bakabeyond
Yelli - Baka women yodellers
updated
With their combination of polyphonic singing, polyrhythmic percussion and masked dancers, the Baka are experts at manifesting mé. Each “Spirit Dance” creates its own unique emotions personified in the mé. By being present at these “spirit dances” from before they are born, aware of sounds and movements while still in their mother’s womb, Baka children grow up learning that the purpose of “musicking” is not about performing songs, but about manifesting mé for the good of all.
This film is based on Martin Cradick's dissertation for his MA at SOAS which he submitted as a podcast.
To help the Baka visit globalmusicexchange.org
00:00 Part One - Who are the Baka?
12:30 Part Two - The Mbouamboua Dance
25:00 Part Three - Yeli and Enchanting the Forest
37:30 Part Four - Who or What are Mé?
50:00 Part Five - Baka Music in the 21st Century
Music:
00:42 Distant Yeli, Baka Forest People, Martin Cradick field recordings February 1992
01:20 Solo yeli, Loni Julliene, Martin Cradick field recordings February 1992
01:57 Limbind, Sangowe, Martin Cradick field recordings February 1992
03:05 Liquindi 1, Baka Baka Forest People, Voice of the Rainforest, bakagbine.bandcamp.com/album/voice-of-the-rainforest
04:10 Elephant Hunting Song, The Pygmies of the Ituri Forest, Orchard Music
06:09 Limbindi, Nahwia Helene, Martin Cradick field recordings February 2010
08:17 Ngòmbi Nà Péké, Bounaka Theophil, Martin Cradick field recordings February 1992
10:33 Djin Djang, Metouli Francis, Martin Cradick field recordings February 2018
12:45 Bouamboua Dance, Martin Cradick field recordings February 1992, ©2022 March Hare Music.
25:10 Baka women singing 'yeli', Martin Cradick field recordings February 1992, ©2022 March Hare Music.
27:35 Yeli 1, Heart of the Forest by Baka Forest People, WMG.
30:44 Yeli 2, Heart of the Forest by Baka Forest People, WMG.
38:39 Abale. Baka Forest People. Heart of the Forest. Hannibal Records
40:00 Bùma Dance. Baka Forest People. Martin Cradick field recordings Feb 2018
44:58 Abale Yeli. Baka Forest People. Martin Cradick field recordings Feb 1992
46:50 Topé Malangui Bodé. Baka Gbiné. Martin Cradick field recordings 2002
48:11 Mangissa. Aka Forest People. Echoes of the Forest. Ellipsis Arts
50:51 Les Problèmes by Prince Eyango. The Very Best of Prince Eyango. TJR Productions
51:40 Martin & Jerome by Pelembir Dieudonné. Martin Cradick's field recordings 2000
53:41 Boulez Boulez by Pelembir Dieudonné. Martin Cradick's field recordings 2000
56:06 Nawa by baka Gbiné. Gati Bongo. March Hare Music
57:43 Sidiko by baka Gbiné. Martin Cradick's field recordings 2009
59:22 Mabita Bella by baka Gbiné. Kopolo. March Hare Music
1:01:07 Tolo Ko Tolo (remix) by Baka Gbiné. Kopolo. March Hare Music
More Baka music at baka.gbine.com
Most of the literature on Baka music concentrates on their “spirit dances”. What is actually meant by “spirit” is rarely, if ever, mentioned in the literature. In English the language for such things as “spirit” and “enchantment” have been heavily influenced by 1000 years of Christianity and given negative connotations, so the true meanings of words get lost in translation.
There seems to be an underlying inference that belief in “spirits” is a primitive animistic practice, rather than a rational interpretation of a real phenomenon that is indirectly revered in Western society in art, performance and sport, but which is never spoken about. The Baka call this mé.
All societies are aware of this presence that the Baka call Mé, but each culture has its own stories to make sense of it. For the Baka, the idea that Mé live in the forest but like to come to dance in camp, is an experiential truth.
