TRADITIONAL MUSIC
In Chad, traditional music is commonplace throughout the country, although it differs greatly from place to place. The musical instruments used by the different ethnic groups are not the same: there are the hu hu (a mixture of strings and gourds), the kakaki (a long metal horn) and the kinde (a bowed harp). The Sara tribe, in the south of the country, uses drums, harps, whistles and balafons. Not far from them, the Ngàmbáyes are particularly fond of vocal music. In the west, communities play wind instruments such as flutes and trumpets. In the desert territories, the balafon and kora are the most common, while in the north, artists are orators or singers, with few instruments to enhance their declamations. Over time, some Western instruments have arrived in Chad, but this has not altered or threatened the development of traditional music.
Traditional music has always been played at celebrations (births, funerals, work in the fields...). It is also widely played on local radio stations. To perpetuate the practice of traditional instruments, a number of events have sprung up, such as La Nuit des balafonistes, to showcase the balafon, considered for a time to be on the verge of extinction for lack of new players. The "Sem ta doua" festival, held in the spring, was designed to bring together traditional musicians from the four corners of Chad to share their passion. Some of the artists' names still resonate today, such as Alifa Daï and Ngon Koutou.
FOLK MUSIC
The first president of the Chadian Republic, elected after independence in 1960, was a great lover of music and made it a priority. Thanks to some of his political choices, music has become widely heard in the country, forming an important common culture for its inhabitants. Following the example of the Congo at the time, the country's first orchestras emerged in the 1960s: Tchad succès arrived in 1962, and Chari Jazz in 1964. The style of these bands was naturally modelled on Congolese rumba. At the same time, Arabic-speaking groups with oriental sounds were making a name for themselves. These included Moussa Chauffeur, Djallali and Pékos.
Hip-hop also arrived in the 1980s, placing committed music at the heart of its creation. It even surpassed the popularity of zouk and soukous, very popular Congolese musical genres. Rapper collectives such as Komplyss, Les Banlyeuzar and Toumai Rap are inspirational figures for younger generations. MC Solaar, the Franco-Chadian rapper, will also be one of them.
Doro Dimanta is a Chadian jazz artist who has worked hard for the recognition of his country's traditional music. With a particularly contemporary vision of music, he has tried to structure a Chadian music scene so that the younger generations of musicians don't go off to develop their careers in Congo, Cameroon or Senegal, but instead wear the colors of Chad. In the 1990s, the Pyramides group managed to make a name for itself and went on to play abroad. The impetus was then given and we finally witnessed a craze, on the part of the population, for Chadian music. From 2000 onwards, the first recording studios opened their doors, and some concert venues became more accessible. Artists are opting less and less for French in their songs, and more for Ngambaye. Groups such as H'Sao and Soubyanna claim a style of pop and folk music with reggae influences, which they describe as "saï", "dala" and "gourna", in reference to the country's traditional dances.
DANCE
Linked by nature to music, in Chad as in many other African countries, dance is the very object of celebration, whatever it may be. Traditional dances are handed down from father to son, symbolizing agility and strength, but can also be associated with funeral rites and help people through the trials of life. In many ethnic groups, bells at the feet of the dancers mark the rhythm, whether or not the music is already present.
In the south, the Sara (also known as Mbaye) practice the klag dance, which consists of moving the torso with the arms to the rhythm, while the lele is a dance from the Ouaddaï kingdom in the east, which is a collective dance featuring precise choreography, mixing men and women. The mbilé dance, which originated in the town of Kinda, imitates animals. A real spectacle! In the west of the country, in Kanem, the traditional dance practiced, nicknamed the "dance of the brave", consists of slow, unhurried swaying. Although this is a warrior dance, all locals and festival participants, men and women alike, are invited to dance. Finally, in Eastern Logone, in the far south of Chad, the Mbeul dance is impressive: with their made-up faces and colorful costumes, the dancers mark the rhythm with pieces of scrap metal on their feet and a stick that they tap on the ground. In the other hand, it's not uncommon to see dancers holding hammers.
Aware that transmission remains uncertain and that certain practices could well become extinct over time, associations are organizing to preserve these traditional dances and highlight them at events. Such is the case of Promudat (Festival de la Promotion des Musiques et de la Danse du Tchad), led by artist Issa Bichara alias Tchadiano, who is trying to build up archives and invite folk groups to his festival in N'Djamena.
As for the Ballet National du Tchad, it was founded in 1960 under the name of Ballet Djingué, before becoming professionalized in 1982. Its dancers showcase the country's various traditional dances in their performances, some of which take place abroad. The Ministry of Culture decided to support the Ballet with the aim of promoting Chadian cultural traditions. In 1977, it won a gold medal at the Festival des Arts Nègres in Lagos, Nigeria, a silver medal at the Jeux de la Francophonie in Canada and a bronze medal at the Jeux de la Censad in Niger.
So-called "modern" dances have also made their mark in Chad. Hip-hop, which goes hand in hand with rap that emerged in the 1980s, is influenced by traditional dances and also by what is happening in Cameroon. In the capital N'Djamena, you only have to cross the Chari River to find yourself in the neighboring country, which has already seen the formation of hip-hop dance groups. Some artists, such as Rodrigue Ousmane, have developed their own style, inspired by international contemporary dance. In recent years, several Chadian collectives have made a name for themselves, including Toumaï dance and Omaac Dance Banatt Tchad, an all-female group. Both take part in competitions and festivals held mainly in N'Djamena and Moundou. Among them, the Koura Gosso festival, founded in 2017, aims to showcase emerging artists from Chad.
THEATRE
As in the case of dance and music, theater also suffers from a lack of public investment: culture was promoted after the proclamation of independence, but in recent years, several artistic scenes have struggled to emerge and become institutionalized. Chad has a number of invested artists and theater companies, but there are very few venues. To counter this lack of institutionalization, some artists are taking to the public stage to perform plays or declaim poems. Others decide to set up their own structures: such is the case of Baba Moustapha, a playwright, who has decided to launch a company. In the Chadian capital, a Maison de la Culture even bears his name. Multi-disciplinary artistic events are still organized there, such as the 72 heures des Arts et de la Culture tchadienne, launched by the Compagnie artistique Mandargué. Its director, Issakha Digadimbaye, like many others, is keen to revive the country's theatrical scene. And this, in all the provinces of Chad. The Compagnie artistique Mandargué has decided to tour a caravan called "Al-Moussama" across the country. The aim is simple: to bring theater, but also music and dance, to the most remote populations, and to convey a message of peace.
Some believe that Chadian cinema is in a better position than theater, allowing the country's talent to be more widely disseminated abroad, sometimes through television entertainment for want of a theater stage. The Institut Français du Tchad strives to offer an eclectic program, promoting both cinema and theater, not forgetting Chadian dance and music. Emerging companies are welcomed, as are folk troupes, giving a significant place to local artists. Festivals such as Wassou Boom (an urban dance and traditional dance competition) even take place in the gardens of the French institution. Not to be missed on a visit to N'Djamena.
