Nahawa Doumbia is one of the most popular singers from the Wassoulou region… Read Full Bio ↴Nahawa Doumbia is one of the most popular singers from the Wassoulou region in South Mali. She speaks to the younger generation of West Africa through her lyrics about love, the position of women in Malian society, and the plight of the African refugees in France. Her voice soars to didadi, a lilting dance rhythm from her native Wassoulou region; added to the musical mix are the jazz and techno samples of French DJ Frédéric Galliano. Traditional instruments -bala, kamel'ngoni, and djembe- along with bass and acoustic guitar back up Nahawa's vibrant vocals.
Nahawa Doumbia was born in the small town of Mafélé, in the Sikasso region (next to the Ivory Coast’s border). Her grandmother had to raise the newborn because Nahawa’s mother died shortly after giving birth. Nahawa Doumbia’s grandmother lived in Manankoro, near Bougouni, the most important city in the Wassoulou region (south of Bamako, Mali’s capital). The Wassoulou region is well known for generating some of the best singers in Mali, like Oumou Sangare, Sali Sidibe or Dieneba Diakité. Even though Nahawa Doumbia’s family was not part of the jali tradition (the Manding caste that performs music), Nahawa’s mother predicted before she died that her daughter would be a singer. This is something that her family tried to prevent, resorting to the magical powers of blacksmiths, but to no effect.
The young Malian woman was discovered by civil servants from the Ministry of Culture when she was singing with her friends. Despite her father’s opposition, she sung at the Youth Week in Bamako in 1980, a biannual event in which artists from all of Mali participate. Nahawa Doumbia won the contest with the song "Tinye de be laban." Since then and always accompanied by her husband, guitarist Ngou Bagayoko, her fame grew in Mali and Europe. She shared the stage Manu Dibango, Toure Kunda or Miriam Makeba.
In 1988 Nahawa’s first album, "Didadi," came out. Ibrahima Sylla and Boncana Maiga, the creators of modern Manding music produced it. Didadi is, in fact, the music style with which Nahawa Doumbia stands out, a rhythm used by young people to compete at festivals and celebrations. In 1990 her second CD came out, with the collaboration of well known African musicians: Congolese guitarist Rigo Star, Cameroonian singer Georges Seba, percussionist Papa Kouyate and several of Salif Keita’s band members. Nahawa Doumbia’s first recordings are characterized by the fusion of African music and modern technology. Her fourth release, "Yankaw," meant a return to pure Wassoulou music with vocals accompanied by balafon, kamel'ngoni, acoustic guitar and percussion.
Nahawa Doumbia was born in the small town of Mafélé, in the Sikasso region (next to the Ivory Coast’s border). Her grandmother had to raise the newborn because Nahawa’s mother died shortly after giving birth. Nahawa Doumbia’s grandmother lived in Manankoro, near Bougouni, the most important city in the Wassoulou region (south of Bamako, Mali’s capital). The Wassoulou region is well known for generating some of the best singers in Mali, like Oumou Sangare, Sali Sidibe or Dieneba Diakité. Even though Nahawa Doumbia’s family was not part of the jali tradition (the Manding caste that performs music), Nahawa’s mother predicted before she died that her daughter would be a singer. This is something that her family tried to prevent, resorting to the magical powers of blacksmiths, but to no effect.
The young Malian woman was discovered by civil servants from the Ministry of Culture when she was singing with her friends. Despite her father’s opposition, she sung at the Youth Week in Bamako in 1980, a biannual event in which artists from all of Mali participate. Nahawa Doumbia won the contest with the song "Tinye de be laban." Since then and always accompanied by her husband, guitarist Ngou Bagayoko, her fame grew in Mali and Europe. She shared the stage Manu Dibango, Toure Kunda or Miriam Makeba.
In 1988 Nahawa’s first album, "Didadi," came out. Ibrahima Sylla and Boncana Maiga, the creators of modern Manding music produced it. Didadi is, in fact, the music style with which Nahawa Doumbia stands out, a rhythm used by young people to compete at festivals and celebrations. In 1990 her second CD came out, with the collaboration of well known African musicians: Congolese guitarist Rigo Star, Cameroonian singer Georges Seba, percussionist Papa Kouyate and several of Salif Keita’s band members. Nahawa Doumbia’s first recordings are characterized by the fusion of African music and modern technology. Her fourth release, "Yankaw," meant a return to pure Wassoulou music with vocals accompanied by balafon, kamel'ngoni, acoustic guitar and percussion.
Mangoni
Nahawa Doumbia Lyrics
We have lyrics for these tracks by Nahawa Doumbia:
Djina Mousso Djina musso Musica... 7 vueltas Aaaa... watialala djina mu…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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Ousmane Togo
❤
Satigui M Sidibe
She is one of the best voices of malian music 🎶.
Monde Mballo
Encore une autre note lyrique de cette belle voix d'Afrique ;merci encore Na...
Maximus Cyrus
La belle voix de l'artiste diffuse la grâce partout où les ondes de la musique émettent le moindre signale. Toutes ces chansons réjouissent toujours mes oreilles.
Idrissa Sawadogo
Même moi
Bouba Foure
vraiment
Abdoulaye DIALLO
Une chanson qui a marqué ma tendre enfance..
Konimba Traore
Bravo belle chanson
DIO
Voici la Grande Cantatrice Nahawa Doumbia, la grande chanteuse du Didadi de Bougouni, on te remercie mille fois pour tes chefs d'œuvres qui resteront à jamais dans nos mémoires, pour les non Bambara, elle parle de la poisse en quelque sorte le rejet d'un individu et ici plus précisément d'une femme mariée par la société soit disant qu'elle porte malheur et qu'elle est plein de défaut alors qu'elle exécute les même tâches que toute autre femme considérée comme normale, mais rien n'y fait elle est considérée comme une marginale, personne ne veut l'approcher, elle se demande si la poisse existe vraiment est ce par l'eau qu'on puisse l'attraper? Est ce dans la marmite, est-ce dans le plat, est ce dans le riz, est-ce dans la sauce, se voit elle dans ses yeux, sur sa tête ou à ses pieds?? Malheureusement qu'elle n'en sait rien, en tout cas c'est la société qui l'a décidé ainsi. Cette chanson donne à réfléchir dans nos sociétés africaines à propos de cette terrible poisse qui collent à la peau de certaines personnes, Que Dieu nous donne la force et nous facilite la compréhension.