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African Languages


Cultural Context for Djembé Rhythms

Edited, Cross-referenced, and Index -ed from available literature by R Clark 10/99.


Rhythm (Reference #)

Regional Origin

Ethnic group

{Known Rhythms, unknown context}



{Bara, Bire, Bombo}

Diansa 2 [ Xasonké / Kasonké ]: a very popular rhythm originating from the Kayes region in Mali . It is performed in the evening for most celebrations, I.E. full moon, Spring, Summer and Winter solstice, weddings and harvest celebrations. (Related to Zawouli )

Foré Koté ba 2 : a fast harvesting rhythm played in conjunction with Koté ba .

Garangé don 2 : a rhythm played to honor the shoemakers' caste.

Jansa 3 [ Kasonké ]: originating in the Kayes and Kita region of Mali . The Jansa is undoubtedly the most popular entertainment dance in Khasso . It takes place in the evening or at night, in the public square. It is for all people and all occasions : the full moon, the end of winter and good harvests. It starts slowly, picking up speed when a talented dancer goes into the middle of the circle. Great dancers sometimes manipulate a rifle or pestle while dancing. The following version is the most popular in the cities.

{Kaye, Kofili}

Koté ba 2 : a slower harvesting rhythm played before the Foré Koté ba .

Madan 2 1 : similar to Coucou in Guinea , this is a rhythm played after the harvest. (See Madan 2 below)

{Makakadon, Sambali, Sangaboroké}

Maraka don 2 [ Maraka ]: a marriage and baptism rhythm originating in Mali .

Marakadon 3 A.K.A. Také 3 [ Soninké ]: From the Kayes region of Mali . This rhythm is played mostly by women during popular celebrations. It is wrongly called denbadon ( den = child , ba = mother , and don = dance). In fact the denbadon brings together several rhythms and dances played for popular festivities honoring mothers; it is therefore not the name of the rhythm. This rhythm is accompanied by only one djembe and a single konkoni.

N'grď 2 : a sorcerers rhythm.

Sounou 2 : originally from the area between the borders of Mali & Guinea , which includes the Kayes region of Mali , Sounou is played on traditional feast days such as Ramadan, baptisms, marriages and other festivals.

Sanja 3 [ Maninka ]: From the Kayes region of Mali . This piece traditionally opened the ceremonies for the death of a king or a very important man. Recounting the Mandingo epic, this predominantly vocal rhythm was interwoven with " Fasa " (songs of praise). Traditionally, the real sanja is not played on the djembe, which is not a griot instrument like the bala, the ntama and jalidunun (griot dunun). Only these instruments accompany the sanja , played to honor men and women griots. On these occasions, the griots sing each other's praises and execute this very graceful dance with circular movements, their arm spread out. Today, some associations organizing "Ambianci Foli" (neighborhood festivities) ask the djembefola to play the sanja . He can only do so in these kinds of modern circumstances. This rhythm is also called jalidon (Dance of the griots). In Guinea , it is called lamban .


Sunu 3 [ Soninké ]: From the the Kayes region of Mali . This very popular rhythm is believed to date back to the pre-colonial era. At that time, in the village of Sagabari , there was a pretty young girl named Sunu Mamady (her father had the same name). Everyone loved her, and her qualities as a dancer were greatly appreciated. No festivity could take place without her participation. This rhythm was created in her honor by a djembefola troupe from her village. The dance is played to celebrate good harvests. It is a moment for young girls to demonstrate their grace and beauty, sometimes even their provocativeness and for young boys, especially in the Kaarta circle , to demonstrate their strength and vigor and show their acrobatic prowess.

{Walo, Wulungo}


{Gamba, Koté}

Madan 3 2 [ Maninka ]: From the ethnic group, originating in the Kankaba region of Mali ( Bamaka circle ). The madan is played at the end of the harvest to celebrate plenty and prosperity. It is also played as a welcome during popular festivities. The madan can be interpreted in several ways, the version below (p.45) is the most representative. In the Siguiri and Mandiana region of Guinea , the madan is also called jagbe . It is played for the feasts at the end of Ramadan (the thirtieth day), as well as for the Sheep Festival. (see Madan 1 above)

{Nama, Numudon}

Sogolon 3 1 [ Bozo ]: From the Mopti region of Mali . Traditionally, this rhythm is played with three bongolo and a bara. It celebrates plenty at the end of the fishing season. Currently, the sogolon is played with the djembe in the Bamako district, during popular celebrations and festivities.


