Category Archives: Salia Koroma
Today’s Youtube upload deals with vigilance, watchfulness. And our accordionist, our poet, our very own Salia Koroma, is the watchman, the man in the watchtower, always called to alertness, always calling to alertness. Lucidity is his because he refuses to go to sleep.
The war from 1991 to 2000 is a sensitive period that will circumscribe our history well into the future, and what works of imagination do, marked as they are by the psychic trauma of something that lies outside our cultural ken, forged in the heat of that white-hot moment of the war, is call us to watchfulness.
Vigilance against the intellectual whores and their less sophisticated water carriers (as water carriers are wont to be) who tell you that you’re bound to violence.
Vigilance against those who were implicated in the horror and would want to give a belated “explanation” to their inhumanity. But who can forget that they’re perhaps animated by other passions that can’t be called noble?
Vigilance against those who’d want to give to their sin the name of “error.” .
I’ve just uploaded on YouTube the final instalment of Salia Koroma’s misadventures (adventures, if you insist), first, in Kono Country, and then in Kpa-Mende Country. But isn’t every one of Salia’s adventures a detour into a country that is at once zany, mischievous and playful, adventures that are at one and the same time extravagantly candid and tender, and cynical in their retelling?
The song I’ve posted is in every way a stand-alone performance, ‘culled’ by the singer himself from the longer composition that we all know. What we have here is the fifth portion of Fishing For Our Father, The Legend Of Fawonde, in other words the conclusion of the song.
We should note that Salia has given to a familiar story a very deft narrative slant, and this is so only because of the chiefly audience.