Traditional music
A closer look at the island's traditional music reveals its Asian, Arab, African and European roots, traces of which have been left by settlers and transients and blended over the ages.
It was with the first wave of Austronesian settlers, for example, that the valiha arrived here, a tube zither that has become Madagascar's national instrument, and whose shape is very similar to those traditionally used in Indonesia and the Philippines. In some regions, the valiha is used in tromba, possession cults in which the deceased speak through the possessed, and can take the form of a rectangular box called a "marovany". Mama Sana, one of the island's greatest traditional singers, also distinguished herself through her innovative use of the valiha. More contemporary, Germain Randrianarisoa, known as "Rajery", is considered (and nicknamed) the "Prince of the valiha". Although he amputated a hand, he gradually became an expert on his instrument and even created the first valiha orchestra (twenty-three soloists) before embracing an international career. He is the contemporary reference for the valiha, alongside Justin Vali (born Justin Rakotondrasoa), a lesser-known but equally great valiha specialist.
The other doyenne of the island's instruments is the sodina, the Malagasy flute. Its great master is Rakoto Frah, a veritable local icon who was once even featured on the Malagasy 1,000 franc bill. Born Rabezaoza Philibert in 1926, this veritable national monument helped establish traditional music such as Hira gasy (see classical music), while venturing into the fields of jazz and soul. After a career spanning more than half a century, Rakoto Frah passed away on October 2, 2002.
Another emblematic instrument, the gorodao is the local name for the accordion. Introduced to Madagascar in the 19th century by German merchants, it was initially the instrument of choice of the royal courts, before rapidly becoming the instrument of the working classes, even settling at the heart of the tromba. Today, it is widely used to play the great Malagasy aesthetics such as salegy and tsapika. Here again, a great musical figure has made his mark: Rossy. Widely regarded as the most popular Malagasy artist of the 1990s, Paul Bert Rahasimanana (in civilian life) is an accordionist (multi-instrumentalist) brimming with creativity, the author of his very own style, "tapôlaka", a grand union of several Malagasy aesthetics that he also sometimes blends with jazz or rock. Touring Europe since the 1980s, Rossy has built up an international following, and it was he who first introduced audiences around the world to typically Malagasy genres such as salegy (or "popular music"), establishing himself in the eyes of the world public as the ambassador of his island's music. Very committed throughout his career, Paul Bert Rahasimanana has recently put music aside to devote himself to his role as Member of Parliament.
Collaborator with Cesaria Evora, Lenine (the Brazilian musician) and I Muvrini, Régis Gizavo is the other great Madagascan accordionist not to be forgotten. A generous traveler, he has never ceased to build bridges between Malagasy aesthetics and those of the rest of the world.
Another very common instrument (especially in the Southern Highlands) is the kabosy, a small guitar with a square or rectangular body and four or six strings.
On the dance front, a popular traditional practice is the afindrafindrao, a couple's dance in which partners stand side by side opening every ball and various ceremonies: weddings, parties, etc. A relative of the quadrille, the afindrafindrao is a couple's dance in which partners stand side by side opening every ball and various ceremonies: weddings, parties, etc. A relative of the quadrille, it is always performed in pairs, with the woman leading the way.
Anyone wishing to take a closer look at Malagasy traditions would be well advised to visit Alahamady Be, the Malagasy New Year, generally held from February 3 to 5, often the occasion for grand ceremonies with offerings, zebu sacrifices, dances, songs and community meals.
Alternatively, the Grill du Rova, in the heart of Tana's historic district, offers traditional music and dance every Sunday lunchtime.
Popular music
In the 1960s, Madagascar established itself as a music powerhouse in the Indian Ocean thanks to its dynamic record industry and radio stations. Artists were just as much influenced by African bands - which local radio stations managed to pick up - as by rock'n'roll and pop.
In those years, the Rabaraona family, better known as the "Surfs", sold several million records! If the name doesn't ring a bell, you'll have heard the Surfs on TV or radio at one time or another, via one of their famous covers of the big yé-yé hits that made their reputation: Reviens vite et oublie (French adaptation of Be my Baby by the Ronettes),Si j'avais un marteau(If I had a Hammer by Peter, Paul and Mary) or A présent tu peux t'en aller(I Only Want to Be with You by Dusty Springfield).
The great turning point in Malagasy song came in 1972, during the Malagasy revolution. It was at this time that several major artists, such as Rossy and Mahaleo, came to prominence by openly opposing the established order and advocating the search for a national cultural identity through lyrics and melodies written in the Malagasy language, while drawing on the repertoire and rhythms of the local cultural heritage. At least as important as Rossy in the country's cultural landscape, the group Mahaleo - a blend of Malagasy traditions and soft rock - is an emblem of the cultural and musical liberation of Madagascar in the 1970s. Like Rossy, the group's leader, Zafimahaleo Rasolofondraosolo, also embarked on a political career, twice serving as a member of parliament.
Less committed, but very popular, are artists such as Erick Manana, the emblematic guitarist of the ba gasy style (a guitar technique from the Hauts Plateaux region inspired by valiha playing), D'Gary - also a guitarist, but inspired by the sounds of the Bara, Antandroy, Vezo or Masikoro peoples - and Poopy, the leading variety singer, who hold a special place in the hearts of many Malagasy.
