The return of Tata dindin Jobarteh to music has energised his fans across the country. The two-year mysterious sickness had left the Kora maestro and stage master a changed man. But Tata’s spirits remain high, and thinks it wise to use music to create something positive out of his sickness. This was why he quickly went to the studio to work on a single Kano [Love]. In the song, Tata pours out his best. He sings that nothing absolutely should erode love, even when a partner is sick, loses limb or hands. This contradicts the views of some people whose love dwindle when their partner’s situation or health turn a dramatic twist.

Tata gives thanks and praise to God for what he called “keeping his faith intact” even in difficult circumstances. Without the power of faith and prayers, Tata would have been a defeated person.

This deeply emotional song, attached with this piece, serves its purpose of sending powerful message in a society that is struggling to heal the wounds of love; a society that underestimates and even downplays the power of love. Tata is spot on when he sings “my love, don’t take away my love even when my face, hand and limb is paralysed. My love, nothing must take it away.” 

Ours is a conservative society that discusses everything but love. Society’s refusal to admit love as the number one conqueror throws them into endless chaos. A better understanding of marital love will leave a society in peace instead of in pieces. It will reduce hospital visits, arrest frugality and bring back smile and happiness in homes. No society is complete without people loving each other. Love therefore goes beyond a man and woman.

Kudos to Tata dindin and all those who use their skills to educate and entertain our people. We encourage Gambians to celebrate the custodians of our rich cultures.

Ebrima Tata dindin Jobarteh, the oldest son of a legendary Kora player Malamin Jobarteh, was born in 1965. The Brikama native started learning Kora and traditional Manding History from his father at the age of six. Tata also passed through the hands of Bai Konteh and Jaliba Kuyateh. He emulates Jaliba’s innovative modern Yenyengo school of Kora music. This style transforms Kora from being the traditional repertoire and singing songs of history and praise.  The progressive model blends social, moral and cultural flavours into Kora. The style later became successful and admired, although Jaliba admitted that custodians of the old school raised a lot of eyebrows.

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