In the city, there is the constant need to set yourself apart, which I think pushes the envelope in terms of speed, skill, repertoire, etc. The competition for work is fierce and a drummer needs to be extraordinary to get the work.
Another possible influence is us: the guy with the most sensational sounds, speed, and power used to catch the attention of djembe tourists for concerts and teaching. As almost always, tradition is valued the most when it is disapearing...
The ballet-style that young people are playing in Conakry is worlds apart from what you'd hear in villages in Hamana or Wassolon. To me it's like the thrash metal of west african drumming but that's what all the kids in the cities are into these days.
kosta wrote: I think white influence played a big role in this "evolution".
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