This is an interview with Mamane Barka, the last master of the Biram, a traditional African instrument in Niger.

In a world where entire animal species and ethnic tribes can be lost, it should come as no surprise that musical instruments too, can become extinct.
Standing firm against the disappearance of the ancient African instrument the Biram, is the musician Mamane Barka- the last master of the Biram.
There is an urgency in Barka’s voice as he strives to fulfill his ambition to keep the Biram going, amidst ever changing musical tastes and the nonchalance of the political elite in his native Niger.
He said: “Culture is disappearing. I can’t believe that in a country like mine, where you can get a lot of important traditional instruments, these instruments are allowed to disappear. The old periods are dying and there is no one who can continue – that is not good.”
He added: “I may be only one person, but I can do something that another man can continue after me.”
Barka spoke to Suite 101 about how he learnt to play the Biram and his efforts to secure the instrument’s continued legacy.
Learning a Sacred Traditional Instrument
Barka’s journey to becoming the last surviving player of the Biram is as fascinating as the music that he conjures from the instrument.
The Biram is a sacred, traditional instrument used by the small Boudouma tribe in Eastern Niger. Traditional fishing nomads, they live on the border of lake Chad.
A 5 stringed instrument somewhat similar to a harp, the Biram is played only by initiatied masters within the Boudouma tribe. In the Boudouma language, Biram means ‘family’ and the 5 strings represent the father, mother, and three children. The instrument is sacred to the Boudouma people and evokes images of their nomadic, peaceful life.
But Barka is not from the Boudouma tribe. He hails from the similarly nomadic Toubou tribe and only discovered the Biram in 1998 as part of ethnomusicological research he was conducting with academics.
He explained: “In 1998 I went with a professor of music to do research on music from different tribes in my country. When we met the man who became my master (Boukar Tar), he was crying. He said he was not happy because there was no one who played the Biram now. He played a song called Bulanga, which is a song he did for his friends and other masters of the Biram who died. ‘Now’, he said, ‘I am alone’. ‘What will be the future of the Biram?’ He cried in front of us. The professor told me: ‘Barka, the Biram is a very important instrument for your country and you shouldn’t let it die. You must go back and ask him to teach it to you’, and I agreed.”
Becoming the Last Master
However it wasn’t until 2002 that Barka was able to return to the coast to find the old master. Difficulties in identifying financial support delayed his dreams, but it was a UNESCO scholarship that finally gave him the opportunity to return to the tribe.
The 51 year old Barka explained: “When I went back to the village in 2002, the old master looked at me in surprise. When I told him that I had come to be his student, he was very pleased.”
After many rituals of purification the old master agreed to educate Barka in the holy instrument and the lyrics of the mystical songs.
Barka’s timing was just right as his master died the following year.
Armed with his master’s 47 year old Biram given to him as a gift, Barka is now truly the last master of the Biram in the world and considers it his duty to teach others about the instrument.
Most of the songs he performs are traditional Boudouma songs that talk about the life of the ancestors, the spirits and animals; the beauty of the water in the lake, the beauty of the desert, and the braveness of the warriors. He sings in the Boudouma language as well as in Haussa, Toubou and Kanuri, all different languages of Niger.
Teaching Traditional Music
Barka bemoaned the loss of interest in the instrument amongst young people in his home country.
“The population doesn’t want the Biram now,” he said.
“The young people don’t want it. They don’t want traditional music- not just the Biram but all traditional music. My country is full of important and very good music but the young people want rap music, or to learn the guitar or the piano or the saxophone. I am only doing this now, going around the world with the Biram, to get the youths to love the culture.”
Thankfully, the future for the Biram looks bright. Barka has three keen students– all anxious to get their own instrument soon.
“They want their own instruments,” he explained.
“I tell them one day I will get some money so that everyone can get his own Biram. I don’t want to be like my master- if I die there is no one anywhere with a Biram. My master gave me his own Biram; the one that his father gave to him- he had it for 47 years. It is very old and I am scared to leave it in my house with my two wives and nine children!”
Prior to learning the Biram, Barka was a well known musician in Niger, famous for popular music.
His devotion to the Biram now has taken him around the world and he hopes that his recent UK tour in November 2009, will continue to raise the profile of this beautiful instrument.
“The Biram is not a sacred instrument to me as it was to my master,” he said.
“Its music and melodies and the words are sacred, but it is a universal instrument. It is an instrument that everyone can learn to play without doing the purification rituals. You come to see me and I will teach you how to play the Biram.”

