Seychelles in Paris

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Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

MOUTYA Celebrating the inscription of

as a UNESCO Cultural heritage

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Website: https://seychellescultureinstitute.org Instagram: https://www.instagram.com/Seychelles.CultureInstitute/ Twitter: https://twitter.com/SeyCulturInst1 Facebook: https://www.facebook.com/seychellescultureinstitute Youtube: https://www.youtube.com/channel/UClajkLJcFZSZhhrS72_PSNA Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

The Moutya inscribed on the UNESCO’s Intangible Cultural Heritage list on

the 15th of December 2021 was a moment of immense pride for the people of Seychelles and the Creole community worldwide.

We are even more proud that, as a small island state, we have now been

allowed to share a small piece of our cultural heritage with the rest of the world. The Moutya, which is part of our African heritage, is now also part and parcel of humanity. Humanity is now the custodian of this cultural

masterpiece, inscribed in the annals of world heritage. A dance which started as a means of expressing oppression and hardship is now a part of the

world’s collection of masterpieces of intangible heritage. It is not only a grand transformation but also a reminder that culture is the critical element that contributes to peace, tolerance and unity. The government of Seychelles

is committed to ensuring that the Moutya continues to be enjoyed by the Seychellois people and appreciated and enjoyed by as many nations as possible.

Let it be known that the Moutya is the heartbeat of the Seychellois Creole culture - and is here to keep us alive.

Mr. David André

Secretary General 3

Seychelles National Institute for Culture, Heritage and the Arts Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

Moutya – an ode to human rights From the forests of the islands of Seychelles to the Representative List of the Intangible

Cultural Heritage of Humanity. It has indeed been a long journey to international recognition.

To the forefathers of the Seychellois nation who are watching down on the National Cultural Troupe of Seychelles as they perform at Maison de l’UNESCO, you remain alive through us the proud heirs of the rich legacy you bequeathed us. We are proud of you.

Originally a dance of the downtrodden, Moutya has today become the pride of the Seychellois nation as an indelible strand of the Creole culture and an element of global culture. The

concert at Maison de l’UNESCO is a tribute to the spirit that animated those Seychellois men and women as they vented their sufferings through the lyrics of their songs and expressed their inalienable humanness in the movements of their feet and hips.

The Moutya is more than a dance. It is a struggle between two opposing forces: one trapped in the body and soul of the Moutya performers and another emanating from society wishing to deny the existence of that inner force. It is the struggle between the urge to be free and

have access to the commodities of life and the force of oppression. It is the struggle between a force that rejects slavery and another that tries to impose it. It is the manifestation of that struggle between good and evil.

The performers of the Moutya were simply fighting for the recognition of their dignity.

Therefore, it is appropriate that this ode to human rights is today celebrated in Maison

l’UNESCO because, after all, “making peace in the minds of men” starts with recognising that we are all born free and equal.

Ralph Agrippine Chargé d’affaires Embassy of Seychelles, Paris 4

Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

MOUTYA

INSCRIBED IN 2021 AT UNESCO 16TH SESSION ON THE REPRESENTATIVE LIST OF THE INTANGIBLE CULTURAL HERITAGE OF HUMANITY Heritage is the cultural legacy which we receive from the past, which we live in the present and which we will pass on to future generations. With the 1972 Convention concerning the Protection of the World Cultural and Natural Heritage, UNESCO established that certain places on Earth have “exceptional universal value” and belong to humanity’s common heritage, such as the Serengeti Forest in East Africa, the Pyramids of Egypt, the Great Barrier Reef in Australia and the Baroque cathedrals of Latin America.

Nonetheless, cultural heritage is not limited to monuments and collections of objects.

It is also comprised of living expressions inherited from our ancestors, such as oral traditions, performing arts, social manners, rituals, festive events, knowledge and practices related to nature and the universe, and knowledge and techniques linked to traditional crafts. Despite its fragility, intangible cultural heritage or living heritage is an important factor in maintaining cultural diversity.