Didadi 2 : originating from Mali's Sikasso region, Didadi is played for the expected arrival of an important person or at end-of-the-year holidays.

Didadi 3 [ Bamana ]: From the Bougouni circle , of Mali's Sikasso region. The didadi is organized during the end of the year holidays or to celebrate the arrival of an important person. It is an easy rhythm to dance to, and everyone can interpret it as they like. In the Sikasso region, the dunun called didadidunun is the instrument played for the didadi . The hand plays the drum on the skin opposite the one hit by the wooden drumstick complementing the stick's playing.

{Fura, Korokadon, Niokon, Niyangaran}

Sogoniku 2 : this is an animal head mask dance, danced only by an initiated person who knows the secret of the mask.

Soukou 2 [ Bamana ]: similar to Soli in Guinea , [this rhythm originating in lower] Mali is played prior to the rite of circumcision, which begins the male initiation process.


Wasulunké 2 [ Minianka ]: originating from the Sikasso region of Mali . Traditionally it is played to celebrate a bountiful harvest. In modern times it is played for most celebrations.

Wasulunke 3 [ Wasulunké ]: From the the Sikasso region of Mali . In this region, it is called jakewara , after the masks that are used for this dance. It is played to celebrate the end of the harvest. Very popular in the Bamako district , it is now played at numerous celebrations.


{Bara, Bonjalan, Doma, Kaka, Konon}

Koreduga 2 : originates from the Segou region in Mali . Koreduga is played for the caste of the same name whose role in the festivities is to make the crowd laugh with their goofy antics and acrobatics.

Koreduga 3 [ Bamana] : From the Ségou region of Mali . The koreduga caste are a part of a separate group within the Bamana tradition. They are easily recognized by their distinctive, slovenly dress. Their role during the celebrations is to make the assembly laugh with their mimicry and acrobatics. Above all else, the koreduga rhythm accompanies the dance of clowns and buffoons. It is danced by both boys and girls.



{Fladon, Gambari, Hiro, Kadaga, Kadodon, Kaju, Sanjoli, So, Sogolon 2 (See Sogolon 1)}


{Chalo, Gao, Takamba, Tendé}

Somono 2 [ Somono ]: a rhythm [from central Mali ] celebrating the fishermen and the water from which a bountiful harvest may come.




Here we find all the rhythms of the seven regions, as well as the main rhythms from Guinea.

Djon don / Wölösö don 2 [ Wöllösö ]: a rhythm from the people located in the lower southeast region of Mali , near the border of Burkina Faso . It is played for and by the caste of indentured servants who served the Royal courts of Mandeng chiefs and royal families in ancient times. The dance was a show of family pride and solidarity.





Mendiani 2 [ Minianka ] (See below ) : originates from the area between the Siguiri and Mendiana regions in Guinea and the Kayes region in Mali . Every village within these regions has a Mendiani, a pre-adolescent girl who has mastered the dance of Mendiani . The rhythm is played to test the skills of the dancers. The best dancer is then initiated into the secret society of Mendiani, which consists of previous Mendiani. (Related to Kanin )


Doundoumba Family 2 : a rhythm and dance popular in the Siguiri , Kankan and Kouroussa regions. It originally comes from the Hamanah region, prefecture of the Kouroussa region. It is the " rhythm of the strong man ". In traditional times it was played to settle disputes among the men of the village. The two in conflict would dance the Doundoumba , in the Bara among the villiage people. This would insure the safety of the competition which lasts from dusk to dawn. The Baranti, the master of the Bara, insures that the fes in the Bara among the village people. This would insure the safety of the two men and the maintain unity among the village. In modern times it is a kind of social initiation. Usually once a week the village or town people will gather in the Bara for a doundoumba , a competition that lasts from dusk to dawn. The Baranti, the master of the Bara, insures that the festivities run smoothly. He holds a handkerchief that he distributes randomly to one dancer at a time. The dancer then proceeds to the center of the Bara to do his or her best Doundoumba . It is all in fun and gives the youngsters a chance to see how the music and dance are done.

Dununba 3 [ Maninka ]: originating in Hamana , in the Kouroussa region of upper Guinea . The dununba is also called " the dance of the Strong Men ". Key instruments, the dunun follow the dance while the djembe accompanies it. That is why the rhythm is named after the dunun. It is a very acrobatic dance. The dancers, called Barati (or master of Bara. The bara is the public place where the dununba is danced), use it to show the betrothed and the important people of the village their vitality and bravery. Turning in front of the assembly, they strike their bodies with riding crops made from animal muscle while performing risky somersaults and jumps. In some regions this dance is practiced more "peaceably". Women participate with their own specific movements. There are many variants of the dununba rhythm. Here are two of them (p.53).

