(b Jirapa, Ghana, June 22, 1958). Ghanaian xylophone maker, player, and teacher. Born into a family of gyilli makers and players in northwest Ghana, Doozie began playing at six years of age. When he was 12 his father taught him to make his first gyilli and he was a practised maker by age 15. After secondary school Doozie moved to Accra to become a xylophonist with the Ghana Dance Ensemble. He was also an instructor at the Institute of African Studies at the University of Ghana, Legon. Among other appointments, he has performed with the National SO Ghana and has been associated with the Institute of African Studies and the music and performing arts departments of the University of Ghana. In 1990 he established a workshop to produce xylophones; he made the xylophones used in the Broadway production of The Lion King. He has also restored instruments in museum collections. He continues to teach and perform and is managing director of Dagarti Arts and Music in Accra and a member of the Arts Council of Ghana. He is also involved in promoting fair trade practices. Doozie’s xylophone bars—from eight to 18 for each instrument—are made of aged, fire-dried planks of wood from male shea trees. Gourd resonators are affixed under the bars, which are tied to the curved frame. The tips of the wooden beaters are padded with rubber recycled from tyres....
Vera H. Flaig
(b Balandugu, Guinea, West Africa, 1950). Drummer, director, and teacher of Guinean birth. Mamady Keïta began his official apprenticeship with the village djembéfola at the age of eight. By his late teens, he was lead drummer of Ballet D’Joliba. By 22 he became the company’s first drummer to act as artistic director. Upon his retirement from the ballet in 1986, Keïta played briefly for the national ballet in Côte D’Ivoire before settling in Belgium where he founded an international djembé school called Tam Tam Mandingue.
Keïta came to live in the United States in 2004. At his first official workshop as an American resident, Keïta announced: “I spent fifteen years cleaning up the djembé drumming in Europe. Now it is time to do the same in America.” Despite the growing popularity of the djembé, Keïta was surprised by the lack of understanding about its history and music within American drum circles. Keïta, together with six other ...