Benin singer Zeynab Abib had some making up to do. And she did. As a guest artist in the Holland Festival's opening performance last week, she performed with Holland Festival associate artist Angélique Kidjo, but didn't quite pan out. This time, not in the big Carré but in the more intimate Great Hall of the Muziekgebouw, she was the surprising star of the evening.
In the almost sold-out hall, she managed to enthuse the audience to dance the Bolojo. Some visitors were even allowed on stage. Amsterdam-based afro-contemporary dancer Ayaovi Kokousse, for instance, joined in an expressive Bolojo dance of her own accord among the percussion ensemble.
Central to the Bolojo, a ritual song and dance style from Sakété, Benin, where Zeynab's roots lie, is the talking drum. This large membranophone, the 'Mother Llu', lays the foundation for the rhythm, played on five traditional drums. The Mother Llu is also the means to communicate with other tribes without using language, Zeynab told us.
Joker
Words are superfluous when music is played. Still, with jokes in French, English and in her mother tongue Yorùbá, the singer managed to make a lot of contact with the audience. She was at ease, laughing and enjoying herself as she showed off her traditional dance to the percussion music.
The percussion band of five men played rousingly, combining traditional djems, which set the ground rhythm, with bass guitars and an electronic drum kit. In this way, the group stayed true to the musicality and integrity of the heritage they bring with them from West Africa.
Rhythmic percussion in the Bolojo also provides the foundation for the movements of the Guêlêdê, which means mask. Two masked men posing as ghosts danced along on stage after two musical numbers. The ensemble was lined by Zeynab's clear voice, which, however, came out less forcefully in some songs. In the songs, she asked the dancers for favours in honour of women, who are central to Yorùbá culture. Such a Guêlêdê ceremony is also performed during funerals, in times of drought or in other serious situations such as (alleged) evil witchcraft.
High Life
Hip-swinging Bolojo dance numbers were interspersed with Highlife, a jazzy West African dance music, a cocktail of local and European ingredients. Here, electronic instruments and synthesisers come in handy.
While many listeners nodded their heads and hummed along, there was energetic dancing at the back of the auditorium. By children, but the Holland Festival staff present and some elderly people did not stay glued to their seats either.
Tears
Zeynab was unstoppable. Well past the time, she managed to convince the audience once again in a encore. Not everyone was still waiting for an extra 7-minute number. Most of the audience remained seated and listened with great interest to her dialogues and questions like, "Do you know where Benin is?". In a few, attention had already wandered.
What is certain: by engaging in dialogue with her audience, she managed to touch the Beninese, French and Dutch attendees. The Bolojo repertoire often got the audience quiet as a mouse, and afterwards there was considerable applause. The singer left the stage gratefully, with tears in her eyes.
Zeynab already announced that she is only too happy to return to the Netherlands next year, again for the Holland Festival.
English (UK) 
Nederlands 
Français 