Bada 2 : a musical phrase used to signal the ensemble and crowd to enlarge the circle. This is used when the crowd has encroached upon the drummers, making it difficult to play.

Balasondé 2 : a rhythm also played for circumcision festivals where women are allowed to dance the movements of the rhythm Soli . It originates from the village of Balan , located in the region of Kouroussa .

Bando Djei 2 : played in honor of the goddess Koudaba to insure the success of the village.

Bandogialli 2 : played for and danced exclusively by the Baranti.


Bolo könöndö 2 : this literally translates "nine fingers' and refers to the movements of the dance.


Demosoni kelen 2 : this doundoumba is danced by young girls. It is a lighthearted exchange of mockery between the girls and the drummers. The drummers tease the girls with gestures of a sexual nature and the girls respond by obviously doubting the drummers playing abilities.


Donaba 2 : this translates to "great dancer" and is played to honor Maria Magbwe, a dancer from Famadou Kante's village.

Doundoun gbé 2 : this is the oldest Doundoumba and is commonly referred to as " the mother of all Doundoumba's ".

Gberidu 2 : this rhythm gets its name from a prefect in the region of Hamanah .

Gbunkundo 2 : the movements of this dance express a fight between the dancers, referring back to the days of settling disputes with the Doundoumba .

Kadan 2 : a doundoumba created for modern use by the ballet.

{Kondé, Kurabadon, Kononwulé}

Takosaba 2 : this rhythm refers to the first three movements of the dance done in the first three measures of the rhythm.

{Balakulania, Ja, Jaba}

Dalah 2 [ Maninka or Manlinké ]: [a rhythm originated] in western Guinea . a rhythm honoring the women fishers. Traditionally only men are allowed to use fishing boats so dalah is played to protect the women from the many dangers they face standing in the open waters.

Denadon 2 (See Menjani ) [ Djaakouroussa ]: this song is played to introduce the Mendiani dancers prior to the Mendiani . The dancers are carried out to the Bara, a community space in the village, on the shoulders of men. They pay their respects to the drummers as the are carried around the Bara. (Related to Kanin )

Djagbé 2 : a rhythm from the Wassolon people of Guinea . It is played at the end of Ramadan.


Fankani 2 : a rhythm used for non-ritualistic celebrations such as welcoming celebrations.

Fanga 2 : a welcoming rhythm.

{Gbéledu, Guidamba, Kadon}

Kanin 2 : a rhythm associated with the Mendiani celebration, sometimes played with Denadon .

Kasa 3 [ Maninka ]: originating in the Kouroussa region of upper Guinea . The kasa is played at all events linked to the harvest. This rhythm is played to encourage farmers during sowing and harvesting. There are several kasa . Konkoba , soro , and dubon are other rhythms played along with the kasa .

Kassa 2 : a rhythm played while the workers harvest the fields. The workers may have to walk miles from field to field and kassa is sometimes played while the workers walk to the next field. It is also played to celebrate a bountiful harvest at a festival, called the Kassaladon, which takes place after the harvest. (Related to Konkoba )

Kawa 2 : originates from the Faranah region in Guinea , it is a rhythm of the medicine man, and it is played during circumcision to protect the young initiates from evil spirits.

Kawa 3 [ Maninka ]: originating in the Faranah region of upper Guinea . Kawa is above all the rhythm of the medicine man. It is played during circumcision periods to contain evil spirits and protect the young initiates from them. For this rhythm, the djembe is accompanied by the bala, the ntama and the file.

Kondén 2 : a masked figure who protects the bilakoro, or young initiates, in the days before their rite of circumcision.


Koma don / Komodenu 2 : " komo " means fetish, don or denu means children. It is the dance of the secrete society "Komo". Often played for the mentally ill.

Konkoba 2 : a rhythm of the kassa , it is played while working in the fields.

Kononwulen I 2 : this rhythm gets its name from a wealthy and powerful man. A griot had told him his name would go down in history. This is the result.

Könöwulen II 2 : another rhythm named after that same wealthy and powerful man.

