KONDENBA
The Kondenba are the fourth generation of young people, boys who are about to be initiated. The Konden masks are entrusted to their custody. The fifth generation are the Kondenden and the Kondendömö.
While the Konden dances, the Kondenba play the instrument called Kodo (or Koro). The Kondenden/Kondendömö stand behind them and clap their hands.
The Baradömö and the Baramamare (second and third generations) sometimes require the Kondenba to accompany them into the bush to fetch the whips for the Konden mask.
This Kondenba rhythm has been heard in the village of Fissadou, where it is currently played in place of Konden.
KONDEN
Among the Malinké of Guinea, Konden is a mask, unrelated to any specific initiation society. It is part of a coherent set of three masks, the other two being Balani and Tourani Gbanan (or Tourani Balani), mainly present in the Hamanah and Gberedu regions in Upper Guinea. They appear to close the main annual festivals (Sunkaro Sali, Tabaski, Gbalan La, Baradosa and Dalahmon), and are entrusted to the custody of the Kondenba, the fourth generation of young people.
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Below are the different generations in the Hamanah/Gberedu region:
1 – Barati
2 – Baradömö (or Baramakono)
3 – Baramamare
4 – Kondenba
5 – Kondenden and Kondendömö
6 – Timbaraba and Konkoson
7 – Nanfadimani
8 – Sulukuni
Konden is a very special mask, made of wood enhanced with metal plates (usually tinplate or aluminum), with three to six pairs of eyes.
The dancer places his head inside the mask and maintains it by passing his fingers through a hole located at chin level. In his other hand, he holds a leafy branch acting as a whip.
Entirely dressed in raffia, completely concealing any recognizable detail, no one can know who the Konden is, it is a secret. The Konden’s job is to guard the village during the celebrations. He walks and dances quickly, running after the boys to whip them, without any real violence.
His terrifying appearance and his whip frighten children. Parents use this fear throughout the year, not failing to warn them: “The Konden will come looking for you if you are not good!” . In short, the Konden is a bogeyman.
If during the dance pieces of raffia come off and fall to the ground, they are considered talismans for those who pick them up.
When the Konden rhythm is played during a Dununba festival, it is named after Janfani Doni.
In the village of Sangbarala, the Konden and Balani masks are never present at the same time, and there is no Touranen Gbanan. After the Konden rhythm, if the Balani comes to dance, the Konden leaves the celebration. Unlike the Konden, the Balani is not sacred, but it initiates the children.
BASIC PATTERNS
Sangban (2)
Dununba
Kensedeni
Djembé (4)