Life in the Sub-Saharan desert is hard at the best of times. The Kel Tamasheq nomads have been traversing the area between Mali and Niger, moving their herds from waterhole to waterhole, since before the coming of Islam to Northern Africa. It is said among them that their ancestors chose such a harsh land to live in because nobody else would want it and they’d be left alone. However, history has shown no land is too inhospitable for those greedy for territory. First it was the Arab nations spreading the word of Islam, taking their land and giving them a new name, Tuareg (literally those who rebel against Islam). Even when they eventually accepted the new religion, they adapted it to suit their own traditions and made it their own.
It wasn’t until the coming of the Europeans who divided the territory with artificial and arbitrary lines in the sand that their lives started to be changed for the worse. The legacy of colonialism was that the Kel Tamasheq found themselves cut off from their former migratory paths through the desert and the grazing lands needed for their herds. Those living in Niger were expected to stay in Niger and not wander over the shifting sands into Mali, Algeria, and Burkina Faso as they once did. At various times since 1960 they have attempted to reassert their claims to the territories taken from them. A variety of treaties have been negotiated either through rebellion or diplomacy that were supposed to guarantee them territory and rights, but successive governments in Niger and other countries have gone back on their words. The discovery of uranium under the Sahara has only made matters worse, as not only did it result in their further displacement, but the process of mining has steadily destroyed the environment.
While the rebellions have not always been successful, and have resulted in reprisals against the people at times, there have always been attempts to improve their lot. So the uprisings in Northern Mali in the early part of 2012, which have forced over 200,000 people to leave their homes, doesn’t fit the same pattern as previous Tamasheq revolts. The fact that Islamic fundamentalist troops are also involved with the fighting is even more suspicious, as the Tamasheq would not be interested in simply exchanging one group of people who are telling them how to live their lives for another. However, perhaps most telling is the release of a new compilation disc, Songs For Desert Refugees on Glitterhouse Records as an effort to raise funds for those displaced by the fighting.
In the past, Tamasheq musicians have been key figures in advocating and fighting for the rights of their people. Some of them took part in the armed rebellions of the 1980s before putting down their guns and picking up guitars. Governments in the area have gone out of their way to target them for harassment and even assassination in the past, and most have spent time exiled from their home countries. Yet, during this most recent uprising, instead of using their music to spread the word or reminding people to take pride in who they are, they are lending their talents to an effort to assist those being harmed by the fighting. Artists of the stature of Tinariwen,Terkaft, Etran Finatawa, and Bombino, all who have been advocates for their people, have donated either previously unreleased material or new versions of older songs to this disc.
Even better is the fact that those who have compiled this recording have included some lesser known artists, ones whom I haven’t heard before. Not only is it great to hear other artists from the region, their inclusion gives listeners an indication of just how much diversity there is among the Kel Tamasheq groups of the region. For although they are commonly referred to as the guitar players, that does not mean the Kel Tamasheq sound is limited to the electric blues rock guitar that has become the trademark of those well known in the West. While the offerings from Tinariwen, “Amous Idraout Assouf d’Alwa” (a previously unreleased track), and Bombino, an extended live version of his “Tigrawahi Tikma”, give pride of place to the electric guitar, there are others who are more traditional in their approach.
Amanar de Kidal (Amanar of Kidal in Mali) took their name from the Tamasheq word for the constellation Orion in memory of those times the band would rehearse through the night until the stars were high in the sky above them. While the guitar is still the lead instrument in their contribution to the disc, “Tenere”, it doesn’t dominate in the same way it does in other groups. Instead we are treated to massed voices, flutes, and a steady rhythm carrying us forward. The rhythm is not one we’re used to, as it induces an almost swaying motion, as if you were being gently rocked in the high saddle of a camel. Like many other Tamasheq groups, Amanar also features female vocalists in the band. Here they supply a spine tingling vocal undulation as part of the harmonies for the song as well as more conventional backing vocals.
The final cut on the disc is from the band Tartit, made up of five women and four men. The women provide the lead vocals and rhythmic patterns for this song while the men accompany them. At first the vocals sound rather simplistic, but listen closely and you realize there are something like five different vocal patterns happening at once. Occasionally one of the women break free from the hypnotic trance like sound to issue an undulation that rises up like a sudden wind. “Tihou Beyatne” is unlike any other song on the disc and is probably the one closest to the traditional music of the people. Here again you also see indications of why their Arabic name of Tuareg stuck, as not only do the women lead the band, they go unveiled while the men keep their faces covered.
While Tartit may be the closest to the traditional sound of the Kel Tamasheq of all of the bands, no matter how electric or how much they’ve been influenced by Western popular music they retain solid connections to their desert roots. The majority sing in the Tamasheq language and thematically their songs are designed to remind their listeners to be proud of their culture. More importantly, they use their music to teach the younger generation displaced from their desert life who they are and why the desert is important to the Tamasheq people. Musically, even artists like Bombino, whose band uses a full drum kit and is probably most like a Western pop group, retain the traditional rhythmic elements that distinguish all the bands’ music. No matter how much their guitars wail, the drum still carries the echoes of thousands of years in the desert.
Like indigenous people the world over, the Kel Tamasheq have seen their traditional territories taken away from them due to the encroachment of outside influences. The safety provided by living in one of the harshest environments in the world has disappeared. No where is safe any longer from civilization’s greed for resources. The discovery of uranium in their traditional territories in Niger was a death knell for a way of life that had been carried out by those living there for a thousand years. The insurrections in Mali by Islamic fundamentalists earlier this year made an awful situation even worse with the displacement of over 200,000 Tamasheq and others living there.
All profits made from the sale of Songs For Desert Refugees are being split between two non-governmental organizations (NGOs) who are dedicated to assisting the Tamasheq people. Tamoudre works directly with those nomads still trying to work the land in the war torn areas by assisting them in any way possible to make their livelihoods more secure. Etar, has the more long term goal of helping to preserve, protect, and disseminate the Tamasheq culture, both for the people themselves and to educate the rest of the world about them. They are currently raising money to build a cultural centre in one of the regions in Mali hardest hit by the recent uprisings.
The Kel Tamasheq are a proud people who have fought long and hard for their right to be left alone and live their lives in the same way their ancestors did for generations. Music has played a key role in this fight for survival by keeping traditions alive and helping the people to retain a sense of pride in who they are. This disc represents a slightly more tangible way of helping their people as the bands involved have donated their songs and time. They hope to be able to raise some money to bring relief to those of their people who once again find themselves caught up in a situation not of their making, but which is causing them to suffer. Won’t you help?