Project Aly Keita and Friends
Aly Keita and Friends, purpose to discover a rich universe with : Dobet Gnahore (Ivory Cost - vocal lead), Manou Gallo (Ivory Cost - Bass,ex. Zap Mama), Boris Tchango (Togo - Drums) and Pierre Vaiana (Belgium - Sax)
Performance at Frankfurt (D)
Dobet was yesterday at Festival "Summer in The City" Weltmusik im Palmengarten.
Ralf Bender, enthusiasmed by Dobet's concert sent us this nice photo montage.
Thanks
Dobet @ Africajarc Festival 2008 (France)
Please take a look in our pictures link...
You will find some nice pictures sent kindly by Olivier Huet (from Auch in south of France)
Tangier (Moroco) "Nuits de la Mediterranee 2008" : Review
Review by Elena Oumano for Afropop.org :
The Festival’s second night was to have opened with Gnaouas de Tanger, who were M.I.A. but not missed, thanks to a lengthy, full-out performance from Cote d’Ivoire’s Dobet Gnahore. First heard via a blast of acapella vocals washing over the audience from offstage—showcasing a voice so resonant with operatic force and shaped by such sophisticatedly nuanced dynamics—Gnahore’s onstage appearance—surprisingly slight, young, with a punkish, razored sides-dreadlocked topped hairstyle—came as a surprise. As the musicians strolled onstage to back Gnahore with a rolling Afropop beat, she took absolute charge, evoking no less a mistress of charisma than Angelique Kidjo. But when this artist danced, she leapt far ahead of any other African singer/dancer, male or female. Defying normal constraints of the human body, this 26 year-old hunkered down into a Russian cossack’s squat and danced from that position with lightning speed, her feet creating lightning-quick rhythms to complement the drums and percussion. With unparalleled athletic grace, she leapt like Nureyev, arching her body into impossible shapes and lines, creating a profoundly African yet highly personalized dance style that bridges all borders, between male and female, tribes, countries, and even evoked at times the stark drama of Western modernist choreography. Gnahore’s galvanizing stage presence, versatile songwriting—in languages unfamiliar to some but clearly brimming with outrage, deep sadness, and joy—along with her skill on the drum (traditionally the province of men only) and other instruments signify the New African Woman. Her promise is not only of her total self but of an imminent future in which more and more bold and gifted females emerge from the Mother continent.
