Juliette De Banes Gardonne
Published on September 28, 2024 at 08:49. / Modified on September 28, 2024 at 12:57.
Sometimes angry on a rap delivered in Bambara, sometimes glamorous on electropop soul, in English, Inna Modja resonates with kora, percussion and Mandinka flute the concerns that run through her life and her history: “In my texts, I call on Malian women to emancipate from the religious and societal shackles, in other songs I address radical Islamism in the north of Mali, the war, the fate of the displaced. I cannot be indifferent because all this weighs on our lives, on that of my family and mine,” she said on the phone.
Inna Modja grew up in Mali. The sixth of seven children, the just-forty-year-old remembers Bamako as a city celebrating: “Life was very joyful, nothing like what is happening now since the arrival of the junta. Music was everywhere, we could hear the radio in every house.” At 14, she met singer Salif Keita: “We lived in the same neighborhood. I did my musical training with the Rail band of Bamako.” Without coming from a family of griots, Inna decided to pursue a musical career, around her hovers a constellation of big names, Habib Kouyaté, for whom she opened, Oumou Sangare, Cheick Tidiane Seck with whom she works on his album Motel in Bamako. “Oumou is a model, an inspiration for women artists in West Africa.”
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