Mamady Keïta was born in 1950 in Balandugu (Guinea), a village of the Wassolon region, near the Fé River. His father was a master hunter and a fida tigi (master of the plants, that is to say a healer). His mother, wishing to know the destiny of the child that she was carrying, consulted a soothsayer who announced that it would be her last son: “The child must be left to amuse himself because it is there that he will make is name.”

From when he was old enough to crawl, Mamady descended on all the pots and pans in order to turn them over and beat on them. “My son will therefore be a djembefola;” his mother said to herself and she had an instrument constructed to his size. Very quickly he surprised everyone by his natural gifts. No one could believe their ears and they would ask themselves how a small boy could draw such a sound from a drum. Mamady “Nankama” (Mamady-who-was-born-for-that), and “Balandugudjina” (the devil of Balandugu) are his two nicknames.

He owed his initiation into the history of the Mandeng and its music to Karinkadjan Kondé, an old djembefola (djembe player) of his village; in Malinke they say “Words come forth from an old mouth to enter a new ear.” Curious about everything, he would not rest until he knew, firstly all the rhythms of the Wassolon, then of the Mandeng and those of the neighboring ethnic groups.

The new president of Guinea, Sekou Touré, wished to spotlight Guinean Culture through music and dance and therefore devised a system of local, regional and national competitions that would attract the best artists of the land into the National Ballets of Guinea. Out of over 500 competitors, Mamady Keïta, at the age of fourteen, was selected as one of 5 percussionists, only three of which were djembe players. There were forty-five artists that comprised the National Ballet Djoliba and Mamady was the youngest member. For over twenty years, Mamady travelled around the world with Djoliba, only resting between tours for short periods in his native country.

He was named lead djembe soloist only one year after Djoliba was formed, he was just 15 years old. At seventeen, the young drummer was cast in a Harry Belafonte film titled Africa Dance. After 15 years in the Ballet Djoliba, when he was 29, Mamady became the artistic director and fulfilled this function until 1986 when he left the ballet for good; this was the first time that a drummer was given the position of artistic director.

Desiring to get out of the cocoon formed by the ballet and to establish his own name as an independent musician, he joined Souleymane Koli’s Koteba ballet based in Abidjan, Ivory Coast. He stayed with the band for a year and a half and completed two more world tours. It was in this period that he was cast in his second movie, La vie platinée.

{mospagebreak} By 1988 Mamady’s name began to travel beyond West Africa. It was then that a group of percussionists in Belgium who had formed a non-profit organization called Zig Zag negotiated to bring Mamady to Brussels to teach and perform at their music school called Repercussions. Later that same year, Mamady established his own performance ensemble, Sewa Kan. The name refers to a Malinke proverb which says, “Ni kan tiyen, sewa tiyen. Ni sewa tiyen, kantiyen,” “Without music there is no joy, without joy there is no music.”

In 1989 Mamady recorded his first album with Sewa Kan titled Wassolon, produced by Zig Zag and Fonti Musicali in Brussels.

Mamady was the first percussionist to organize a drum and dance workshop in collaboration with the Republic of Guinea’s Secretary of Arts & Culture; his first camp in 1990 was officially recognized as an international cultural exchange and 35 European students were hosted by the Secretary of Arts & Culture in Conakry for an intensive 4-week drum and dance camp. Mamady has continued to bring students to Guinea each year since.

Mamady Keita became the patron of Sewa Beats in 2008.
Leading rhythm consultancy to multinational companies, corporations, sports teams, business schools and NGOs around the globe, Sewa Beats specialises in team building, and organisational and leadership development by combining the traditions of Malinke music with twenty-first century learning techniques.

Mamady is honoured to be part of such an organisation that disseminates and preserves his culture.

Together with Mamady, Sewa Beats embraces the values of trust, transparency, integrity, harmony and respect. Sewa Beats imparts these values in the work they do thus providing individuals and teams with the fundamental tools for working together effectively.

Mamady fully endorses the Sewa Beats approach and has given the organisation his exclusive representation for keynote or inspirational speaking at conferences and events.

If you wish to be a part of Sewa Beats and play a role in extending these universal values across different spheres of life, please visit the Sewa Beats web-site to find out more.