Amy Grant was one of the first Christan artist in the Contemporary movement of the 70’s & 80’s.For over 25 years, she has inspired millions. Don’t miss her newest CD.

Amy Grant was born in Augusta, Geogia on November 25, 1960. She’s best known for her music: pop, gospel and contemporary Christian. But she has also done some acting and written a few books.
70’s & 80’s
At the age of 16, Amy Grant signed a recording contract with Word Records. Someone passed on a tape she had made for her parents to the executives at Word Records. She wrote most of the songs on that tape and they found her to be remarkably talented for someone so young. She released her first album, self titled Amy Grant in 1977. She also did some backup singing for Bill Gaither in the 1970’s.
Amy went on to graduate high school and attend college, but after recording a few more albums, she decided to drop out of college and pursue a music career.She recorded My Father’s Eyes in 1979, Never Alone in 1980 and a series of live albums in 1981, Amy Grant in Concert and In Concert Volume Two.
The song My Father’s Eyes was written by her first husband, singer-songwriter, Gary Chapman. Amy and Gary were married in June 1982 and they had three children : Matthew Garrison Chapman 1987. Gloria Mills, (Millie), Chapman 1989 and Sarah Cannon Chapman 1992.
Continuing with her music career, in 1982, Amy gained a lot of attention with the album, Age to Age. This album contained the very popular El Shaddai and a song written by Grant and Chapman entitled, In A Little While. Years later, El Shaddai was rewarded as one of the Songs of the Century by RIAA in 2001. Grant received her first Grammy Award in 1985 for Best Contemporary Gospel Performance, as well as two GMA Dove Adwards for Gospel Artist of the Year and Pop/Contemporary Album of the Year. Age to Age became the first Christian album by a solo artist to be certified gold in 1983 and the first Christian album to be certified platinum in1985.

Mainstream
In the mid 1980’s, Amy Grant decided she wanted to be the first Christian artist to cross over into pop mainstream and make an impact for Christ with her music in both the Christian and secular music worlds. In 1985, she crossed over to pop with Ungaurded. Christian fans were a little shocked and surprised to see, usually conservative and reserved, Amy Grant in a leopard print jacket for the cover of Ungaurded.
Find A Way, from the album, Ungaurded became the first Christian song to hit the Billboard’s Top 40. A year later, in 1986, Amy had her first #1 hit on the Billboard chart with the duet The Next Time I Fall, sung with Peter Cetera
In 1988, Amy enjoyed moderate success with Lead Me On. It was mostly a pop secular album, but years later, CCM magazine awarded it the greatest contemporary album of all time. She continued her journey into the pop music world in 1991 with Heart in Motion. It was huge success. One song, Baby Baby became a #1 hit on the Billboard Hot 100.
Life Changes
In 1994, Amy grant recorded a music video, the House of Love with country singer, Vince Gill. A friendship developed from their first meeting. Amy divorced Gary Chapman in 1999 siting irreconcilable differences. She married Vince Gill in 2000 and they have one daughter together, Corinna Grant Gill.
A Return Back To Contemporary Christian Music
Amy returned to her roots of christian music in 2002 with the release of Legacy…Hymns and Faith. The album features her husband, Vince Gill, and marks her 25th year in the music industry. That year, she was also inducted into the Gospel Music Hall of Fame. In 2005, Amy released a sequel to Legacy…Hymns and Faith called Rock Of Ages…. Hymns and Faith.
Future Plans
In 2006, Amy Grant received a star on the Hollywood Walk of Fame. She’s made several television appearances, written a few books and been on the cover of several well known magazines. Amy turns 50 years old this year. She currently hold the record as the best selling Contemporary Christian music singer of all time. She has sold over 30 million albums worldwide. So far, Amy has won six Grammy Awards and 25 Dove Awards.
On March 30, 2010, Amy is set to release her latest project, Somewhere Down The Road. The 12 track album features four new songs and a new version of Arms of Love.This album also incudes a first time duet, Overnight, with her seventeen year old daughter, Sarah. The first single from this new project, Better Than A Hallelujah is Amy Grant’s first radio single in seven years. She starts promoting this new album on Feb 26, 2010 with a concert in Denver, CO. and has dates booked across the US right through August. For more information on concert dates, visit amygrant.com.

