The traditional form of mbalax originated from the sabar, a Wolof genre that historically fused musical and cultural practices from different ethnic groups such as the Njuup, a religiousSerer music. The popular dance form of mbalax developed in urban Senegal in the early 1970s. Like many other francophone West African countries the Senegalese popular music scene was partially influenced by soul, blues, jazz, R&B, and rock from the United States, varieté from France, Congolese rumba, and Latin pop from the Caribbean and New York.In this mix of African diasporic sounds Senegalese fans and musicians wanted their own urban popular dance music so they began singing in Wolof instead of French, and incorporated rhythms of the indigenous sabar drum. Dancers began using moves associated with the sabar, and tipping the singers as if they were traditional griots. Among the bands that played this new style, Etoile de Dakar, and Raam Daan, Xalam II, and Super Diamono. Since becoming popular, both Mbalax and its associated dance have spread to other regions such as Mali, Mauritania, Ivory Coast and France. This dissemination has come about through radio, audio cassettes and televised video clips. Mbalax instrumentation includes keyboards, synths and other electronic production methods. However, it is the Nder, the Sabar, and the Tama percussion, and widely influenced African and Arabic vocalistic stylings that continue to make Mbalax one of the most distinctive forms of dance music in west Africa and the diaspora. Jazz, Funk, Latin and Congolese pop music influenced the early sounds of Mbalax, today it is also influenced by RnB, Hip-Hop, Coupé-Décalé, Zouk and other modern Caribbean, Latin, and African pop musics. Mbalax artists frequently collaborate with artists from other genres, such as Viviane Ndour's work with Zouk star Philip Monteiro and French/Malian rap starMokobé. Perhaps the most well known collaboration of all was Youssou Ndour's huge hit with Neneh Cherry; 'Seven Seconds'.
Mbalax dance
Mbalax Dancing is popular in nightclubs and social gatherings as well as religious and life cycle events such as: weddings, birthdays, and naming ceremonies. The basic mbalax dancing involves pelvic gyrations and knee movements, but new movements arise as well, often associated with popular songs. Patricia Tang describes some of the new movements:
"Examples of such dances are the ventilateur ; xaj bi ; moulaye chigin ; and more recently, the jelkati. All of these dance crazes are closely tied to sabar breaks, and some are even named for the vocal mnemonics of the sabar rhythm they accompany."
Music and instrumentation
Senegalese songs are usually unwritten, and certain instruments or musical styles are reserved for specific genders or age groups. In the past, only griots could perform music. Their traditional role was transmitting oral history, genealogies and social rankings, diplomacy, and storytelling. Today, griots continue to participate in naming ceremonies, weddings, and funerals. Music is performed using instruments such as drums, balafon, riti, Tama, sabar drum. In the 1970s Western instruments and equipment such as the flute, electric guitar, piano, violin, trumpet and synthesizer have been incorporated into the music, to accompany the dance. In addition to the instrumentation, humming, chanting and singing are used to accompany the music that the dance is done to. The lyrics of mbalax songs address social, religious, familial, or moral issues. According to author Patricia Tang:
"The rhythmic foundation and primary identifiable feature of modern mbalax is the sabar...in Wolof gewel percussionist parlance, mbalax literally means 'accompaniment'. Within a sabar ensemble, different drums play different roles, and mbalax refers to the accompaniment parts played by the mbeng-mbeng. However, the mbalax part varies rhythmically from one dance to another.