Moutya drummer and dancers on the Seychelles 10 Rupees Banknote, 1989

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Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

MOUTYA IS “HUMAN RIGHTS IN POETRY”

This musical concert, by a group of Seychellois artistes, showcases, The Moutya dance. It depicts the appreciation of the people of Seychelles to the international community. It is represented by UNESCO as the inscription of this unique feature of Seychelles Creole culture and is added to the Representative List of the Intangible Cultural Heritage of Humanity.

This cultural event is taking place days ahead of the 9th session of the Assembly of State Parties to the Convention on Safeguarding for the Intangible Cultural Heritage, and six months after the Intergovernmental Committee of that Convention took the decision, at its 16th Session, to add the Moutya to that list. The inscription represents the culmination in the long march of this humble dance to its rightful recognition as a legitimate and unique cultural practice.

The Moutya was originally performed by barefooted enslaved plantation workers on a moonlit Saturday night, where it was marginalised and relegated to the deep forests.

It was prohibited and looked down upon by the upper echelons of society who scoffed at those “wretches of the earth” and their colourful language and suggestive dance.

They failed to hear the central message of this dance of resistance, which was a call for the recognition of their humanity. The performers of the Moutya were calling out the soul of Seychelles, which is a yearning for a human society that mirrors the legendary beauty of the islands that made it one of the most sought-after tourist destinations in the world.

The Moutya is about human rights: people claiming nothing but their right to be free from the shackles of slavery and to live in dignity. The Moutya is human rights in poetry and dance and the inscription on the UNESCO list marks the international recognition of this right.

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Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

THE MOUTYA Music and Dance of Seychelles

The Moutya is one of Seychelles’ most popular traditional dances. Born out of the slave trade and plantation business in the 18th century, the Moutya has evolved and has now become a symbol of a shared culture and cultural identity. Although Seychelles is a melting pot society, the Moutya is more specifically associated with the Seychellois Creole community, descendants of the enslaved Africans, who were the original practitioners of this particular music and dance.

The Moutya is still prominent today, overcoming various hurdles at different points in Seychelles’ short history. This included early oppositions by the landowners who were wary of any upheavals and by the dominant Christian churches that considered Moutya too erotic and sensual. The Code Noir of 1685, which amongst other things prevented the enslaved people from gathering in groups, ensured that the Moutya was practised in secret, in open spaces on the hills at a safe distance from the plantation houses of the colonial masters. In addition, the government was adamant that it encouraged alcohol consumption and social disorder and, under this premise, introduced the Drums Regulations of 1935. Although the Drums Regulations of 1935 did not exclusively ban the Moutya, it categorically restricted its practice by prohibiting drumming after 9pm within specific areas on the main islands of Mahé, Praslin, and La Digue. Nonetheless, it did not prevent the Creole community from practising the Moutya as the law was not fully implemented. The Government of Seychelles eventually repealed the Drums Regulations of 1935 on the 30th of August 2018.

There are no customary restrictions governing access to the Moutya. Given that it’s a legacy of the enslaved Africans that came to Seychelles from various ethnic groups and tribes from Africa, it is believed by many that the Moutya started as a ritual, as a sacred practice, an adaptation of the enslaved people’s tribal traditions to fit the new environment, into which they have been forcefully relocated. Furthermore, according to some elders, at some point in the dance, some dancers fall into some sort of trance, their senses stimulated by nature, the rhythm of the Moutya drums, the ‘chanting’ of the Moutya songs, the movements of the Moutya dance as well as the effects of the local brews. This claim is yet to be substantiated.

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As it is not categorised as a sacred practice, the Moutya dance and music are shared with every community in Seychelles, as well as visitors from all corners of the Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

world. It is inclusive. Rather than a performance that you observe from a distance, it is a practice that encourages participation. It is practised at social gatherings and national and cultural events and is mainly performed spontaneously within the community, such as after payday at the end of the month. It has, throughout the years, broken previously existing class barriers and serves as a unifying factor within the community. The Moutya continues to be a form of expression of cultural identity, retaining the same dance form as it was traditionally. Consequently, the knowledge regarding the Moutya, how to dance the Moutya, Moutya songs, and how to make and play the Moutya drums is primarily transmitted from generation to generation through observation and imitation.

