REDISCOVERING AN AFRICAN LEGEND
Sound and vision come together for Bobo Yeye− Belle Époque In Upper Volt a
In recent years, several master photographers, whose work captured the post-independence rise of popular music, have emerged from West Africa. The first was Seydou Keita, who was born in Bamako, the capital of Mali, and died in Paris in 2001. He set up a studio in Bamako in 1948 and took portraits there until 1963. His trademark handpainted backdrops (modern roads with skyscrapers, kitchens with mod cons) and props (scooters, suits) provided the setting for Malians to show that they were modern.
Keita’s mainly monochrome portraits were a revelation when they were first widely published in the 1990s. Malick Sidibe, who also had a studio in Bamako, was the next master photographer to emerge and his photos showed a strong link to music; his photography also included, in addition to his portraiture, forays into the bustling nightlife of Bamako during the 60s and 70s.
These two photographers did more than most to popularise and promote photography in the region. But there were others. So, for those of you who enjoy West African music and like the photography of Keita and Sidibe, let me introduce Sory Sanlé, from Burkino Faso, who was living in relative obscurity until a chance discovery by French music producer Florent Mazzolini.
The French producer was researching the history of musicians from Burkino Faso and he was struck by the album covers taken by Sanlé from the 60s to the 80s. He set off to find this veteran and their resultant meeting has led to the publication of Sanlé’s photographs, a website (sorysanle.com) and exhibitions.
Sanlé is from Bobo-Dioulasso, Burkino Faso’s second largest city, which during the period he was active was the cultural capital of the country. His background is told in his own words in the liner notes/photo book of a fascinating and beautiful compilation of images, music and words, Bobo Yeye - Belle Époque In Upper Volta (The Numero Group). The package includes three CDs from local bands of the period: one from Volta-Jazz; one from Coulibaly Tidiani and Dafra Star; and Bobo Yeye, a mix of several bands.
Sanlé set up his studio, Volta Photo, in the 60s with the financial help of a relative, who also formed and equipped Volta-Jazz, a hugely popular band in the 60s. He photographed the band and began his night-time photo activities. The photobook showcase Sanlé’s work — his portraits set to backdrops he made in Mali and Ghana, including my favourite, a plane in the sky (for his customers who wanted to travel!), group portraits, often with guitars as props, clubgoers and dancers, and bands like Volta Jazz, Dafra Star and Echo del Africa on the local music circuit.
These fascinating photos offer a window into the ebullient youth culture of the first 25 years of independence in what was then the Republic of Upper Volta. I particularly liked the photo of social events, groups of partygoers and dancers; there is such a sense of joy in these photographs. They sure knew how to have a good time in downtown Bobo-Dioulasso. Some of Sanlé’s photos of the albums and singles, which first caught producer Mazzolini’s eye are also featured in the liner notes.
The music on the three CDs complements the text and photos. Volta-Jazz play just about everything, from Latin-influenced songs to soukous from the Congo to classic West African dance band numbers. Some songs, and this is the case with Ouedraogo Youssef’s He Ya Wannan on Disc 3, have an Ethiopian jazz/soul feel to them, with mellifluous sax and brass and quivering vocals. Disc 2 features songs that are more in the Malinke traditions found in Malian and West African dance bands, so this music would be familiar to those who like Malian dance band music. Disc 3 has lots of different bands and every time I play I find a new gem — my current favourites are the funky Gentlemen Doro by Echo del Africa and the African salsa on Nene by Les Imbattables Leopards.
This is a terrific package of wonderful musical and photographic delights. There is some great music from a country that is not well known for its musical culture, and a collection of stunning photographs by a master photographer. Highly recommended.
They sure knew how to have a good time in downtown Bobo-Dioulasso