across West Africa. He traveled from village to village, finding people for dance and music. When Guinea became independent (Guinea was a French colony until 1958, editor’s note), this ballet became the National Ballet of Guinea. Members from other countries returned to their homelands and formed national ballets there; some stayed. Later, other countries - Mali, Senegal, and others - also established their own troupes. In Guinea, there are two major national ensembles: Ballets Africains and Ballet National Djoliba. I was part of Djoliba. All these troupes travel the world and play an important role in transmitting cultural knowledge.
Travel and tours
-In earlier times, we didn’t think about leaving Guinea. We focused on learning and representing our country. But when we learn, we say we must learn more, get to know cultures, explore - and present to people what we know. At one point, political conditions made it difficult to leave Guinea.; if you left, you wouldn’t be able to return - because they wanted to preserve the culture. And it was much better to be a member of the National Dance Group than to leave. When changes came, the new authorities said: everything is open and free. That’s when we started to travel. Alongside the two existing national ballets, private dance groups began to form, and everyone started touring Europe and America. I came to the United States for the first time after European tours with the National Ballet. We didn’t plan to stay - only to share our culture with the world.
America
-When I first arrived in America (in 1978), I stayed for eight months. I saw the country and said to myself - a beautiful country, but a culture that felt shallow to me. Then I returned to Guinea. Three years later, I came to America again and met Mateja (Mateja Miljački, Serbian musician, editor’s note). I have known him for more than 25 years. I knew about Yugoslavia and President Tito, but I didn’t know about Belgrade. At that time, I wasn’t thinking about whether I would ever return to Guinea - but now I don’t think about going back. Now I travel on my own. At that time in America, there was one older drummer, a master. I became the second master drummer after him. When we travel, we connect people - Africans, Europeans, Americans, everyone. People come into conflict because they don’t know one another. Music brings us together. That is why I travel and teach - to build understanding. Cultural exchange is very important.
Technology
-We all focus on technology and forget the essential things. If you want to go to a museum, you can do it through technology, through your phone. In the village, that’s not possible - you can’t go on Google and look; you have to walk, you have to go on foot. In the village, they might show you the direction, and then you walk. Many villages still don’t believe in technology. There are no cars - in the village, you simply walk.
On the meaning of music
-Music is communication, but also healing. In villages, music carries messages, brings people together, and heals the spirit.
The village
-The village is the foundation of everything. My technique does not come from the village tradition. Today, many villagers don’t want to play like me; my technique is too demanding. In some villages, music is a means of communication between villages. In others, it is a ritual for the harvest. Different instruments are used for different types of music. Rhythms have a purpose, and the most important purpose is communication. Communication can also be used for healing. Some rhythms are used for traditional village ceremonies, when the community gathers. There is also music for masks. Different masks have different rhythms. Some masks have good rhythms. Every mask is fascinating - it must have music. The mask represents an ethnic group and its music. Some masks can protect people, but some are considered dangerous. Some masks help people. People in villages strongly believe in this; they often do not go to hospitals but are treated in the village.
On the role of the griot
-Griots (from the French word griot, editor’s note) are guardians of history and culture. They sing about people, families, and ancestors. They preserve the history of families and villages through song and music. They know the origin of every family and pass these stories down through generations. Their job is to transmit stories and maintain peace in the community. When a griot sings about you and your ancestors, it can make you cry - it is very personal. The griot has a significant role in society. They convey messages and teach children everything - telling them stories about their ancestors and parents. They also know how to play instruments. Griots are used as mediators between different sides, and this role is passed down through families. A griot dances and moves to convey a message. The griot is extremely important for the African community. Whenever music is played, a griot will be there. Sometimes people give money to the griot. When a griot sings, he sings about you personally. The griot plays a vital role in society - his role is to heal the community, to help people live well together. Griots preserve unity and reconciliation within the community.
On influences and playing style
-I have my own style. Of course, many masters influenced me: Youssouf Koumbassa, the first African dance teacher who lived in America; Famoudou Konaté, master drummer of the djembe; Mamady Keïta… When I was young, I watched them. They were all my role models and teachers, great masters of the drum. Now I have my own technique - I don’t follow anyone else. When I play, I follow the spirit within me - that is me. I don’t follow anyone; I go my own way. I express myself. When I was still in the national ballet, the leader of the group told me: be yourself, don’t follow anyone or copy what others do. When I play with someone, I tell them: don’t play like me, be yourself. Music completely changed my life. I love it very much. No one in my family plays - I am the only musician. I don’t come from a musical family, but I found my own path through the drum.
On motivation
-Playing makes me happy. Even when I have problems, while I play, I forget everything. Music is not a place for problems - leave them and play with joy. When I play, I am happy. Very happy. I love to play. When I have a problem - when I play, I don’t show the problem; I am very happy. Some people asked me whether you can play and think about something else at the same time. When you have a problem, music is not therapy in that sense. Leave the problem and play music.