Kouraba don 2 : named after a sacred bush some consider to be a god. People come from all around to praise god and make requests and vows relating to wealth, family and harvesting.

Lamban 2 (See rhythm Sanja , Mali , Kayes region): originally from the Kouyate lineage of Mali , it has origins on the balaphone, but it's commonly accompanied by doun douns and djembe. It is played for and by the djeli to thank the gods for creating the djeli caste.

Lolo 2 : originating from the Faranah region in northeast Guinea , lolo is a rhythm about consulting the stars for advice when having a problem.

Mamaya 2 : a rhythm that deals with the perils of greed and jealousy.

Mendiani 2 (See above ): originates from the area between the Siguiri and Mendiana regions in Guinea and the Kayes region in Mali . Every village within these regions has a Mendiani, a pre-adolescent girl who has mastered the dance of Mendiani . The rhythm is played to test the skills of the dancers. The best dancer is then initiated into the secret society of Mendiani, which consists of previous Mendiani.

Menjani 3 [ Maninka ]: is played throughout the Maninka country. This rhythm is mainly played by young pubescent girls to celebrate good harvests. In Guinea , this rhythm is also called denadon .

Morybiassa 2 : a rhythm played only for very special occasions such as the return of a special person who has not been seen in many years.

Nantaloma 2 : this rhythm refers to an exchange between the older people, the Baratingi, and the younger people, the Baradogono. The Baratingi consider themselves to be the owners of the Bara. This dance occurs when they are challenged by the Baradogono.

Soboninku 2 : this is an animal head mask dance, danced only by an initiated person who knows the secret of the mask.

Sofa 2 : a song of praise, it is played for nobles who have shown their worth in battle.

Sofa 3 [ Maninka ]: originating in the Kouroussa , Kankan , and Faranah regions of upper Guinea . This rhythm goes back to the time of King Samory. At that time, sofa was played only for war parades to glorify kings and their victories. The djembe was accompanied by the bolon and dunun.

Soko 2 [ Manlinke ]: originates from the Faranah region in Guinea . In a traditional context it is played for and danced by the uninitiated during the months preceding the male rite of circumcision. The Bilakoro, boys who will be circumcised, have their heads shaved and receive gifts while Soko is played.

Soko 3 [ Maninka ]: From the ethnic group, originating in the Faranah region of upper Guinea . Another soko is played by the Jalunké . This rhythm is played in the evening for young boys during the three months preceding the circumcision period. For this occasion the saa , kala , kankanba and konjan are also played.

Soli Family 2 : (see above Mali: Sikasso region) originates from the Faranah , Mandiana and Kankan regions in Guinea . It is played to accompany circumcision. Many different regions have their own version of Soli and it is not always played for circumcision. (Related to Soukou and Balasonde' )

Soli 3 [ Maninka ]: played throughout the Maninka country. The soli is specifically for all circumcision or excision events. Circumcision is a ritual operation performed when boys are about seven years old. When the family councils in a given village have posted the list of candidates to be promoted that year and set the date of the ceremonies, the preparations can begin. The mothers prepare the traditional dress. The fathers proceed with consultations to elect the wise man who will watch over the circumcised boys throughout their initiation, which lasts four weeks. In the public gathering area, singing and drums call people to dance the very popular solisi or furasi . In Mali , this rhythm is also called suku or fura .

Kennefoli 2 : played during the circumcision festivities, it is a tribute to the ones who carry out the circumcisions.

Kaninya Soli 2 : this version of Soli originates from the village of Kaninya in lower Guinea .

Namani 2 : this Soli is played in the Kankan and Kouroussa regions and is used for cultivation rather than circumcision.

Soliwulén 2 : refers to a red panther that is in charge of protecting the Bilakoro, or young boys, and the sounkoundoun, the young girls, in the days preceding circumcision.

Söli des Manďon 2 : played by the people living in the southeast region of Guinea , near Beyla .

Soli lente 2 [ Malinke ]: [from the] Kankan and Kouroussa regions of Guinea .

Soli rapide 2 [ Malinke ] : [from the] Kankan and Kouroussa regions of Guinea .

Wassolon Solď 2 [ Malinke ] : [from the] Siguiri and Mandiana regions of Guinea .

{Soliwulé, Soro, Tama}

Taama 2 : this rhythm means, " to walk like the people of Hamanah " and the movements depict this.

Takonami 2 : this literally means, " take four times " and refers to the movements of the dance.

Toro 2 [ Malinke ]: originates from northeast Guinea . It accompanies a male initiation rite.