In part 5 we see how the Baka traditional music influences the music they still play.
Royalties for music go to the Baka through globalmusicexchange.org
More about Forest Voices Tours at forestvoices.com
( Part One at youtu.be/9UgELAAympo )
Music:
00:51 Les Problèmes by Prince Eyango. The Very Best of Prince Eyango. TJR Productions
01:40 Martin & Jerome by Pelembir Dieudonné. Martin Cradick's field recordings 2000
03:41 Boulez Boulez by Pelembir Dieudonné. Martin Cradick's field recordings 2000
06:06 Nawa by baka Gbiné. Gati Bongo. March Hare Music
07:43 Sidiko by baka Gbiné. Martin Cradick's field recordings 2009
09:22 Mabita Bella by baka Gbiné. Kopolo. March Hare Music
11:07 Tolo Ko Tolo (remix) by Baka Gbiné. Kopolo. March Hare Music
There seems to be an underlying inference that belief in “spirits” is a primitive animistic practice, rather than a rational interpretation of a real phenomenon that is indirectly revered in Western society in art, performance and sport, but which is never spoken about. The Baka call this mé.
With their combination of polyphonic singing, polyrhythmic percussion and masked dancers, the Baka are experts at manifesting mé.
#shorts #baka #rainforestsounds #enchantment
There seems to be an underlying inference that belief in “spirits” is a primitive animistic practice, rather than a rational interpretation of a real phenomenon that is indirectly revered in Western society in art, performance and sport, but which is never spoken about. The Baka call this mé.
With their combination of polyphonic singing, polyrhythmic percussion and masked dancers, the Baka are experts at manifesting mé.
#shorts #baka #rainforestsounds #enchantment
Most of the literature on Baka music concentrates on their “spirit dances”. What is actually meant by “spirit” is rarely, if ever, mentioned in the literature. In English the language for such things as “spirit” and “enchantment” have been heavily influenced by 1000 years of Christianity and given negative connotations, so the true meanings of words get lost in translation.
There seems to be an underlying inference that belief in “spirits” is a primitive animistic practice, rather than a rational interpretation of a real phenomenon that is indirectly revered in Western society in art, performance and sport, but which is never spoken about. The Baka call this mé.
Music, dance and ritual can all be treated as modes of communication on a continuum from non-verbal to verbal, which has music and language at opposite ends. The Baka will chose their mode of communication depending on who they are communicating with – villagers, family, animals, spirits. If communicating with spirits, or Mé, they will chose music and dance.
In part 4 we look at the mechanisms for manifesting Mé and the nature of Mé.
( Part Five - youtu.be/l3Aqt7yv8Zo )
( Part One at youtu.be/9UgELAAympo )
Music:
01:09 Abale. Baka Forest People. Heart of the Forest. Hannibal Records
02:30 Bùma Dance. Baka Forest People. Martin Cradick field recordings Feb 2018
07:28 Abale Yeli. Baka Forest People. Martin Cradick field recordings Feb 1992
09:20 Topé Malangui Bodé. Baka Gbiné. Martin Cradick field recordings 2002
10:41 Mangissa. Aka Forest People. Echoes of the Forest. Ellipsis Arts
References:
00:35 Lewis 2009
00:47 Blacking 1985
00:54 Weig 2018
02:11 Tsuru 1998
02:33 Tsuru 1998
02:42 Lewis 2012
03:00 Lewis 2009
03:07 Lewis 2013
05:49 Feld 1988
06:20 Bundo 2001
07:27 Tsuru 1998
07:58 Tsuru 2001
09:34 Tsuru 1998
10:46 Lewis 2015
Blacking, John - "Music, Dance, Music and the Venda Girls' Initiation Cycle." in "Society and the Dance", edited by P Spencer, 64-91. Cambridge University Press, 1985.
