'Bamako Sounds is undoubtedly the most intelligent book I’ve read about contemporary Bamako in general, and its music scene in particular.'
Ryan Skinner’s Bamako Sounds is undoubtedly the most intelligent book I’ve read about contemporary Bamako in general, and its music scene in particular. It’s an important work, less for what it says about a given set of musical styles than for what is says about Mali’s wider cultural landscape, about the ways Malian people today understand who they are and how they relate to each other and the rest of the world. The book’s subtitle–An Afropolitan Ethics of Malian Music–offers a clue to how Skinner approaches this landscape.
Afropolitanism is quite a young concept, only a decade in the making. Writer Taiye Selasi’s 2005 essay “Bye Bye Babar?” is generally considered its first articulation, and Selasi’s vision of the Afropolitan was subsequently criticized as shallow and elitist (e.g. by Binyavanga Wainaina, Emma Dabiri and Marta Tveit). But Skinner’s analysis follows a different Afropolitan strand, spun by historian Achille Mbembe.