Today the Moutya is mainly practised on the main islands of Mahé, Praslin, and La Digue and on outer islands with a population of Seychellois workers. It is most commonly practised in the ‘rural’ regions of Mahé, furthest from the Capital of Victoria, and is most popular in the coastal districts of Beau-Vallon, Anse Boileau, Port-Glaud, and Anse Royale. Bearers and practitioners of the Moutya dance are found mostly on the islands of Mahé, Praslin, and La Digue. The updated inventory of Moutya practitioners carried out by the National Heritage Research and Protection Section (NHRPS) in August 2021 recorded 10 active Moutya groups in Seychelles and a total of 103 known practitioners distributed over the three main islands of Mahé, Praslin and La Digue.

The inventoried practitioners include drummers, dancers, singers within groups, drum makers, and recording artists with Moutya tracks or albums. The active Moutya groups are Bwa ver (La Digue), Fek Arive (Mahé), Kanmouflaz (Mahé), Latanier (Praslin), L’Echo (Mahé), Manglier (Praslin), Masezarin (La Digue), Mazenga (Mahé), Tanmi (Mahé) ek Vwazen (Mahé).

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Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

Moutya scene, Bel Ombre, 2020 (photo Michel Denousse)

The Moutya dance

The Moutya is a nocturnal dance traditionally performed outside in open spaces.

It begins with the heating of the Moutya drums over a bonfire. With the beating of the drums, the men and women begin to dance on a moderate tempo, the pace gradually increasing, in sync with the rhythm of the drums. The dancers start off as a group before breaking off into pairs. The Moutya music and dance are in tandem, the movement of the dancers prompted by the rhythm of the Moutya drums.

The Moutya is traditionally danced barefooted. Your feet should stay flat on the ground as you shuffle from side to side or back and forth. The shuffling of the feet is accompanied by the gyrating of hips as the dancers move about, the women leading and men following. The dancers improvise as they keep up with the tempo of the drums. Improvisations include the women gently swaying their skirts from side to side, both or one side at a time, and dancers slightly bending their upper bodies forward, backward, or sideways. You should not keep your body straight and stiff.

The key is to loosen up and let yourself get lost in the rhythm of the Moutya drums.

With the combined effects of alcohol, primarily traditional brews, Baka and Lapire, as well as Kalou (toddy), both the lyrics and the dance become more sensual. However, alcohol consumption is not a prerequisite for dancing Moutya.

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Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

Foular

Bazipon

Moutya dancer wearing bazipon and foular (photo Michel. Denousse)

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There is no specific costume to dance the Moutya. Anything goes as long as it does not restrict your movements. When the Moutya session is spontaneous, participants wear whatever they have on. Upon hearing the echo of the drums, people naturally gather. Traditionally, the women wore bazipon (petticoats) for modesty and foular (scarves) around their heads. This was just the way that people dressed in those days. Nowadays, women wear midi-length, loose-fitting skirts or dresses that will allow the flow of movement, including the slight lifting and swaying of the skirts when attending organised the Moutya performances. The men commonly wear threequarter length trousers or full-length trousers and open neck, loose-fitting shirts, and often go shirtless.

Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

The Moutya songs As the drums are warmed, the male members of the crowd call out various ‘themes’, usually social commentaries, to which the female dancers respond with high-pitched voices. In unison, they repeat the refrain, with variations on the main theme. The song starts on a low tone and eventually reaches its climax with a higher tone. The songs which were traditionally composed spontaneously were originally used as a means of emancipation by slaves at the time of oppression. Through double meanings, they expressed their sufferings, retold everyday occurrences, and gossiped.

Moutya songs are to date still composed and sung in the Seychellois Creole language which is the mother tongue of the Seychellois people. It remains to this day a means

Example of two popular Moutya songs with English interpretation:

TILANMBWE

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Le Le le le le le ti a la la la la

Le Le le le le le ti a la la la la

Anmenn en lalanp, Pliton Marimba piti piti dan fernwanr Marimba piti piti dan fernwanr.