Bundo, Daisuke. "Social Relationship embodied in Singing and Dancing Performances Among the Baka." African Study Monographs (The Centre for African Area Studies, Kyoto University) Supplimentary, no26 (March 2001)
Feld, Steven. "Aesthetics as Iconicity of Style, or 'Lift-up-over Sounding': Getting into the Kaluli Groove." "Yearbook for Traditional Music" 74-113 1988 '
Lewis, Jerome. "As Well as Words: Congo Pygmy Hunting Mimicry and Play." in "The Cradle of Language, Volume 2: African Perspectives", by Botha & Knight, 232-252. Oxford University Press, 2009.
Lewis, Jerome. "Response to Richard Widdess: Music, Meaning and Culture ." Empirical Musicology Review (Empirical Musicology Review) 7,98-101, 2012.
Lewis, Jerome. "A Cross-Cultural Perspective on the Significance of Music and Dance to Culture and Society." In "Language, Music and the Brain", 45-65. Cambridge, MA: MIT Press, 2013.
Lewis, Jerome. "Where goods are free but knowledge costs." Hunter Gatherer Research (liverpool University press), no. 2, 2015.
Tsuru, Daisaku. "Diversity of Ritual Spirit Performances Among the Baka Pygmies in Southeastern Cameroon." African Study Monographs 47-84, 1998.
Tsuru, Daisaku. "Generation and Transaction Processes in the Spirit Ritual of the Baka Pygmies in Southeast Cameroon." African Study Monographs 103-123, 2001.
Weig, Doerte. "Resonating with Different Worlds: How Baka Music Practices Generate Sociality, Identities and Connection to Ritual Spirits ." In "Making Music, Making Society, edited by Josep Martí and Sara RevillaGútiez, 191-216. Newcastle upon Tyne: Cambridge Scholars Publishing, 2018
Most of the literature on Baka music concentrates on their “spirit dances”. What is actually meant by “spirit” is rarely, if ever, mentioned in the literature. In English the language for such things as “spirit” and “enchantment” have been heavily influenced by 1000 years of Christianity and given negative connotations, so the true meanings of words get lost in translation.
There seems to be an underlying inference that belief in “spirits” is a primitive animistic practice, rather than a rational interpretation of a real phenomenon that is indirectly revered in Western society in art, performance and sport, but which is never spoken about. The Baka call this mé.
Born in the rainforest you learn to “listen to the forest” at a very early age. In the forest you have no need for maps, no need for clocks. Each time of day, each physical space, has its own unique soundscape.
In Part 3 we hear how the Baka women use their song to enchant the forest.
( Part Four at youtu.be/Byd5lutB1Uo )
( Part One at youtu.be/9UgELAAympo )
Music:
Field recordings from February 1992 of Baka women.
Yeli 1 on "Heart of the Forest" on Hannibal Records HNCD1378 youtu.be/REDlmoMnYBc
More at baka.gbine.com
Royalties sent to the Baka musicians via globalmusicexchange.org
References:
00:13:12 Feld 1996
03:43:13 Lewis 2009
05:49:03 Lewis 2009
05:54:03 Arom 1991
06:13:24 Lewis 2009
09:36:07 Lewis 2013
09:53:12 Joiris 1993
10:29:15 Furniss 2014
11:23:20 Weig 2018
Arom, Simha. African polphony and polyrhythm. Cambridge University Press, 1991
Feld, Steven. "Waterfalls of Song": an acoustemology of place resounding in Bosavi, Papua New Guinea." Senses of Place (School of American Research Press), 1996: 91-135
Furniss, Susanne. "Diversity in Pygmy Music: a family Portrait" in "Hunter Gatherers of the Congo Basin" by Barry Hewlett, 187-218. New Brunswick: Transaction Publishers, 2014
Joiris, Daou. "Baka Pygmy Hunting Rituals in Southern Cameroon: Walking side by side with the elephant." Civilisations (Institut de Sociologie de l'UniversitéLibre de Bruxelles) 41, no 1-2 (1993)
Lewis, Jerome. "As Well as Words: Congo Pygmy hunting, mimicry and play." in "The Cradle of Language, Volume 2: African Perspectives" by Botha and Knight, 232-252. Oxford University Press, 2009
Lewis, jerome. "A Cross Cultural Perspective on the Significance of Music and Dance to Culture and Society." in Language, Music and the Brain", 45-65. Cambridge MA: MIT Press, 2013
Weig, Doerte. "Resonating with Different Worlds: How Baka Music Practices Generate Sociality, Identities and Connection to Ritual Spirits." In "Making Music, Making Society", edited by Josep Marti and Sara Revilla Gútiez, 191-216. Newcastle upon Tyne: Cambridge Scholars Publishing, 2018
Most of the literature on Baka music concentrates on their “spirit dances”. What is actually meant by “spirit” is rarely, if ever, mentioned in the literature. In English the language for such things as “spirit” and “enchantment” have been heavily influenced by 1000 years of Christianity and given negative connotations, so the true meanings of words get lost in translation.
