Tinguizi

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Tinguizi (* around 1913 in Bilanga ; † February 18, 1983 ; also Tinguidji , actually Boubacar Loumbo Sêdi , also Boubakar Lambousséri ) was a Nigerian narrator from the Djesseré profession .

Life

Tinguizi belonged to the Gourmantché ethnic group . There are different details about the year of his birth: 1903, 1911, 1913 or 1914. His parents probably originally came from Bilanga, settled in Téra before he was born - Tinguizi was born during a stay in Bilanga - and finally moved to Dargol . His father was a farmer and his mother a singer. He learned to play the molo lute instrument at an early age, which was common in his mother's family and is the typical accompaniment instrument of the Djesseré. Tinguizi learned the craft of Djesseré from an uncle on his mother's side. Furthermore, like his compatriot Koulba Baba, he trained with the Malian griot Bansouma Cissoko.

Tinguizi first worked at the court of the local ruler of Dori , then for 26 years at the court of Amirou Mossi Gaïdou, the then local ruler of Dargol. After his death he made many trips and finally moved to the capital Niamey in 1969 . The Research Institute for Human Sciences (IRSH) in Niamey and the state broadcaster ORTN recorded many of his lectures on sound.

Tinguizi was a Mâbo , a Djesseré in the Fulbe tradition . In his performed epics he used the languages Fulfulde , Gulmancema and Zarma . The best-known titles from his diverse oeuvre are:

  • Silamâka Ardo Macina
  • Fatimata Bidâni
  • Labidiédo
  • Doula Pendo
  • Mossi Gaïdou
  • Sambo mom
  • Yowli Diawando Bokom
  • Dourowel Bâli Boulo
  • Boubou Ardo Galo
  • Hama Bodédjo Pâté
  • Hama Alla Seyni Gakoye
  • Sambo Thiam

Very unusual for a Djesseré, Tinguizi sang his epics. This is only the norm with the traditional West African storytellers from the profession of griots, who are perceived by the Djesseré as a lower social group. Singing of adults is in the Songhai - Zarma -Culture in which the Djesseré are anchored, not really honorable behavior. Nevertheless, Tinguizi is considered one of the great masters of the Djesseré alongside Koulba Baba, Djéliba Badjé , Badjé Bannya , Nouhou Malio and Djado Sékou .

literature

  • Fanta Maïga: Deux versions d'un même récit . In: Marie-Clotilde Jacquey (ed.): Littérature nigérienne (=  Notre librairie . No. 107 ). CLEF, Paris 1991, p. 51-52 .
  • Fanta Maïga: Portrait d'un artist: Tinguizi . In: Marie-Clotilde Jacquey (ed.): Littérature nigérienne (=  Notre librairie . No. 107 ). CLEF, Paris 1991, p. 49-50 .
  • Christiane Seydou: Silâmaka et Poullôri: épique peul raconté par Tinguidji . Armand Colin, Paris 1972.
  • Ousmane Tandina: Construction identitaire dans deux épopées nigériennes: Labdeejo de Tinguizi et Sarraounia de Mamani . In: Mu Kara Sani . Vol. 21, December 2014, pp. 122-139 .

Individual evidence

  1. a b Fanta Maïga: Portrait d'un artist: Tinguizi . In: Marie-Clotilde Jacquey (ed.): Littérature nigérienne (=  Notre librairie . No. 107 ). CLEF, Paris 1991, p. 49-50 .
  2. ^ A b Sandra Bornand: Le discours du griot généalogiste chez les Zarma du Niger . Karthala, Paris 2005, ISBN 2-84586-625-9 , pp. 223 .
  3. Hamadou Seini: Zarma-Songhoï Verbal Artistry and Expression: From the Epic to the Francophone Novel, with a Focus on Intertextual Dialogue Across the Genres . Dissertation. University of Colorado, Boulder 2013, pp. 31 and 33 ( scholar.colorado.edu [PDF; 1.6 MB ; accessed on April 4, 2020]).