From the island of Reunion in the Indian Ocean, a 44-year-old band introduces the language, music and culture of a unique region to the city tomorrow
(From left) Clency Sumac, Gilbert Pounia and Wazis Loy performing on stage
All great musical forms emerge from human struggle. A small island to the East of Madagascar, off the East African coastline, carries within it similar stories of displaced communities and their struggle for identity. This struggle found expression in the form of Maloyan music sung in the Creole language. Tomorrow at an event organised by Alliance Francaise de Bombay, the Reunionese band, Ziskakan, will present a taste to Mumbaikars at a Marine Lines venue.
The name of the band translates to ‘Until when’ in the dialect. It is a direct reference to the struggle that preceded the beauty of music. Founder and guitarist, Gilbert Pounia, formed the band in 1979, and knows the struggle better than anyone. “Creole, as a language, was not taught at school. It was the language of the oppressed, so it came out through poetry and music as a form of expression,” he tells us over a phone call from Guwahati.
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Gilbert Pounia. Pics Courtesy/Facebook
Songs of struggle
For the layman, the closest comparison is the American Blues form. Like its American counterpart, Maloyan music emerged as the voice of a community of indentured labourers, slaves and workers on the island. Pounia himself traces his origins to India. “The foundation for this fight was laid down by earlier generations, and we are only now beginning to see its light,” the musician admits.
The music also shares its roots with a menagerie of musical styles from India, Africa to Europe. In fact, the traditional form was often rooted to the ceremonies of each community. Pounia explains that a key rhythm for their sound comes from tappu — a flat drum used in South Indian temple ceremonies. This led to some challenges from the orthodoxy in the early years.
Damien Hervio
The future is bright
The band also includes Clency Sumac (guitar), Wazis Loy (bass), Frédéric Riesser (drums), Shanti Shane Ramchurn (tabla) and Damier Hervio (piano). We are ambassadors and representatives of a culture, reminds Pounia. “The thing that has kept us going over 40 years is the desire to defend our language and culture.”
This struggle is slowly beginning to bear fruit. The frontman shares, “In the beginning, we thought it [the language] would be a barrier. Soon, we realised it was a bridge. It has inspired students to research Creole.” In 2009, Maloya was classified as UNESCO Intangible Cultural Heritage of Humanity. A new generation has begun to adapt the language and music into new forms, he notes. “When they will take their voice to the world, it will make them stronger,” he says.
Shanti Shane Ramchurn
A search for identity
While it is not their first trip to India, Pounia admits it feels like homecoming every time. “We recognise the food and the culture, but also feel a sense of restlessness. It feels like we are at home, and in exile at the same time,” he muses.
Beginning their India tour earlier this month, they have already toured Shillong, Guwahati, Kolkata and Chennai. “It is amazing when people come up to us and say ‘We might not understand what you are singing, but the music moves us,” he shares. After all, that is what the music was meant to do.
On: April 26; 6.30 pm
At: Alliance Francaise de Bombay, Theosophy Hall, Near Nirmala Niketan, Marine Lines.
Log on to: bombay.afindia.org
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