There seems to be an underlying inference that belief in “spirits” is a primitive animistic practice, rather than a rational interpretation of a real phenomenon that is indirectly revered in Western society in art, performance and sport, but which is never spoken about. The Baka call this mé.
Baka children learn music in the same way as they do language. No one actively teaches, but as in most things, the Baka learn by observation, imitation and repetition.
In part 2, using a recording of a Mbouamboua dance, or Bé, we'll see how the Baka children learn music and dance, and that its primary purpose is to call the spirits or "mé" from the forest to dance with them.
Royalties for the Baka are distributed by Global Music Exchange globalmusicexchange.org
(Part Three at youtu.be/WnFJ36P0G9Q )
( Part One at youtu.be/9UgELAAympo )
Music:
00:15:00 Bouamboua Dance, Martin Cradick field recordings February 1992, ©2022 March Hare Music.
References:
00:23:17 Arom 1991
02:07:05 Kisliuk 2001
02:20:23 Arom 1991
03:18:12 Lewis 2009,
04:24:05 Tsuru 1998
04:54:01 Furniss 2014
06:29:05 Lewis 2013
09:04:14 Oloa-Biloa 2016
09:29:23 Weig 2018
09:33:24 Bundo 2001
09:38:13 Finnegan 2013
10:00:13 Bakhtin 1984
11:25:09 Lewis 2013
11:53:16 Gell 1999
12:01:23 Lewis 2015
Arom, Simha. African polyphony and polyrhythm. Translated by Martin Thomm, Barbara Tuckett and Raymond Boyd. Cambridge: Cambridge University Press, 1991.
—. African polyphony and polyrhythm. Translated by Martin Thomm, Barbara Tuckett and Raymond Boyd. Cambridge: Cambridge University Press, 1991.
Bundo, Daisuke. "Social Relationship embodied in Singing and Dancing Performances Among the Baka." African Study Monographs (The Center for African Area Studies, Kyoto University) Supplimentary, no. 26 (march 2001): 85-101.
Bakhtin, M. Rabelais and his World. Translated by H. Iswolsky. Bloomington: Indiana University Press, 1984.
Furniss, Susanne. "Diversity in Pygmy Music: A Family Portrait." In Hunter Gatherers of The Congo Basin, by Barry Hewlett, 187-218. New Brunswick: Transaction Publishers, 2014.
Finnegan, Morna. "Dance, play, laugh: What capitalism can't do." Hunter Gatherer Research (Liverpool University Press) 1, no. 1 (2015): 85-105.
Finnegan, Morna. "The politics of Eros: ritual dialogue and egalitarianism in three Central African hunter- gatherer societies ." Journal of the Royal Anthropological Institute (Royal Anthropological Institute), 2013: 697-715.
Gell, Alfred. "The art of anthropology: essays and diagrams ." London: Athlone Press, 1999.
Kisliuk, Michelle. Sieze the Dance. Oxford: Oxford University Press, 2001.