Advice to young artists
-First, learn the basics - hand position, how to place your hands, the resting position, learn the tones. The most important thing is hand position and relaxation. You must not be tense or fight the instrument. Playing the djembe is not boxing; you must not strain yourself. You have to be relaxed. And remember: you don’t become a master in a day or two, but through years of work and respect for your teacher. Younger students often lack patience. To learn something properly, it takes five to six years. In Guinea, there used to be a practice where the student lived in the teacher’s house, with a master-apprentice relationship - the student cleaned, washed, helped, and of course practiced and used the instrument. This was part of the learning process and respect. After many years, the master would organize a ceremony and bless the student, saying he was satisfied and happy with the student. That blessing gave the student the right to play and teach. When students came to live and learn in the teacher’s house, they did not pay money; instead, they brought a traditional gift to the teacher as a symbol of respect, called kulanat. The student’s family brought the kulanat. This practice is now rare; today things are different - people pay for lessons, but there is still the possibility to learn from a master.
On making a djembe
-A djembe is made by a whole chain of skilled craftsmen - from those who cut and transport the wood, to those who carve it, to blacksmiths who tighten the metal rings and stretch the skin. In different countries, different types of wood are used, usually hard woods such as lenke, hare, or mango wood. Guinea has a lot of good wood because it has a long rainy season. In Mali and Burkina Faso, the climate is dry, the land is drier, which affects the sound of the instrument. The sound depends on the type of wood. The skin is usually cowhide. In the past, the skin was sewn onto the djembe, and the drums were heated over fire to tighten them; today this is done with ropes and metal rings. Making one drum takes about six months.
-I have my own company and factory, Wula Drum, in New York, where 25 engineers are employed to make djembes. We buy the wood from Guinea, and our master craftsmen finish the drums. In the past, every drum was unique and natural, without decoration. Today, people add decorations, but I prefer the old way. There is no fixed design for making a djembe - it is made to adapt to the wood it comes from. Each one is unique. Today people expect a catalog. There is no catalog. I am old school - the sound is what matters, and for the masters, the quality of the wood, metal, and skin is essential. The masters who make drums do not know how to play, and the musicians who play do not know how to make drums.
There is also a rule that no one should play another person’s drum, and if it is necessary, permission must be asked. Someone’s djembe belongs only to them. When I first toured and performed in Yugoslavia, they used heaters instead of fire to place next to the drum.”
On his experience in Serbia
-I am very happy to be here again. People are open and eager to learn about African culture. When I first came last year, I saw great potential for the djembe and African dance, which is why I returned. I want to help build a solid foundation for future players, to share the culture, and for a new generation to continue playing. This is not about money. The students who attended my workshops were diverse – ranging from as yound as 11 years old. Some came from Croatia, Slovenia, and even Hungary. Most were beginners. People want to learn African culture. They want to build a strong foundation because they don’t have many opportunities to learn this. I had very little time to walk around Belgrade, but I saw that it is busy. My friends showed me around - and I want to learn the Užičko kolo.
-When I returned from Belgrade to America last year, I told my students where I had been. They were surprised because they knew very little about it. People usually think the djembe belongs only to Africa, but it doesn’t - it is played all over the world.
Your tradition is very different from the African one, but the roots are similar - both come from the people. African music always begins in the village - the village is the foundation of everything.
On the meaning of the word djembe
-The djembe has different names among different ethnic groups. The word ‘djembe’ literally means ‘everyone gather in peace.’ In Mali, the djembe is called bambara, and the large djembe used for holding rice is called tasa.
What matters most in his career
-The most important thing for me is sharing culture and teaching around the world. I have played in many countries and seen how music connects people. That is what I value most - passing on the spirit of Guinea and the djembe to new generations.
Mateja Miljački: Young drummers lack discipline
Percussion master Mbemba Bangura is brought to Belgrade by Mateja Miljački, a Serbian percussionist, engineer, and producer. Miljački studied with some of the most renowned teachers in the U.S., Mali, and Guinea, performed with numerous groups, and as a producer collaborated with young musicians in West Africa. He is the founder of the cultural association KUD Đembija in Belgrade, which preserves traditional West African music, culture, and folklore, and the production company Sambalolo, which organizes music festivals in Mali and Guinea.
-Our main goal is to bring masters who, for some reason, are not present here - there aren’t many in Serbia. It’s rare to have a master like him, who has played with so many ballets and groups throughout his career.
Mateja first met Bangura 27 years ago in the U.S. state of Maine during workshops Bangura was leading there.
-He is one of my first teachers. After that, I went to Guinea, Mali… I have always loved rhythm. I started with percussion in America during my studies. My first teacher didn’t really teach me, but he had good stories.
When asked whether Serbia has a scene for this kind of music, Mateja says that a scene that listens to music is not the same as one that actively plays it.:
-We are trying to create something. In Guinea’s culture, the key to success is discipline, nurtured through school competitions. The state supports it. Here, discipline is lacking. There is also a lack of teachers. That is why Mbemba is here. In music schools here, there is no African music or culture. There are young people who want to see something different and hear about Africa. I want to do something for them. The Museum of African Art in Belgrade is unique, and that’s why we hold these workshops here. During the Non-Aligned Movement era, there was cultural exchange between member countries - there was more collaboration. Many artists visited us, and our groups and cultural associations also went to Guinea and Africa in general.
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