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"For The Gambia Our Homeland", the national anthem of the Gambia, was composed by Jeremy Frederic Howe, based on the traditional Mandinka song "Foday Kaba Dumbuya", with words by Virginia Julia Howe, for an international competition to produce an anthem (and flag) before independence from the United Kingdom in 1965.
The Kumpo is one of three traditional figures (along with Samay, and the Niasse) in the mythology of the Diola people in the Casamance and in Gambia. Multiple times in the course of the year, i.e. during the Journées culturelles , a folk festival in the village is organized.
In the Gambia, like much of West Africa, the oral literary tradition has historically been the predominant type of cultural transmission. This is the domain of the griots, the traditional Senegambian storytellers that often accompany their stories with traditional music, performed using instruments like the kora. These stories serve to preserve ...
Some surveys, such as those by the Gambia Committee on Traditional Practices (GAMCOTRAP), estimate FGM is prevalent among 100% of the Mandinka in Gambia. [66] In 2010, after community efforts of UNICEF and the local government bodies, several Mandinka women's organization pledged to abandon the female genital mutilation practices. [66]
The Kumpo, the Samay, and the Niasse are three traditional figures in the mythology of the Diola in the Casamance and Gambia. Multiple times in the course of the year, i.e. during the Journées culturelles, a folk festival in the village is organized. The Samay invites the people of the village to participate in the festivities.
Pages in category "Culture of the Gambia" The following 9 pages are in this category, out of 9 total. This list may not reflect recent changes. F. Fadenya; G.
Mbalax (or mbalakh) is the urban dance music of Senegal, Mauritania and the Gambia.The musical style is rooted in the indigenous instrumental and vocal styles accompanied by polyrhythmic sabar drumming of the Wolof, a social identity that includes both the original Wolof people of the Greater Senegambia region and the urban panethnic identity that arose during colonialism.
In Gambia, 90% of Jolas are Muslims. Some Jolas continue to follow their traditional religion and rituals in spite of the influence of Islam and Christianity in recent times. [5] Even though some accepted Islam after the Soninke-Marabout war, they honour the traditional use of palm wine in their rituals. [13]