Lewis, Jerome. "Where goods are free but knowledge costs." Hunter Gatherer Research (liverpool University press), no. 2 (2015).
Lewis, Jerome. "A Cross-Cultural Perspective on the Significance of Music and Dance to Culture and Society." In Language, Music and the Brain, 45-65. Cambridge, MA: MIT Press, 2013.
Lewis, Jerome. "As Well as Words: Congo Pygmy hunting, mimicry, and play." In The Cradle of Language, Volume 2: African Perspectives, by Botha and Knight, 232-252. Oxford: Oxford University Press, 2009.
Oloa-Biloa, Camille. "The Egalitarian Body: A Study of Aesthetic and Emotional Processes in Massana Performances." PHD Thesis, Anthropology, University College London, 2016.
Tsuru, Daisaku. "Diversity of Ritual Spirit Performances Among the Baka Pygmies in Southeastern Cameroon." African Study Monographs, March 1998: 47-84.
Weig, Doerte. "Resonating with Different Worlds: How Baka Music Practices Generate Sociality, Identities and Connection to Ritual Spirits ." In Making Music, Making Society , edited by Josep Martí and Sara RevillaGútiez, 191-216. ewcastle upon Tyne: Cambridge Scholars Publishing, 2018.
Most of the literature on Baka music concentrates on their “spirit dances”. What is actually meant by “spirit” is rarely, if ever, mentioned in the literature. In English the language for such things as “spirit” and “enchantment” have been heavily influenced by 1000 years of Christianity and given negative connotations, so the true meanings of words get lost in translation.
There seems to be an underlying inference that belief in “spirits” is a primitive animistic practice, rather than a rational interpretation of a real phenomenon that is indirectly revered in Western society in art, performance and sport, but which is never spoken about. The Baka call this mé.
With their combination of polyphonic singing, polyrhythmic percussion and masked dancers, the Baka are experts at manifesting mé.
Each “Spirit Dance” creates its own unique emotions personified in the mé. By being present at these “spirit dances” from before they are born, aware of sounds and movements while still in their mother’s womb, Baka children grow up learning that the purpose of “musicking” is not about performing songs, but about manifesting mé for the good of all.
This is part 1 of a series of 5 podcasts Based on Martin Cradick's dissertation for his MA at SOAS
To help the Baka visit globalmusicexchange.org
( Part Two - youtu.be/rVSVHc632II )
Music:
00:42 Distant Yeli, Baka Forest People, Martin Cradick field recordings February 1992
01:20 Solo yeli, Loni Julliene, Martin Cradick field recordings February 1992
01:57 Limbind, Sangowe, Martin Cradick field recordings February 1992
03:05 Liquindi 1, Baka Baka Forest People, Voice of the Rainforest, bakagbine.bandcamp.com/album/voice-of-the-rainforest
05:09 Elephant Hunting Song, The Pygmies of the Ituri Forest, Orchard Music
06:09 Limbindi, Nahwia Helene, Martin Cradick field recordings February 2010
08:17 Ngòmbi Nà Péké, Bounaka Theophil, Martin Cradick field recordings February 1992
10:33 Djin Djang, Metouli Francis, Martin Cradick field recordings February 2018
More Baka music at baka.gbine.com
References:
00:38 Joiris 1993
05:51 Lewis 2013
06:04 Furniss 2014
06:47 Furniss 2014
07:41 Furniss 2014
08:19 Brisson 1999
08:27 Furniss 2014
09:55 Furniss 2014
09:55 Furniss 2014
10:37 Arom 1991
11:12 Arom 1991
11:39 Lewis 2013
11:52 Arom 1991
Arom, Simha. African polyphony and polyrhythm. Translated by Martin Thomm, Barbara Tuckett and Raymond Boyd. Cambridge: Cambridge University Press, 1991.
Brisson, Robert. Mythologie des Pygmées Baka . Paris: Louvain: Peeters , 1999.
