To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opinions; it doesn’t reflect the views or opinions of the Walker or its curators. Today, Paul Harding, the host of Foreign Currency on KFAI, shares his perspective on Noura Mint Seymali. Agree or disagree? Feel free to share your thoughts in comments!
One of Mauritania’s best known musical ambassadors, Noura Mint Seymali, performed Friday night at the Cedar Cultural Center, in a concert co-presented by the Walker.
She played her colorful ardine, a traditional harp of sorts with the base of a calabash, somewhat like a kora. It was distorted, giving it a fuzzy sound like an electric guitar, but with a very different tone and playing style. I was bummed that she only played the ardine for the first song or two, after which she set it aside and turned her focus to singing, but her voice and engagement with the audience were far from disappointing.
She was backed by electric bass, drum kit, and her husband, Jeiche Ould Chighaly, on electric guitar. His guitar playing style is based on the tidinit, a traditional lute, so despite the very western instrumentation, their overall sound is clearly immersed in the roots of Mauritanian music. Every few songs he would switch guitars and tune to one of the five Moorish modes.
Both Noura and Jeiche come from griot families, and grew up steeped in the music of their culture. Her father was a prominent professor of music who documented and modernized the traditional music of Mauritania’s Moors.
The only English she spoke during the performance was an occasional call to, “Dance with me. Aiwa!” She sings in the Hassani variety of Arabic – which has a noticeably distinct sound, even to my fairly uneducated ears. The Arab influence on the Moorish sound was apparent most in her frequently melismatic vocals that she would contrast with percussive syllables.
Anyone in the Cedar Friday night could tell you that Noura has an unusually strong voice, but I found it intriguing that the guy watching the meters – the Cedar’s veteran sound technician Eric Hohn – commented that hers was one of the most powerful voices he’s ever mixed.
I was impressed how well the concert was attended – it wasn’t a packed house, but a good sized, diverse crowd that appeared to truly enjoy the evening. Whether you were among us or not, I recommend her album, Tzenni, from last year as a great way to delve into the Mauritanian soundscape.