Maloya is one of the two major music genresofRéunion, usually sung in Réunion Creole, and traditionally accompanied by percussion and a musical bow.[1] Maloya is a new form that has origins in the music of African and Malagasy slaves and Indian indentured workers on the island, as has the other folk music of Réunion, séga. World music journalists and non-specialist scholars sometimes compare maloya to the American music, the blues, though they have little in common.[2] Maloya was considered such a threat to the French state that it was banned in the 1970s.[3]
It is sometimes considered the Reunionese version of séga.
Compared to séga, which employs numerous string and wind European instruments, traditional maloya uses only percussion and the musical bow. Maloya songs employ a call-response structure.[4]
The indigenous music and dance form of maloya was often presented as a style of purely African origin, linked ancestral rituals from Africa ("service Kaf" and Madagascar (the "servis kabaré"), and as such a musical inheritance of the early slave population of the island. More recently, however, the possible influence of the sacred drumming of the Tamil religious rituals has been introduced by Danyèl Waro, which makes Maloya' heterogeneous African Malagasy and Indian influences more explicit.[7]
Maloya was banned until the sixties because of its strong association with creoleculture.[2] Performances by some maloya groups were banned until the eighties, partly because of their autonomist beliefs and association with the Communist Party of Réunion[5]
Nowadays, one of the most famous maloya musicians is Danyèl Waro. His mentor, Firmin Viry, is credited as having rescued maloya from extinction.[2] According to Françoise Vergès, the first public performance of maloya was by Firmin Viry in 1959 at the founding of the Communist Party.[8] Maloya was adopted as a medium for political and social protest by Creole poets such as Waro, and later by groups such as Ziskakan.[1] Since the start of the 1980s, maloya groups, such as Ziskakan, Baster, Firmin Viry, Granmoun Baba, Rwa Kaff and Ti Fock, some mixing maloya with other genres such as séga, zouk, reggae, samba, afrobeat, jazz and rock, have had recognition outside the island.[9]
^Hawkins, Peter (2003). "How Appropriate is the Term "Post-colonial" to the Cultural Production of Reunion?". In Salhi, Kamal (ed.). Francophone Post-Colonial Cultures: Critical Essays. Lexington Books. pp. 311–320. ISBN978-0-7391-0568-9.
^Francoise Verges, Monsters and Revolutionaries, pp.309–10, n.3
^Frank Tenaille (2002). Music is the weapon of the future: fifty years of African popular music. Chicago Review Press. p. 92. ISBN1-55652-450-1.