Me mwan mon a pe tat tate pa trouve.

Ou a debouy debourye, tanbourye Debouy debourye, tanbourye; Ou a debouy debourye, tanbourye.

Bring a lamp, Pliton.

In the dark, Marimba is small In the dark, Marimba is small.

I try to feel around, I can’t find…

Drummer, give it your all, Give it your all, drummer.

You’ll give it your all, drummer,

Tilanmbwe i ale Ou a kit Makanbo deryer.

Mon koson pa pou vann an nestim (3x) Mon koson mon pou vann an labalans.

Tilanbwe is going away (x3) You’ll leave Makambo behind.

My pig will not be sold by estimating its weight, My pig I will sell by its weight on the scales.

Tilanmbwe i ale (3 fwa) Ou a kit Makanbo deryer Mon koson pa pou vann an estim (3x) Mon koson mon pou vann an labalans

Tilanbwe is going away (x3) You’ll leave Makambo behind My pig will not be sold by estimating its weight, My pig I will sell by its weight on the scales

Ase fer mon koze ozordi (3x) Taler mon laraz feray a pran mwan.

I’d better keep my mouth shut, today (x3) Before an iron rage overwhelms me.

Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

of social expression where stories and news are shared. However, the context of the songs has changed drastically to reflect our changing society and is to some extent less intense compared to issues related to social injustice, hardships, and other sufferings originally lamented by our ancestors.

Given its context, the lyrics of the Moutya itself serve as a historical record, giving us a vivid insight into key events, social conditions, and day-to-day occurrences of our society from our colonial past from the viewpoint of the slaves and their descendants.

It is an alternative historical record based on oral tradition compared to the official documented accounts of events as given by the colonial masters.

ZOZO KARDINAL O le le le la i la e (x2)

O le le le la i la e (X2)

Emil in kit Emilyen in ale (x3) E in al kas semiz…

Emil has left Emilienne, he’s gone away (x3) He’s gone to pull off his shirt (to fight)

Ou dir mon zoli mon doudou(x3) Zozo ki pas anler i a get mwan (x3) In pous lezel in ale Mon pti zozo kardinal (x3) In pous lezel in ale

You say I’m beautiful, my dear (x3) The birds flying above will look at me (x3) It has grown wings, it’s gone away My little cardinal bird (x3) It’s grown wings, it’s flown away

O ti le le le la i la e (x4) Si oun fatige war mon (x3) Met mwan deor brizan Ou dir wa zet mwan de ou brizan (3X) Reken blan i a pase ya manz mwan

O ti le le le la I la e (x4) If you’re fed up with me (x3) Put me on the other side of the reef You say you’ll throw me on the other side of the reef (x3) The white shark passing by will get me

Ou a aste en loto wa donn mwan (x3) Taler lapli a tonbe pour mwan taye Kan lapli I tonbe pour mwan taye Les soley tape mon a marse (x3) Mon rob saten brode i a klate (x3) Mon rob saten brode i a klate(x3) Zozo ki pas anler i a get mwan Zozo ki pas anler i a get mwan(x3) La nou a marse, nou a’ le.

Mon pti zozo kardinal (3x) In pous lezel in ale.

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You’ll buy a car, you’ll give it to me (x3) Soon the rain will fall and I’ll have to run When it rains so I have to run Let the sunshine down (x3) My embroidered satin dress will shine (x3) My embroidered satin dress will shine (x3) The birds flying above will look at me The birds flying above will look at me (x3) Then we’ll walk together, we’ll go away.

My little cardinal bird (x3) Has grown wings and flown away.

Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

The Moutya drums

Moutya drums are the only instruments traditionally used in the Moutya dance. The Moutya drums of Seychelles is a series of three handheld circular frame drums of different sizes; 18, 20, and 22 inches. They are affectionately referred to as piti (child), manman (mother), and papa (father), from the smallest to the largest.

