JuJu
Justin Adams and Juldeh Camera
JuJu - Djanfa Moja
Jùjú is a style of Nigerian popular music, derived from traditional Yoruba percussion. The name comes from a Yoruba word "juju" or "jiju" meaning "throwing" or "something being thrown." Juju music did not derive its name from juju, which "is a form of magic and the use of magic objects or witchcraft common in West Africa, Haiti, Cuba and other South American nations." It evolved in the 1920s in urban clubs across the countries, and was believed to have been created by AbdulRafiu Babatunde King, popularly known as Tunde King. The first jùjú recordings were by Tunde King and Ojoge Daniel from the same era of the 1920s when Tunde King pioneered it. The lead and predominant instrument of Jùjú is the Iya Ilu,"' talking drum. Some Jùjú musicians were itinerant, including early pioneers Ojoge Daniel, Irewole Denge and the "blind minstrel" Kokoro.[1]
Afro-juju is a style of Nigerian popular music, a mixture of Jùjú music and Afrobeat. Its most famous exponent was Shina Peters, who was so popular that the press called the phenomenon "Shinamania". Afro-juju's peak of popularity came in the early 1990s.
History
Following World War II, electric instruments began to be included, and pioneering musicians like Earnest Olatunde Thomas (Tunde Nightingale), Fatai Rolling Dollar, I. K. Dairo, Dele Ojo, Ayinde Bakare, Adeolu Akinsanya, King Sunny Adé, and Ebenezer Obey made the genre the most popular in Nigeria, incorporating new influences like funk, reggae and Afrobeat and creating new subgenres like yo-pop. Some new generation juju artistes include Oludare Olateju and Bola Abimbola. Although Juju music, like apala, sakara, fuji, and waka was created by Muslim Yoruba (NOTE: Tunde King was a Muslim and an alhaji until his death in the 1980s); however, the music itself remains secular. King Sunny Adé was the first to include the pedal steel guitar, which had previously been used only in Hawaiian music and American country music.
Performance
Jùjú music is performed primarily by artists from the southwestern region of Nigeria, where the Yoruba are the most numerous ethnic group. In performance, audience members commonly shower jùjú musicians with paper money; this tradition is known as "spraying."
One of the centres of the performance of Jùjú music is in Ibadan. Most jùjú musicians are based in the zone of market forces, and most of these are in an area of immigrant neighbourhoods. There are several contexts in which jùjú music is performed. On of these contexts is ‘The Hotel’. The Hotels are concentrated in the immigrant areas and they serve as taverns, dance halls and brothels. They range from very small wooden structures to clusters of two or three building with a stage in the middle. Most activity takes place after nine pm and the hotels are the centre of Ibadan’s nocturnal economic structure. One of the economic activities associated with the hotels is the sale of drinks and food and also prostitution. The Hotels are seen as places of relaxation, where patrons, mainly men, come to escape every day life. They are places where people can come to do things that they might not want to be seen doing at home. The Jùjú music performed is not the focus of the venue but most patrons prefer live music to records. The bands that perform do not have a guaranteed wage; instead they rely upon donations from patrons. Most bands will only perform during the weeknights, leaving the weekends free for more lucrative gigs. Another context in which Jùjú music is played is at celebrations called àríyá. These celebrations are parties which celebrate the naming of a baby, weddings, birthdays, funerals, title-taking, ceremonies and the launching of new property or business enterprises. These events are sponsored so the musicians are guaranteed payment. The wealth of the hosts and the guests is shown through their reward to the entertainers. It is customary to press the contribution to the musician’s forehead so that everyone can see how wealthy they are. The musicians will often return good payment with praise songs to the donors. Live music is crucial to the proper functioning of an àríyá.
http://en.wikipedia.org/wiki/J%C3%B9j%C3%BA_music
El jùjú es un género de música nigeriana popular, nacida a partir de la percusión Yoruba tradicional y el género apala. Se desarrolló en los años 20 en clubs urbanos. Las primeras grabaciones de jùjú fueron de Tunde King y Ojoge Daniel.
El apala, un estilo tradicional de Ijebu, en Yoruba, también se hizo muy popular en los años 60, desarrollado por músicos como Haruna Ishola, Sefiu Ayan, Kasumu Adio, y Ayinla Omowura. Ishola, que era uno de los fabricantes de éxitos más constantes de Nigeria entre 1955 y su muerte, en 1983, grabó numerosas canciones apala, que alternaron entre lo lento y emocional; y lo rápido y enérgico. Su lírica era una mezcla de alabanza improvisada y versos del Corán, así como proverbios tradicionales. Su trabajo tuvo una influencia formativa sobre el desarrollo del estilo fuji.
A finales de los años 60 aparecieron las primeras bandas de fuji. El fuji obtuvo su denominativo por el grupo Golden Fuji Group que a su vez tomó su nombre del Monte Fuji en Japón, aunque el motivo fue puramente por el sonido de la palabra según Alhaji Sikiru Ayinde Barrister, líder del grupo y creador del estilo.1 Fuji es una síntesis del apala con un "adornado y libre ritmo" vocal de los músicos piadosos ajisari2 y acompañado por el sakara, un tambor- pandereta, y la guitarra hawaiana. Entre las estrellas más tempranas del género encontramos a Haruna Ishola y a Ayinla Omowura. Ishola obtuvo numerosos éxitos a partir de finales de los años 50 y principios de los años 80, convirtiéndose una de las ejecutantes más famosos del país. Fuji se fue regularmente más popular entre los años 60 y los años 70, estando estrechamente asociado con el Islam.
El fuji ha sido descrito como jùjú sin guitarras aunque, irónicamente, Ebenezer Obey una vez lo describió como mambo con guitarras.3 Sin embargo, en sus raíces, el fuji es una mezcla de musulmán tradicional ajiwere de los ajisari con aspectos de percusión apala, canciones vocales y música filosófica sakara.4 De todos estos elementos la base fundamental del fuji es el apala.5 Las primeras estrellas de fuji fueron las bandas rivales Alhaji Sikiru Ayinde Barrister y Ayinla Kollington.6 Alhaji Sikiru Ayinde Barrister comenzó su carrera en el fuji a principios de los años 70 con el Golden Fuji Group aunque había cantado canciones musulmanas cuanto tenía 10 años. Él cambió el nombre de su grupo por Fuji Londoners cuando volvió de un viaje a Londres, Inglaterra. Después un muy mucho tiempo, con éxitos como "Orilonise", "Fuji Disco/Iku Baba Obey", "Oke Agba", "Aye", " y "Suuru", cambió el nombre del grupo a Supreme Fuji Commanders con un éxito, "Orelope", que fue platino al instante. El rival de Ayinde era Ayinla Kollington, Baba Alatika, conocida para usar letras burdas y vulgares entrelazadas con incoherentes comentarios sociales. En los años 80 les siguieron estrellas como Wasiu Ayinde Barrister.
http://es.wikipedia.org/wiki/J%C3%B9j%C3%BA
JuJu - Nightwalk
Music: JuJu - Justin Adams and Juldeh Camera - Djanfa Moja - Nightwalk - Yorubistic rock music - Juju data in Eng-Esp - 2 Vids
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