Collecting African Tribal Art

Collecting African Tribal Art : The many faces of the Malian ‘Yan ka di’ puppet

I managed to pick up an old (amazingly fragile) Malian puppet called ‘Yan ka di’ (also known as ‘Merekun’). It presents as a very thought provoking piece embedded in a tapestry of Malian theatre and culture.

Many of the ‘janus heads’ are wedged into conical/tapered holes.

1. Literal Translation

In the Bambara language, “Yan ka di” breaks down as follows: Yan: Means “here,” “in this place,” or “this.” Ka: A grammatical particle that links the subject and the verb, often translated as “to” or indicating an infinitive. Di: Means “to be sweet,” “to be pleasant,” “to be good,” or “to be agreeable.” Therefore, the most direct and poetic literal translation is “This is sweet” or “Here, it is pleasant.”

2. Puppet Culture (Sogo bò)

The Yan Ka Di puppet was used as a character in the Sogo bò puppet theatre, which remains a vital and artistic form throughout many communities in Segou, performed by young men’s associations at the change of the seasons.

In the vibrant tradition of Malian puppet theater, known as Sogo bò (which literally means “animals come out”), “Yankadi” holds a specific and important role (see Political History and Social Commentary in Malian Sogo bò Theater, Arnoldi).

*  A Celebratory Chant and Rhythm: “Yankadi” is the name of a specific rhythm, song, and dance performed during Sogo bò ceremonies. These events are community celebrations often linked to harvests, birthdays, or other important festivals.

*  Function and Mood: The Yankadi rhythm is typically slow, graceful, and elegant. It is often used as a processional or an introductory piece. The large, elaborate animal puppets (like the giraffe, antelope, or mythical beasts) dance in a stately and majestic manner to this rhythm, showcasing their beauty and the skill of the puppeteers who are hidden inside the structures.

*  The ‘Yan ka di’ Puppet:

Embodiment of the Genies: Beyond the rhythm, a specific type of puppet is also called a “Yan ka di.” This puppet does not represent an animal but rather a group of genies or spirits (djinns) who manifest as beautiful, enchanting women.

    *  Appearance and Performance: The Yankadi puppet is often a tall, sculptural figure with a serene, beautiful face, elaborate braided hair, and sometimes multiple heads or faces. It is adorned with beautiful fabrics, jewelry, and beads. Its dance to the Yankadi rhythm is fluid, hypnotic, and graceful, meant to captivate the audience just as the genies would captivate those who encounter them. The performance embodies the literal meaning of the term: the presence of these beings makes the moment “sweet” or “pleasant,” but it also carries an undertone of their power and mystery.

*  Illustrating Political and Social Themes: The use of the Yankadi puppet is a powerful tool for social commentary and education.

    *  Social Themes: The puppet often represents idealized femininity, beauty, and social grace. Its performance can be used to teach lessons about attraction, respect for women, and the power of subtlety and elegance over brute force. It can also symbolize community values, harmony, and the importance of the intangible (spirit) alongside the tangible (physical world). The Janus aspect of the individual heads of the puppet illustrates the ripple effects of one’s actions (both good and bad). It shows that actions can lead to unforeseen consequences and should be very careful in one’s dealings. It also shows that deceit and lies can grow at an exponential rate.

    *  Political Themes: As with all Sogo bò, the performance is a safe space for satire and political criticism. The Yankadi puppet, in its role as a powerful, mesmerizing spirit, can be used to represent political figures or concepts. A performance might show the puppet captivating and then leading a foolish hunter or chief astray, serving as an allegory for how a leader can be seduced by flattery, corruption, or bad advice. Conversely, a positive interaction with the Yankadi genie could symbolize a leader who listens to wisdom and acts with grace for the benefit of the community. This allows performers to critique authority and discuss complex political realities without direct confrontation, using the veil of mythology and art. The song accompanying this puppet criticized the French colonial practice of using forced labor for public works projects in the 1930s; The literal ‘Yan Ka Di’ (‘This Place is Good’) was used as an appeal to expatriate Malians to return to their homeland after Mali gained independence from France in 1960.

3. Song and Music

Beyond the puppet theater, “Yankadi” is a well-known musical genre and song title across West Africa.

*  A Musical Genre: As a genre, Yankadi is characterized by its slow, sensual, and lyrical tempo. It is a dance of courtship and socializing.

*  The Yankadi-Macru Dance Sequence: Traditionally, the Yankadi is performed in a pair with a faster dance called the Macru (or Macroud). The evening starts with the slow Yankadi, where young men and women dance gracefully in a circle, making eye contact, exchanging subtle smiles, and allowing for initial flirtation. When the rhythm suddenly shifts to the lively and energetic Macru, the dancers break into a more exuberant display, showcasing their energy and passion. This sequence represents the full cycle of courtship: the slow, sweet beginning (Yankadi) and the exciting, passionate pursuit (Macru).

*  Famous Songs: Many famous Malian and Guinean artists have recorded songs titled “Yankadi” that follow this thematic and rhythmic pattern, singing about love, beauty, and the joy of dance.

4. Drum Rhythms

As a drum rhythm, “Yankadi” is one of the foundational patterns in the Mandé drumming repertoire, played on the djembe and the set of three dunun (bass drums).

*  Tempo and Feel: The Yankadi rhythm is played at a slow to medium tempo. It has a loping, relaxed, and “conversational” feel. The djembe phrases often sound like a question and answer, creating a dialogue between the lead drummer and the chorus of supporting djembes and dununs.

*  Rhythmic Structure: It has a specific, recognizable clave or timeline pattern played on the kenkeni (the highest-pitched dunun) that acts as the heartbeat of the rhythm. The djembe accompaniment patterns are built around this foundation, providing a solid, groovy base for the dancers’ graceful movements.

*  Purpose: The primary purpose of the drum rhythm is to accompany the Yankadi dance. The drummers must lock in with the dancers’ steps, emphasizing their graceful arm movements, gentle sways, and elegant footwork. A good drummer makes the “sweetness” of the dance physically audible.

In summary, the term “Yan ka di” moves seamlessly from a simple phrase meaning “this is sweet” to a complex cultural symbol. It represents a specific, graceful rhythm in drumming, a slow and flirtatious style of dance, and a celebratory chant in puppet theater, all united by the core concept of pleasantness, enjoyment, and social harmony.