Yabara 2 : In Wassolon this is a welcoming rhythm. Its name is borrowed from an instrument, the shekeré.

Yabara 3 [ Fankani ] : originating in the Wasoulou region of upper Guinea . This rhythm is played as a welcome during popular festivities. Various horns and several yabara accompany the djembe and dunun playing - hence the rhythm's name yabara .


Coucou 2 [ Konianke ]: a rhythm of the forest region of Guinea , near Beyla . It is used for the celebration of the harvest and any other joyous occasions. Traditionally is only played on djembes, while the solo is played on a larger, lower tuned djembe. (Related to Madan and Zawouli )

Coucou Salimou 2 [ Konianke ]: originates from the forest region near Beyla in Guinea . It is played after a bountiful harvest.

Kuku 3 [ Koniagi ]: From the Beyla and Kérouané regions in the Guinea forest area. This rhythm is played for the end of the harvest festivities and during celebration festivities. It is played only on the djembe, as the dunun does not exist in this region. Two small drums are added to the sides of the soloist's djembe. The whole is called a three headed drum. Another drummer keeps up an accompaniment on a small djembe. The kuku has been modified and adapted with dunun and djembe solos for the National Ballet Company.

Woula 2 : comes from the bush people in upper Guinea , it is a rhythm played for marriage and other celebrations.


Abadon 2 [ Baga ]: a rhythm of welcome from the coastal region of Guinea . It is often played with Tiriba .

Chaapri 2 [ Soso ]: a fetish rhythm.

Coucou Daconta 2 [ Soso ]: a variation from Coucou played in the village of Daconta , near Boké .

Dian - Dionba 2 [ Soso ]: a rhythm of victory. Traditionally it was played for kings. Today it is played for the wealthy, or those who have come through hard times to success.

Guinea faré 2 [ Soso ]: literally translates as " woman's dance ". It originates from the Guinea-Bassa region and it is played for wedding and baptism celebrations. (Related to Mane' )

Guinea Sabar 2 [ Baga ]: a rhythm created for djembe, but inspired from the music of the Sabar from Senegal .

Kakilambé 2 [ Baga ]: the Kakilambé is a masked figure, which protects the forest. It is said that only the initiated dancer may see the Kakilambé . The masked figure emerges from the forest and converses with the initiated one, telling him what needs to be done for the survival and safety of the forest and the village.

Kčmé Bourema 2 [ Soso ]: a rhythm of the Touré family. It was dedicated to Sekou Touré's brother, Alamany Touré. Kčmé Bourema was the commander of the Samorian army.

Koroma - Fassa 2 [ Soso ]: this is from the time of Fakoli Koroma, the biggest fetish of the Mandeng of his time. Now it is used in tribute of him and all his descendants.

Liberté 2 [ Soso ]: a rhythm created to celebrate Guinea's independence from France .

Makru 2 [ Soso ]: a lighthearted courting rhythm whereby young girls get the opportunity to express their love and admiration to the young boys. It is a rhythm of flirtation and seduction. It is often played in conjunction with Yancadi .

Mané 2 [ Soso ]: it is also from the region of Guinea-Bassa and is the same as Guinea Faré , but with a different name.

Sinté 2 [ Soso ]: played for celebrations in the villages of Nalu , near the Boké region of Guinea .

Seourouba 2 [ Soso ]: a rhythm of celebration for weddings and the full moon in the village of Daconta , near Boké .

Seourouba 2 [ Ladouma ]: a welcoming rhythm from the coastal region of Guinea , similar to Tiriba .

Sorsoner 2 [ Baga ]: from the coastal region of Guinea . It is a rhythm danced in full moonlight by young girls out of respect for their mothers.

Tiriba 2 [ Baga ]: a welcoming rhythm form the coastal region of Guinea . (Related to Abadon and Seourouba )

Tiriba 3 [ Susu ]: originating in the Boké region of lower Guinea . Traditionally the tiriba is not played on the djembe but on smaller drums made of stretched deerskin with wooden corners. It is played for circumcisions and also during the medicine men's important festivities and ceremonies.

Touba 2 [ Diakanté ]: played for celebrations including weddings and baptisms, this rhythm is from lower Guinea .

Wali 2 [ Soso ] : played during the reign of Sekou Touré by the federal "Ballet of Conakry ". The original title was Gbassi Kolo . It is a song of national pride and unity.

