Music at the warfront in Burkina Faso

In Burkina Faso, or the country of the incorruptible Man, countless changes have occurred during the last two to three years. The country has joined the Alliance of the Sahelian States (AES), there is the dynamic of the anti-terrorist battle, more vigorous anti-corruption combat and much more. The economic, scientific and technological innovations are improving and the leadership of the young charismatic president is overwhelming. But one thing that has not gone unnoticed is the extremely powerful role that art is gaining in Burkina and the role that music is playing in the anti-terrorist and onward march of the country which I focus on in this article.

Patriotism that faded away over the last years of the golden age of the Françafrique in Sahelian Africa, a period which is also synonymous with aggressive and naked neocolonialism, is, fortunately, returning in Burkina Faso. A simple analysis of the socio-political terrain yields the following: Burkina, Mali and Niger decided to unite into the Alliance of the States of the Sahel, an alliance which, allegedly, will metamorphose into a federation, equipped with the ancillaries of such an organ – a common army, currency, and other agreements. Reliable sources have reported that those aspects are being worked on by competent minds. Captain Traore, the current president, is generally referred to as the “national gentleman” who is adored by a large majority in the country who are satisfied with the newly-charted path. The current ideology is much appreciated because it provides what the masses have been aspiring to for decades.

The novel developments in the country are mainly the fruit of the initiatives yielded by the collaboration between a group of young military officers, who espouse the ideology of the late Captain Sankara, whose reincarnation is seen, according to many, in Captain Traore. The similarities between the late president and the current one are very striking: selflessness, audacity, a strong will and belief in the power of dreams and aspirations, laced with a perfect dosage of accountability. That is a brief tableau of the ambience in which the vast majority of the Burkinabè are living. Of course, detractors also voice displeasure. Some critics, analysts or citizens point out weak points in certain features and decisions and realizations of the current Burkinabè revolution. Such critics deplore the lack of freedom of speech, the neglect of the tenets of democracy, and more.

The impact of music

This wind that is blowing in Burkina is being considerably fueled by a specific component of the field of culture and that element is music. Currently, one of the most predominant realities in the anti-terrorist fight in the country is the pivotal and poignant role that civilian and armed forces musicians offer. They place their talents at the service of combatants on the battlefield and also at the service of the Burkinabè as a nation faced with years of terrorist attacks. There is no doubt that military strategies, equipment, logistics have been re-evaluated in such a way that the war is won by the national forces, but singers use their skills to galvanize the morale of the troops on the battlefield.

The armed and security forces and services, in general, allocate more room for artistic production that is first checked to make sure it does not violate the rules and principles of the various security and defence units. Three such artists really deserve attention. Their songs are “loaded”, emotional, intelligent, informative and literally turn humans into fearless people who are ready to fight the terrorist cum enemy with their body and soul, vigor, determination, utter commitment and more. One of them is a senior army officer who has been performing in the music division of the Burkinabè army since 2001. He is commonly known as artist Kezi (Zinsonni Kaleb is his real name). He is considered to be the motivation for many defence service members who have admired his musical performance for many years, before the turmoil of the terrorist attacks around the 2020s. Artist Warrant Officer Kezi says that his position emanates from the historical practice of the griot, or praise singer, the bard in European societies, who sings the praises of people in order to move them to action. In most West African societies such singers are called “griots”, they are the historians of the community and, as such, remember the brave deeds in the community. Recalling the gallant and praise-worthy gesture, position or decision of a person’s parent (s), family members in history has the power of moving one into action, with fearless and fervent courage. Their words lead the listener to brave actions that fall in line with the courageous and laudable stances, and deeds of their ancestors or departed relatives.

To this army officer, whose songs are currently cherished, solicited and eagerly appreciated in Burkina because of their positive impact on the morale of both the ordinary populations and the combatants, multiplying patriotic musical performances that often sound like effective war songs and calls to arms that are needed in today’s Burkina, and he does that anytime he can. His songs galvanize the morale of the troops during his visits or trips to the various military bases in the country. Kezi’s melodies help combatants to relax, in most cases, after days of fierce battle against terrorists. Such performances are also requested by the troops themselves before they set off for operations. One of his iconic productions in the area of Burkinabè military and civilian music is ‘Hymne à la nation’ (Anthem to the nation, produced in September 2018). It’s a single with four tracks. He hammers the urgent need to defend national territory, stresses that the Burkinabè have only one nation or country which is to be defended at all cost, encourages the young to join the national forces, recalls historic achievements of great kings and leaders, calls for the education and calls for the protection and education of the children of the fallen comrades, and much more.

Kezi’s oeuvre sustains and comforts the ideas and determination of the fallen heroes, inculcates such an adrenaline rush and undefeatable mental and moral state in combatants who, therefore, develop a high chance of defeating terrorists. Artist soldier Kezi provides inspiration for the Burkinabè combatants. His melodies increase patriotism, solidarity, dignity, the re-conquest of the Burkinabè territory and the onward march toward the achievement of endogenous development and prosperity which is the aspiration of the Burkinabè today.

The masterpieces of other mentees of this pioneer will be pondered in subsequent pieces.

Moussa Traoré is Professor at the Department of English of the University of Cape Coast, Ghana.