The Moutya drum is classed in the membranophone family of musical instruments.

The traditional Moutya drums are made from the wood of Bwa Var (Hibiscus tiliaceus) or bwa zozo (Litsea glutinosa). Those pliable wood are bent into circular frames which are then covered with hairless goatskin. The addition of small metal discs called tenbal/senbal is optional. Cowhide or even lare boukle ( manta ray) skin was also used as alternatives to goatskin. Traditionally, drum makers used locally made glue consisting of either flour or rice. The process of drum making has also evolved based on the availability of raw materials and equipment. Plywood is nowadays more commonly used than bwa var or bwa zozo, as it is more readily available and it is considerably easier to work with. The Evo-Stik wood adhesive has also replaced any locally made glue.

Circular wood frame Goatskin Tenbal/senbal (cymbal)

Traditional Moutya drum (Photo: S. Rosalie)

Making the Moutya Drum 1.

Preparation of the frame for the drum (serk)

The bwa var was the wood of choice for the frame, as it retains its flexibility even dried.

A length of the trunk part of the tree is selected according to its stage of maturity, then cut into strips and left to dry for a couple of days in the sun. The strips are then cleaned and cut to the required length, then bent into a circle of about 20 inches in diameter and 2.5 inches in width to a thickness of about a ¼ inch around a wooden form (moul). The strips are then nailed and glued together into an almost perfect circle. This will be the frame onto which the membrane (lapo) of the drum will be glued.

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Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

The edges of the frame (serk) are trimmed to make it even and smooth in preparation for the skin.

(Photo G. ESSACK 2016)

The plywood frame (serk) bottom is separated from the wooden frame (moul) top. (Photo G. ESSACK 2016)

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Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

2.

The use of plywood as a frame for the drum

The use of bwa var for the frame of the drum has faded over time, as it became less available, and it is also time-consuming to prepare the frame from that particular source. Consequently, plywood is now the material of choice for the frame, as it is more readily available and much easier to work with. Lengths of the plywood are cut from the main sheet, measuring around 2.5 inches in width, and soaked in water overnight to make it more pliable and flexible. At least three strips of 1/8 inch thick plywood are superimposed on top of each other, then glued together achieving a thickness of about ½ inch roughly.

To obtain the circular-shaped frame for the drum, the three strips of plywood (in this case) are clamped to a circular wooden frame (moul), which provides it with a circular form. Then once the strips are glued together and clamped to the moul, they are left in this position for at least two days.

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The preparation of the goatskin for the membrane (lapo) for the drum

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Fixing the membrane (skin) to the frame

5.

The cymbals (tenbal)

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Preparing the drum for a Moutya session

Traditionally, the goatskin (lapo kabri) has been the most popular material used as the membrane for the drum. Nevertheless, the preparation of the membrane from the goatskin requires considerable patience, care, time, and dexterity. The skin has to be dried up first and then the hairs and leftover meat and fat have to be carefully removed from it with a knife. This may take many hours of painstaking work.

Once the skin has been satisfactorily cleaned, it is then soaked in water to make it malleable and then glued over the frame with very strong glue. Nowadays the EvoStik glue used in carpentry is one of the most popular glues used for that purpose.

The skin and the frame are temporarily tightly tied together with strong strings and left in this manner for a couple of days to bind properly. The tying process ensures that the goatskin is properly glued to the frame. The string is pulled as tight as possible around the skin and the frame. This process requires at least two persons to execute, to provide the necessary force to ensure that the skin is tightly fixed to the frame.

Three small metal discs (tenbal) of approximately 1.5 inches in diameter are inserted into the side of the frame. They are placed in a triangular formation around the frame, to ensure equal distribution of sounds when the drum is struck. The cymbals provide a metallic sound to the drumming, which enhances the quality of the sound output.

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The drum is traditionally heated over a small fire of coconut leaves and tuned according to the desired pitch. This entails lightly running the drum over the flames and hitting it with the fingers to adjust the pitch. The drum must not be cold, as it would not provide the right sound. Once the right pitch is achieved, only then can the singing and drumming begin. Alternatively, in modern times, the drum is heated over very strong electrical spotlights or even a hairdryer in circumstances where it is not possible to light a fire. This method is usually frowned upon, as it is argued that this is not the real Moutya.

Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

The goatskin is cleaned by removing the hairs from it as well as any remaining meat. It is then soaked in water to make it more malleable. (Photos G. ESSACK 2016)

A copious amount of glue is spread over the frame in preparation for the skin. The skin is then tightly tied to the frame usually by two persons - Mr. Jude Ernesta and Mr. Hilary Seth (Photos. G. ESSACK 2016)

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Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

The three Moutya Drums. From left to right: Papa – 22 inches, Manman – 20 inches, Piti – 18 inches (Photo: Michel Denousse)

Drums

The Moutya drums are traditionally played as an ensemble of at least a batch of three drums. The three drums are usually of three different sizes, consisting of an 18 inch, a 20, and a 22 inch. The table below provides some information as to the size, name, and role of each drum when played as an ensemble.

Name of drum

Size (diameter)

Papa (Father)

22 inches

Manman (Mother)

20 inches

Piti (Child)

18 inches

Function Bass sound

Rhythm Lead, (improvisation)

The drumming principle is somehow similar to the functions of the three guitars in a rock band. The smallest drum (18 inches) provides the lead sound and improvises, while the medium drum (20 inches) provides the steady rhythm to the ensemble, and the larger drum (the 22 inches) provides the bass to the overall sound, holding and keeping the drumming rhythm together.

Drumming

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The drums are heated on a bonfire of dried coconut leaves and dried wood until the desired sound is obtained. Th Moutya e drummers must assume the right posture to ensure stability. The typical posture of a Moutya drummer is achieved by propping their knees up on a log, rock, or chair depending on the venue and then supporting the Moutya drum on their raised leg. One hand (the wrist) is used to hold the drum while the other is used for striking. The posture varies depending on whether the drummer is right-handed or left-handed. The drummers will then start drumming rhythmically.

The Moutya drum is played by hitting the surface with the heel and fingers of the hand alternatively.

Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

The posture of the Moutya drummer Mr. Andreix Rosalie

note the handkerchief on the left wrist of the drummer

(Photo Michel Denousse 2021) 18

Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

The drums are heated over a light flame to adjust the sound.

The Moutya drum when struck generally produces a deep thunderous sound, which seems to reach the core of one’s being. It is a very powerful resounding sound that commands attention, is spellbinding, inviting, captivating and entrancing. The drum is struck around the edges as well as the centre, depending on the desired effects one wants to achieve when drumming. The edge of the drum tends to produce a higher pitch, while the centre produces a mellower base-like sound. The tautness of the skin over the wooden frame influences the sound. According to Moutya drummers, the choice of wood and the skin would also influence the quality of the sound produced by the drums. It is believed that the best sounds are produced from drums made from mature female goatskin for the membrane and natural wood for the frame.

The drumming techniques

There are three main drumming techniques; the pile (thumping / low pitch), the vannen (swaying/medium pitch) and the denote (leading/picking /high pitch).

Variations would also include what is known as kalote (slapping), met maloumbo, and swiye (swiping). These techniques can be applied at any point on the Moutya drum to achieve the desired sound and effects.

Drummers traditionally tied a handkerchief around their wrists to protect them against the hard edges of the drum, as a protective pad while beating the drum, and also to hold the drums firmly into position, preventing them from shifting. Moutya drums are mostly played by men. Mrs. Jeanette Zialor is currently the only known female Moutya drummer in Seychelles.

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Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

Moutya drummers. From left to right: Mr. Brian Matombe, Mr. Chanel Kilindo, and Mr. Barnet Bertin.

The three Moutya drums are the only instruments that accompany a traditional Moutya performance. However, due to several factors including limited raw materials and drum makers locally, other instruments have slowly been introduced in Moutya over the years. This includes the djembe and triangle, as well as the synthetic Moutya drums, which are more available and do not require heating, meaning that they can be played anywhere, anytime. Even though synthetic drums are frowned upon by many, it is debatable whether Moutya would have survived the test of time without them.