Any given moment, countless people are listening to electronic music. It’s hard to believe that a mere ten years ago techno was considered an underground movement.

In the early eighties a trio of pioneers in Detroit began merging the sounds of synthpop and Italo-disco with funk. Juan Atkins, Derrick May, and Kevin Saunderson were high school friends who went to dance parties where the music ranged from Kraftwerk to Parliament. They listened to an influential radio DJ, The Electrifying Mojo, who played European imports alongside Prince and the B-52’s. In 1981 Atkins and Richard Davies, aka 3070, started releasing records as Cybotron. Techno was born.

Around the same time, the infant hip-hop community picked up elements of Kraftwerk’s music, thanks to DJs like Afrika Bambaataa and Grandmaster Flash, and created electro. Electro relied heavily on synthesized beats and computery vocoder voices. In 1982, Afrika Bambaataa took the melody from Kraftwerk’s “Trans-Europe Express,” combined it with the distinctive beat from Kraftwerk’s “Numbers,” and composed the anthem “Planet Rock.” Electro spawned the idea of the funky computer. MCs rapped over its beats, and breakdancers formed a new culture in the cities where electro reigned.

In Chicago and New York, house music was taking a similar path. Larry Levan, Frankie Knuckles, Ron Hardy, and other DJs were spinning synthesizer-driven dance music and creating their own edits and mixes. Before long, Chicago radio caught on with the Hot Mix 5 on WBMX, and locals began creating their own tracks to play.

Techno, electro, and house were made possible by new, inexpensive technology. The Roland TR-808, a programmable drum machine released in late 1980, formed the distinctive sound for the entire electro genre and was used in countless early techno and house tracks. 1981’s Roland TB-303 mini-keyboard was used to create squelchy basslines once people discovered the weird sounds that emerged from a little knob twiddling. Samplers and sequencers also became commonplace.

In the late eighties and early nineties, something odd happened. Techno and house, which had failed to gain mainstream success in the United States, became a huge phenomenon in Europe—especially in Great Britain. In fact, the term techno was popularized by Virgin Records’ seminal UK compilation Techno! The New Dance Sound Of Detroit.

Around 1990 raves began to appear near London. Most organizers of these large, illegal parties made their money dodging British licensing laws. Sometimes the location was a secret until the night of the event, and elaborate phone trees and rendezvous points were employed. Hundreds of ravers would descend simultaneously, making the parties more difficult to break up.

For a brief time in the U.K., rave music went pop. In 1996, The Prodigy hit Number 1 on the pop charts with two different singles, and for a while the record industry tried to push electronic music. At the same time, Warp Records built a roster of musicians who preferred to explore more experimental fare. Autechre (Sean Booth and Rob Brown), Aphex Twin (Richard D. James), and Squarepusher (Tom Jenkinson), created alien atmospheres which pushed the boundaries of musical conventions. They were partially inspired by a second wave of Detroit artists, including Carl Craig, Jeff Mills, and Underground Resistance.

Where is electronic music headed? It’s difficult to say. The Internet transformed the music industry just as genres began to get increasingly specialized. Techno is a soundtrack for the wired world. Some of its original creators are approaching their forties, but many of its current listeners are in their twenties and early thirties—people who grew up with computers. Techno reminds us that humans control the machines, and electronics can be used to express funk and soul.

Bibliography

An Electronic Dance Music Timeline