Furniss, Susanne. "Diversity in Pygmy Music: A Family Portrait." In Hunter Gatherers of The Congo Basin, by Barry Hewlett, 187-218. New Brunswick: Transaction Publishers, 2014.
Joiris, Daou. "Baka pygmy hunting rituals in southern Cameroon: how to walk side by side with the elephant." Civilisations ( Institut de Sociologie de l'Université de Bruxelles) 41, no. 1-2 (1993): 51-81.
Lewis, Jerome. "A Cross-Cultural Perspective on the Significance of Music and Dance to Culture and Society." In Language, Music and the Brain, 45-65. Cambridge, MA: MIT Press, 2013.
Arom, Simha. African polyphony and polyrhythm. Translated by Martin Thomm, Barbara Tuckett and Raymond Boyd. Cambridge: Cambridge University Press, 1991.
Brisson, Robert. Mythologie des Pygmées Baka . Paris: Louvain: Peeters , 1999.
Furniss, Susanne. "Diversity in Pygmy Music: A Family Portrait." In Hunter Gatherers of The Congo Basin, by Barry Hewlett, 187-218. New Brunswick: Transaction Publishers, 2014.
Joiris, Daou. "Baka pygmy hunting rituals in southern Cameroon: how to walk side by side with the elephant." Civilisations ( Institut de Sociologie de l'Université de Bruxelles) 41, no. 1-2 (1993): 51-81.
Lewis, Jerome. "A Cross-Cultural Perspective on the Significance of Music and Dance to Culture and Society." In Language, Music and the Brain, 45-65. Cambridge, MA: MIT Press, 2013.
Help the Baka at globalmusicexchange.org
Listen to Baka music at http://baka.gbine.com
Plus d'informations sur http://forestvoices.com
Veuillez soutenir les futures tournées :
nowdonate.com/checkout/r7ehv980b35yfw1z8n36
English version at youtu.be/i0KXil-e_8E
Filmé et monté par Davey Poremba - Fly Films UK
avec des images supplémentaires de :
Martin Cradick
Clyde Kramer
Jonny Prior
Musique par Orchéstre Baka Gbiné et Martin Cradick
00:00 Présentation
01:34 Le voyage
04:48 Gbiné
11:29 Départ
12:50 Mintom
14:44 "Gati Bongo"
20:11 Voix de la forêt
21:12 Ndimako - "Mosamana Collé"
25:41 Plus de voix et d'obstacles
30:20 Assoumindellé
34:17 Plus de voix et de musique
39:38 Minko'o - "Rendez-vous"
42:22 Festival à Zulabot
48:05 "Ima Gati Bongo"
52:00 Crédits
For those of you who noticed the kid copying the water drummers in our previous video at youtu.be/ZNzX5t5S4Ls?t=32 here she is grown up!
Her name is Sali and she's in the middle. (It's also her who has a prominent role in the song "La Tête" at youtu.be/z0nGBYF8qbM
More info at https;//globalmusicexchange.org
Hear more Baka music at baka.gbine.com
Original version on the album "Sogo"
Musicians:
Martin Cradick: guitar, mandolin
Sam Djengue: guitar
Su Hart: vocals, clave
Ellie Jamison: vocals, clave
Seckou Keita: tama
Paddy Le Mercier: violin
Ayodele Scott: cabasa
Nii Tagoe: sogo
Recorded December 2000, before the creation of Gbiné.
Pelembir leading the singing and playing mandolin. Mbeh on guitar, Mbossi on acoustic guitar behind Pelembir, Zow on home-made guitar standing behind Mbossi.
Ndia and Kondangombo playing the drums now play ffor Baka Gbiné on the Forest Voices Tours
forestvoices.com
Listen to music by baks Gbiné at http://baka.gbine.com
Learn about current project at http://forestvoices.com
http://globalmusicechchange.com
baka.gbine.com/album/gati-bongo
We originally uploaded this in 2006 and the video quality is so bad here it is again in HD.