A contribution of the Seychelles National Institute for Culture, Heritage, and the Arts.

Written by Mrs. Sophia Rosalie and Mr. Gabriel Essack.

References: • • • • • 20

Nomination form for the inscription of Moutya on the UNESCO Representative List of Intangible Cultural Heritage of Humanity Culture Division (1981) Sanson Moutya , Chansons Moutia Mahoune, J.C Traditional Dances/Games of the republic of Seychelles available at: http://www.pfsr.org/seychelles-traditional-dances-games/traditionaldancesgames-of-the-republic-of-seychelles/ National Inventory of ICH ( unpublished), National Heritage Research and Protection Section Nourrit, C and Pruitt, W (1981) Radio-France Internationale, Centre de Documentation Africaine.

Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

Jimmy Savy

Ruth Barbé

Executive Producer

Choreographer

DANCERS Adrian Cesar

Adrian is 21 years old, working as a Customer Service Executive at the Airtel Seychelles Limited. Adrian started his dance adventures from an early age. He participated in National Displays and International Carnival de Victoria, amongst others. Adrian promotes Seychelles’ cultural traditions through performances in local tourism establishments. He participated in many international dance performances, including in the USA, Dubai Expo 2020, Djibouti and Mauritius.

“I am very ambitious when it comes to dancing, and representing my country is my greatest pleasure.”

Dorothy Sandra Moumou

Dorothy is a 36-year-old mother-of-two. For the past 27 years she has been dancing traditional and contemporary dances. Dorothy started her dance journey when she was nine when she won a dance competition for the Creole Festival. She had the opportunity to travel to Mauritius and Rodrigues for dance performances and participated in Shanghai Expo 2010.

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Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

Eddy Rose

Eddy, who is 30 year old and currently resides at Anse Boileau. He can be described as a fun and outgoing person.

He works as a Customer Service Representative at MCB bank. He started to have a passion for dancing at the early age of nine. He is a part-time traditional dance (kanmtole) instructor at the National Conservatoire of Performing Arts Seychelles and was also a dancer in the National Troupe of Seychelles from 2011 to 2018, where he got the chance to showcase and promote the culture of Seychelles both locally and internationally.

Jude Labrosse

Jude, born in Beau Vallon, is a professional dancer. Jude’s dancing career started in primary school, where he participated in various cultural activities. After finishing school, Jude entirely concentrated on his career as a dancer.

During his career, Jude accompanied various professional and non-professional artists, participating in live shows and making music and videos locally and internationally. Along the way, Jude developed his skills as a choreographer and learned how to manage a dancing group. He practised both modern and traditional dancing. Through the years, Jude has developed other necessary skills such as leadership, effective communication, and managing.

“I consider myself a good listener, able to bond with any age group and not afraid of challenges. I feel that I have a lot to give to promote my culture and blend with other cultures.”

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Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

Mariza Matombe

Mariza is a 34 year old native of Anse Boileau, a district in the Western part of Mahe Island in Seychelles. Coming from a culturally integrated family, dancing became a big part of Mariza’s life at a very young age. She joined the School of Dance at the age of eight and participated in her first dance competition in 1999 aged just 11. Mariza has been dancing since then and has been part of several dance groups, including the Seychelles National Troupe. In addition, she participated in many local and international events. Given her family background, Mariza specialises in traditional dance, and she is also a part-time instructor with the School of Performing Arts to promote and teach traditional dances.

“My dream is to always ensure the continued existence of the traditional dances of Seychelles and to continue the legacy of my mother, who instilled the cultural aspect in me from a very young age.”

Nathaniel Volcere

Nathaniel is a 31 year old proud Seychelloise who is an ACCA Affiliate by profession, working as a Director of Administration at the Office of the Auditor-General. Nataniel sees herself as a young ambassador for Seychelles, promoting its rich and diverse Creole culture and traditions. Her journey as a dancer dates back to her primary school years, when she developed a passion for traditional dances. Nathaniel participated in several National Traditional Dance competitions, followed by being a member of the Seychelles National Troupe (2011 – 2018). The latter was the stepping stone for her progression as a dancer, where she could showcase and promote traditional dances on larger scales both locally and internationally (Indian Ocean countries, Africa, Asia and Europe).