In the 1960s, two distinct musical forms emerged, both highly danceable and rooted in local traditions: salegy and tsapiky. The former is an electrified, modernized version of traditional styles, based on a 6/8 rhythm generally accompanied by complex polyrhythmic hand-clapping. Energetic and powerful, its intensity reveals a trance-like quest inherited from possession rites.
While the famous singer and accordionist Rossy introduced salegy to Europeans during his tours, it was Eusèbe Jaojoby, its most emblematic representative, who gave it its letters of nobility and made it widely popular among the public. Crowned the "King of Salegy", he is indissociable from the style and paved the way for numerous artists who became stars of the genre, such as Wawa (pseudonym of Andrihamahazo Joel Issoubaly), the other King of Salegy, as well as Mily Clément, Tianjama, Ninie Doniah and Vaiavy Chila..
It's worth noting that Eusèbe Jaojoby had the brilliant idea of opening his own venue in the university district, Jao's Pub, and that it has become a mecca for salegy, with a live band every Thursday, Friday and Saturday night. Otherwise, on the island, the Sômarôho festival is dedicated to salegy, but also welcomes Malagasy artists of various derivative genres.
Like salegy, tsapiky is another energetic, jerky dance music that also has its origins in traditional music (in this case from the Tuléar region) adapted to contemporary instrumentation (electric guitar, bass, drums, etc.). Generally faster than salegy, it is also distinguished from the latter by the polyharmony of its voices. Another difference with salegy is that, while salegy reached national popularity in the mid-1970s, tsapiky didn't achieve similar popularity until the 1990s. A later success, but no less popular for what it is today.
The stars of tsapiky are Damily, a true ambassador of the genre, Terakaly, who mixes tsapiky and beko, and Jarifa and Mamy Gotso.
While the national holiday is an ideal time to dance to the sounds of salegy and tsapiky at its many balls, there are a few places you need to know about to get up close and personal with some of the island's best groups. In Tananarive, the hotel, cabaret and restaurant Le Glacier plays host to some great groups at weekends, while in Tuléar, the Tatadjembé, a more or less clandestine club, gives rhythm to its nights with the sound of tsapiky and salegy.
Classical music
The classical Malagasy repertoire includes a piece so iconic that it is almost an emblem of the island: hira gasy. A veritable opera of the Malagasy people, this singular form of artistic expression combines song, dance, poetry, verbal jousting and acrobatics, even mime... One of its distinctive features is that it was conceived, written, sung and danced by peasants, and dates back to the time of King Andrianampoinimerina, who put on the show during major irrigation works. Performed by men in red tunics and straw hats and women in long pink, red and blue satin dresses, the show is divided into five parts: the Sasitehaka (ten-minute prelude, to the sound of drums and clapping hands; the dancers and musicians then enter the stage); the Kabary (a quarter-hour speech introducing the show; the ladies are invited to join the stage); the Renihira (main song evoking the theme of the event, such as love, the problems of youth.); the Dihy (a dance lasting around twenty minutes); the Zanakira (a final demonstration lasting a quarter of an hour, after which the troupe leaves the stage).
A very complete expression, these troupes are often made up of around twenty people with very different skills: singers, dancers, acrobats and musicians. Performances take place surrounded by the audience, and during them, the artists move closer to the audience so that each spectator can see, hear and appreciate their talent up close.
Another particularity of hira gasy is that the protagonists address the audience directly. Particular attention is paid to the text, the messages are profound and the tales, full of irony and humor, always end with a lesson, a teaching.
The most famous companies are the Tarika Ramilison Fenoarivo and Rasoalalao Kavia, the latter of which has performed in French opera houses.
In another genre, let's not forget the Kalon'ny Fahiny style, Malagasy theatrical songs from the 1920s and 1930s (somewhat forgotten today), symbolizing the apogee of Malagasy piano composition. The two great artists of the period were Andrianary Ratianarivo (1895-1949) and Naka Rabemananatsoa (1892-1952), composers still widely played today, notably by Malagasy classical music students and artists performing at Nosy Be Symphonies, the Indian Ocean classical music festival.
Jazz
It's not well known outside jazz enthusiasts' circles, but Madagascar is hyper-fertile ground for the genre. According to some specialists, the phenomenon can be explained by the fact that ternary rhythm and, above all, improvisation are key elements of the island's musical tradition, which has facilitated the adoption of the genre by Malagasy musicians, already culturally familiar with the jazz structure.
Jazz tiptoed into Madagascar in the 1950s, the preserve of a handful of amateur musicians who went on to become big names, even jazz dynasties, such as the Rabeson brothers and Georges Rahoerson (his son Serge went on to become a much sought-after jazzman).
The real turning point came in 1968, when French jazzman Jef Gilson discovered Malagasy jazz and suggested that a group of musicians - Arnaud Razafy on guitar, Georges and Serge Rahoerson, Alain Razafinohatra, Joël Rakotomamonjy and Roland de Comarmond on saxophone, Serge and Alain (his younger brother) Rahoerson on drums - record an album with three French jazzmen that would become famous: Malagasy. An incredible exposure for Malagasy jazz, and the starting point of a vocation for many musicians.
The following decades saw the emergence of entities such as the Madajazzcar festival and new talents such as Silo Andrianandraina, a highly respected multi-instrumentalist, saxophonist and flautist Nicolas Vatomanga and, more recently, Adonis Ratoavinirina.