Yancadi 2 [ Soso ]: a lighthearted courting rhythm whereby young girls get the opportunity to express their love and admiration to the young boys. It is a rhythm of flirtation and seduction. It is often played in conjunction with Makru .

Yankadi: Yan = here, kadi = good, "it is good here" originally composed, in Burkina Faso, as an enticement to settle down in a particular area, rather like a theme for the local Chamber of Commerce. This rhythm came from this early meaning to later be an inticement or seduction of a much, more personal nature outlined above.


Kurubi 3 [ Jula ]: originating in the Ivory Coast and Burkina Faso ( Bobo Dioulasso ). This rhythm is played during festivities towards the end of Ramadan, the 27th night. It is the last big fling for the young girls who will be married the following year.

Zawouli 2 : originates from the Zuénoula region. It is usually played to accompany funeral rites. A masked figure, called the Zawouli, represents evil. Today it has evolved into a celebration dance for the people and is often played in conjunction with Coucou or Diansa .


Djole 2 [ Temne ]: a mask dance that is traditionally played on a square frame drum called a sikko. It has been adapted to djembe and is very popular in Guinea .


Fula Faré 2 [ Fulani ]: a rhythm played for celebrations, marriages and initiations. It has become very popular in Guinea and is played for celebrations.

Sabar 3 [ Wolof ]: From the Dakar region of Senegal . In this country, the most common instrument is the sabar, a skin drum played with one hand and a thin wooden stick. It is set on the ground or strapped to the side of the body. The rhythm and dance steps were named for this drum. There are several styles of sabar dancing. The best known are the " air conditioner ", consisting of unveiling the pentelu (pentelu are the underskirts worn only by married women...they are of different colors and can be embroidered with provocative phrases) to the musicians and the audience, and the "fan", where hip rolls provoke a circular movement of the buttocks. This rhythm is very popular in Senegal and in the rest of West Africa , where several variations have been transposed for the djembe.


The rhythms of Gambia are not traditionally played on djembe' and as all things are possible in modern times I list them here as putative djembe' rhythms.


1. Repertoire of The Gambia National Music and Dance Troupe

2. An Annotated List of Mande Rhythms and their applications by Martin Klabunde also authored the apparently out of print West African Rhythms Sourcebook, Volume 1

3. African Percussion: The Djembe by Serge Blanc ,


Abadon 2

Bada 2


Balasondé 2

Bando Djei 2

Bandogialli 2





Bolo könöndö 2




Chaapri 2


Coucou Daconta 2

Coucou 2

Coucou Salimou 2

Dalah 2

Demosoni kelen 2

Denadon 2

Denbadon 3

Dian 2

Diansa 2

Didadi 2

Dionba 2

Djagbé 2

Djole 2

Djon don 2


Donaba 2

Doundoumba Family 2

Doundoun gbé 2


Dununba 3


Fanga 2

Fankani 2

Fassa 2


Foré Koté ba 2

Fula Faré 2





Garangé don 2


Gberidu 2

Gbunkundo 2


Guinea faré 2

Guinea Sabar 2




Jansa 3






Kakilambé 2

Kanin 2

Kaninya Soli 2

Kasa 3

Kassa 2

Kawa 2


Kèmé Bourema 2

Kennefoli 2


Koma don 2


Komodenu 2


Kondén 2

Konkoba 2



Kononwulen I 2

Könöwulen II 2

Koreduga 2


Koroma 2

Koté ba 2


Kouraba don 2

Kuku 3


Kurubi 3

Lamban 2

Liberté 2

Lolo 2

Madan 2 3

Madan 2


Makru 2

Mamaya 2

Mané 2

Maraka don 2

Mendiani 2

Mendiani 2 2

Menjani 3

Morybiassa 2

N'grï 2


Namani 2

Nantaloma 2




Sabar 3




Sanja 3


Seourouba 2


Sinté 2


Soboninku 2

Sofa 2

Sogolon 3 1

Sogolon 2

Sogoniku 2

Soko 2

Soli rapide 2

Soli lente 2

Soli Family 2

Söli des Manïon 2


Soliwulén 2

Somono 2


Sorsoner 2

Soukou 2

Sounou 2

Sunu 3

Taama 2


Také 3

Takonami 2

Takosaba 2




Tiriba 2

Toro 2

Touba 2

Wali 2



Wassolon Solï 2

Wasulunké 2


Wölösö don 2

Woula 2


Yabara 2

Yancadi 2

Zawouli 2

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