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Manou Gallo
The Young Diva from Divo
Paris
12/02/2004 -
When Manou and her group, Le Djiboï, recorded the eleven tracks on Dida, she says her adoptive father, Marcelin Yacé, was at the forefront of her mind. Yacé, the famous Ivorian musician gunned down in the country's bloody civil war, was the first music professional to recognise Manou's talent. Yacé spotted the young orange-seller when he and his group Woya set up base in her native village of Divo, and set her on a path she was to follow for the rest of her life. Manou was already a local phenomenon before Yacé arrived in her village. Born on the day her grandmother died, she claims to have acquired the gift of playing the speaking drums in a dream– a gift which she promptly put into practice at a traditional burial ceremony when she was just eight years old! "Everyone was amazed, not to say shocked," Manou remembers, "because women aren't allowed to touch these drums. People thought I was a little witch or something! But when I settled down to play I felt the strength of my ancestors flowing through me and guiding my hands."
That strength has never left her since! After her experiences with Woya, which proved to be a veritable 'school of life' for the young girl who had never received a formal education, Manou followed Yacé to Abidjan. Here Manou's mentor bought her her first bass. Yacé, considered by many to have been the top sound engineer in Ivory Coast, also taught her the intricacies of recording techniques in his studio over the next three years. "All I ever thought about was music," says Manou, "I only had one aim in that life and that was to become a musician. I threw myself into achieving that body and soul." Manou's break came in 1992 when the manager of Belgian group Zap Mama spotted her at MASA in Abidjan. Five years later, Zap Mama's frontwoman Marie Daulne was looking for a male bassist. So Manou flew off to Brussels to spend her first winter in the snow and, despite being stiff with cold, managed to pass the audition and end up as Zap Mama's female bassist.
Now Manou has decided to step behind the mike and assure the vocals on Dida. She is pictured on her album cover, bass guitar in her bracelet-covered arms, staring prospective listeners straight in the eyes.
RFI Musique: Dida is not just the title of your album, it's also your mother tongue. I get the feeling that on this album you're really trying to assert who you are and where you come from…
Manou Gallo: Yes, "Dida" is also the language of my people. This album's about my life and everything I've lived through to date. The music I play on it is the music of today. It's not commercial or traditional, just genuine world music.
And Swahili! I was immersed in Dida throughout my childhood and surrounded by French, too, because don't forget I'm a French speaker as well. English was a language I came across later in the day thanks to my time on the road touring. But I never sit down and think about which language I'm going to sing in beforehand. I prefer to go with the flow. Sabine Kabongo (who provides guest vocals on Amagnagny) speaks really, really good English. And when we were working on the song together at home it just so happened that it came out in English. I take a very open-minded approach to songwriting and composing!
You're a living embodiment of the expression "citizen of the world." What's your take on the concept of "Ivoirité" (1)?
For me, Ivory Coast has a tradition of being a country that welcomes everyone. And the capital, Abidjan, is one big melting pot. All West African musicians have passed through there at one time or another. I remember Lokua Kanza playing with my 'adoptive' father, Marcelin Yacé. But politicians like to play up the idea that there are too many foreigners in Ivory Coast. It's their way of playing 'divide and conquer.' I'm a woman from Ivory Coast, but I'm also a woman of the world and I think everyone on this earth should be allowed to belong somewhere.
You started out your international career playing bass with the group Zap Mama and now here you are singing on your debut album. Do you realise that in singing about your own emotions you're actually putting a powerful message across?
Yes, that's something I'm very aware of. I think whenever you can stand up and speak out for love and peace you should do it! Personally, that's something I'm not afraid to do. People who take up arms to defend their views aren't afraid to shoot. And I'm not afraid when it comes to standing up for ideals of freedom and respect. I was born in Divo, in Ivory Coast, but there came a point in my life when I had to leave. It's important that everyone should be free to follow their own path in life. That's what makes the world and the human beings in it so rich and interesting.
Rich and interesting human beings are very much in evidence on your album…
When I was with Zap Mama I met Lene (Christensen) who sings on Poupouyanssia. I got so much out of meeting her! Lene is this amazing blonde from Denmark and I actually went out to stay with her over there and then she came and stayed with me in Divo. I'm all in favour of exchanges like that! …Sadly, when the blood flows on the streets people don't look to see whether you're from north or south or whether you're black or white!
Which song on your album is closest to your heart?
Gou. It's a song about sickness and suffering on which I speak out about Africa and my sister who died of AIDS. I wanted to pay my own tribute to her this way, because I'd just felt so upset and overwhelmed by what happened to her.
There's certainly a lot of sadness on your album but it never tips over into complete despair. You seem to have great inner strength. Where does that come from?
My God, the sprits of my people – and, of course, my adoptive fathe
Valérie Nivelon
Translation : Julie Street
