Casamance tries to draw a different Africa than we have always been told, wanting to get away from a Western gaze, sometimes too condescending.

Djibril Gaby Gaye

The trip of DePedro raises a personal search: that of the origin of the melodies that marked his childhood; but at the same time, it raises different ideas about the roots of music as we know it today.

The key is in the assembly, nonlinear, which divides the piece into three chapters:

1- The rhythm of the city: In Dakar, where echoes of tribal rhythms coexist with a chaotic modernity, is the island of Goreé, place from where slaves came from all over Africa to America. Men and women of diverse tribes that took with them their ancestral sounds, and that later would evolve towards the modern musics that we know today. During the beginnings of s. XX these sounds return to Africa immortalized in vinyls, in a return to their origins.

Paby Saw playing calabass

2- The griot: traditional figure of western Africa, feminine or masculine; he is a narrator, storyteller, in charge of the oral transmission of culture through music, using a mystic instrument made from a pumpkin: the kora. Tradition and culture as the origin of music, a concept far from what we know today.

3- The journey to the origins: through a trip to an even deeper Africa, we discover animistic religions, and their belief in fetishes: inanimate objects with magical powers. At the origin of everything, the instruments, rhythms and melodies arise with a magic-religious function. Africa as a point of origin and return.

Hunting sounds in Senegal