If you buy the album money will go to the musicians through Global Music Exchange.
globalmusicexchange.org
Help the Baka at globalmusicexchange.org
Hear more Baka music at baka.gbine.com
Help the Bakaat http://globalmusicexchange.org
More music at http://baka.gbine.com
Recently we have seen some positive changes for the Baka coming from the Cameroon government, but the Baka live in a remote part of Cameroon where laws don't always operate as they should. We need to organise more tours so that the Baka's voices continue to be heard.
If you want to help you donate at
nowdonate.com/checkout/24x9fap4ptx18bl3j874
There is a film about the 2015 Forest Voices Tour at
youtu.be/i0KXil-e_8E
"Ngombi" is used for any stringed instrument (such as guitar) by the Baka. "Péké" is the Baka name for the rafia palm of which its made.
This was a spontaneous jam that was caught on camera.
This part of Cameroon is only 100km acoss the forest to Gabon where this instrument is used in the Iboga ceremonies.
Help the Baka at globalmusicexchange.org
Full unedited song recorded on an iphone, a budget camcorder and a Rode ambisonic microphone. Live in Molembengoy, Jan 2019.
Listen to it grow.
Support the Baka at globalmusicexchange.org
Plenty of videos of the Baka Forest People on our channel as well as my band, Baka Beyond. http://bakabeyond.net
More about our work with the Baka at http://globalmusicexchange.org
"Nation shall not lift up sword against nation, nor shall they learn war any more."
Help the baka at globalmusicexchange.org
Hear more at baka.gbine.com
In memory of Todji, we'll miss him. 1950(ish) - 1st April 2020
Hear more at http://bakabeyond.com
Hear more at http://bakabeyond.com
Hear more at http://bakabeyond.com
Hear more at http://bakabeyond.com
More about our work at youtu.be/ZNGmpQHtBog
http://globalmusicexchange.org
More information about our work with the Baka at youtu.be/ZNGmpQHtBog
The rhythm of the Baka Booma dance is here broken down, showing the separate drum parts and how they synchopate.
The indigenous people of the British Isles were originally forest people. Could the Green Man be a memory of a dance like this?
When a group of people get rhythms, voices and dance synchopated this tight strange things start happening.
Practice this in the woods and re-awaken the Green Man!
forestvoices.com
After concerts by Baka Gbiné in Baka villages we show films and encourage people to talk to camera.
This was recorded in Mambele where WWF have created a conservation zone. The Baka are forbidden from hunting in contravention of their human rights.
A film by Nicolas Lewis
Full film is at youtu.be/9QPUcV_ARlQ
http://1heart.org
In 2005 the Christensen Fund asked us to help organise this festival. The stage was built using traditional building techniques. People from 30 different tribal groups came together to perform their traditional dances.
This inspired the "Under the Volcano Festival" in Limbe, Cameroon in 2010.
A film by Nicolas Lewis
The first festival Arba Minch festival organised by Global Music Exchange
http://1heart.org
In 2005 the Christensen Fund asked us to help organise this festival. The stage was built using traditional building techniques. People from 30 different tribal groups came together to perform their traditional dances.
This inspired the "Under the Volcano Festival" in Limbe, Cameroon in 2010.
Song originally by Silly Wizard.
Part of the Forest Voices Tour, forestvoices.com
More music at http://baka.gbine.com
Listen to more Baka Beyond at http://bakabeyond.com
Listen to Baka Beyond at http://bakabeyond.com
Thanks to Ant for the hand-held camerawork
Hear more at http://bakabeyond.com
While we're happy for you to listen to our music for free, if you buy it we know you care and it helps us carry on making more!
All royalties for the Baka composers go to them via globalmusicexchange.org
Listen and download at http://bakabeyond.com
More music at http://bakabeyond.com
Visit Baka Beyond website at http://bakabeyond.net
Listen to more Baka Beyond at http://bakabeyond.com