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'Mbalax' is a genre of popular music, and not a dance. There is a dance associated with it, that does not have a specific technique, but there are movements that are characteristic of Mbalax. The dance relies heavily upon the polyphonic rhythms of the music.

Contents

History and Influence

Purpose of Dance

Dynamics of Movement

Music and Instrumentation

Mbalax Today

References

History and Influence

It developed in Senegal and Gambia, evolving from the traditional rhythms of the Serer people, though the Wolof has adopted the dance, and since wolof is the greatest ethnic group in Senegal, it is claimed as thiers, even though it originated from the serer. Mbalax has also been influenced by Ska and Folk Music. Mbalax has become popular in Senegal due to the Wolof culture because they dominate the capital of Senegal (Dakar) and the entertainment and media industry.
Although there is no record that ''Youssou N'Dour'' developed this form of dance, many people consider him to be the father of Mbalax. Other popular Mbalax artists are Assane NDaiye, Omar Pene & Super Diamono, Ismael Lo, Alioune Mbaye Nder, Papa Diouf, Thione Seck, Mbeye Dieye Faye (Youssou NDour's sabar player), Jimi M'baye (Youssou NDour's lead guitarist), Mada Ba, Abdu Raas, and Titi. The roots of Mbalax can be seen in the great masters of Sabar, like Dudou Njie Rose and Omar Thiam and Jam Bugum.

Purpose of Dance

The dance is done for entertainment, religious and cultural purposes as well as personal satisfaction, and to express joy.
It can be done at any social gathering for example; weddings, rites of passage and birth ceremonies.
Mbalax is danced to in informal settings, therefore it is not performed in theaters.
It appeals to all ethnic and socio-economic groups. However, it is more popular among the young, upper class Wolof, and the poor to middle class of varying ages among other ethnic groups.

Dynamics of Movement

The dance is not specific to an age group or a gender. However, movement does vary across age and gender lines. Mbalax dance style incorporates pelvic gyrations and knee movements. Women move primarily the waist and hips, while men move primarily legs and arms.
Most often, men and women will dance individually; rarely do they dance together.
The moves from the dance have spread to different countries and have influenced other genres, such as hip hop.

Music and Instrumentation

Senegalese songs are usually unwritten, and certain instruments or musical styles (such as yela music for women) are reserved for specific genders or age groups. In the past, only Griots could perform music. Their traditional role was transmitting oral history, genealogies and social rankings, diplomacy, and storytelling. Today, Griots continue to participate in naming ceremonies, weddings, and funerals.
Music is performed using instruments such as drums, balafon, riti, tama (small drum), sabar drum. In the 1970s Western instruments and equipment such as the flute, electric guitar, piano, violin, trumpet and synthesizer have been incorporated into the music, to accompany the dance. In addition to the instrumentation, humming, chanting and singing (in either Wolof, French or English) are used to accompany the music that the dance is done to. The lyrics of Mbalax songs address social, religious, familial, or moral issues.
According to Patricia Tang, author of 'Masters of the Sabar: Wolof Griot Percussionists of Senegal' (2007 Temple University Press, 1601 North Broad Street, Philadelphia PA 19122):

★ "The rhythmic foundation and primary identifiable feature of modern mbalax is the sabar…in Wolof gewel percussionist parlance, mbalax literally means 'accompaniment'. Within a sabar ensemble, different drums play different roles, and mbalax refers to the accompaniment parts played by the mbeng-mbeng. However, the mbalax part varies rhythmically from one dance to another. One of the most popular dance rhythms is Kaolack (named after the region), and it is the Kaolack accompaniment part (mbalax) that is most prominently featured in the mbalax that we know of as the popular music genre, hence the name. Kaolack is the rhythmic backbone to the overwhelming majority of mbalax songs. Its simple contour, full range of sounds, and flexibility in tempo have all contributed to its staying power. In recent years, other dance rhythms have found their way into the mbalax scene. Lembel is fast becoming a part of mbalax music, and more recently, baar mbaye has also been introduced. Nonetheless, Kaolock, or "mbalax," remains the most prominent and widespread of rhythms used in its namesake genre." (page 155)

Mbalax Today

New Mbalax dance movements are constantly emerging, this often occurs with the increasing popularity of a particular song. Patricia Tang, author of 'Masters of the Sabar: Wolof Griot Percussionists of Senegal' (2007 Temple University Press, 1601 North Broad Street, Philadelphia PA 19122) describes some of the new movement as follows:
"Examples of such dances are the ventilateur ('electric fan', which describes the motion of the buttocks swirling suggestively); xaj bi ('the dog', in which a dancer lifts his/her leg in imitation of a dog); moulaye chigin (which involves pelvic and knee movements that perfectly match the sabar breaks); and more recently, the jelkati (a dance in which the upper arms, bent at the elbows, move in parallel motion from left to right). Interestingly all of these dance crazes are closely tied to sabar breaks, and some (such as tawran tej) are even named for the vocal mnemonics of the sabar rhythm they accompany." (page 159)
Since becoming popular, both Mbalax and its associated dance have spread to other region such as; Mali, Ivory Coast and France. This dissemination has come about through radio, cassettes and televised video clips. The dance has been incorporated into everyday life. It is increasingly performed in night clubs, soirees (which generally last from 12 midnight to 4 a.m.) and in the company of friends.

References

Information was garnered through interviews of Senegalese nationals and from Patricia Tang's 'Masters of the Sabar: Wolof Griot Percussionists of Senegal' (2007 Temple University Press, 1601 North Broad Street, Philadelphia PA 19122)