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Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

Rhonda Labrosse

Born in Seychelles on May 31st 1983, Rhonda has 33 years of dancing experience. She has been part of many dance groups such as “Flanbwayan”, “Tanmi”, “Sokwe”, “La Troupe Lazenes” and most recently “L’Echo” group, all from Seychelles. This has given her opportunities to perform in national and international events alike. Her love for dancing has led her also to learn to play the percussion drum, and she is part of Seychelles’ first all-female band. She also has a passion for singing, and often, when not seen dancing, she is the one singing with the band. In addition, Rhonda is a fitness enthusiast, which led her to start her own evening dance fitness classes for women. With her motto, “Believe in yourself, for if you want to achieve something, it has to start with you first.”

Ronny Marengo

Born on the 21st April 1989 in Victoria, Ronny is currently a Senior Producer and Editor at the TeleSesel and the Manager of a dance group called Emergency Crew. He started out as a small local dance leader in his local district and at his school in 2010 when “Emergency Crew” was founded. He participated in many local activities on a national level, such as being the leader of the National Youth Dance Troupe, the Choreographer, and the leader of his team for four years, participating in the Seychelles Carnaval de Victoria. His team was discovered by the head of the National School of Dance in 2011, where he learnt different dance styles such as Ballet, Contemporary, Hip Hop, and Traditional, and he obtained an ISTD Certificate in Grade 6 in Modern. He was exposed to different dance cultures by participating in national and international dance excursions and festivals such as the Dusseldorf Dance Festival in Germany as well as the Cheonan World Dance Festival in South Korea in 2017. Beyond those accomplishments, this year he recruited new members for the Emergency Crew and entered the “Sesel I Annan Talan” dance competition in Seychelles as the choreographer and manager of the team, where his team won first prize. He was also one of the dance captains for this year’s National Day event working directly under the head choreographer. He has also participated in international dance excursions where he led his team, such as the South African workshop. His latest accomplishment is being the producer for the “BEYOND” project powered by Emergency Crew in collaboration with Telesesel.

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Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

MUSICIANS Tony Julie Musician/Band Leader

Tony Julie is a professional Seychellois musician. He has been in the music industry since 1985. Tony is currently acting as a bassist, musical arranger and music instructor.

He is also the band leader of METIS group, one of the best musical bands in the country, performing in hotels, clubs and concerts. Tony specialises in various music genres: traditional music of Seychelles, jazz, world music and others.

He has participated in several concerts and festivals, both nationally and internationally: Seychelles Creole Festival, Mauritius Creole Festival, Seychelles Carnaval, Jeux de La Francophonie, Madagascar Indian Ocean Game and many more. Tony has worked in collaboration with the best artists in Seychelles, as well as international artists like Maalesh, Alain Solar, Pix-L, Mascarenias, Sophie Mazandira, Andre Jaume, just to name a few. He has followed a number of musical workshops such as Midem (Tradefair).

Tony aims to promote the traditional music of Seychelles.

Belinda Moncherry Vocalist/Violinist/Percussionist

Miss Belinda Moncherry is a Seychellois artist. She came from a musical family and was exposed to the musical field very young. She has been in the music industry since 1996, where she has performed in several musical groups. She has participated in several concerts and festivals in Seychelles and internationally. Belinda has several singles and has worked in collaboration with different artists nationally and internationally. In addition, she has been acting as a backing vocalist on several albums. Belinda is currently the main vocalist, percussionist and violinist in the well-known METIS group, one of the best musical bands in the Seychelles, performing in clubs, hotels and concerts. She specialises in various music genres such as the traditional music of Seychelles, jazz, world music and other modern music.

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Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

Bruce Freminot Technician/Musician

From the tender age of eight old, Bruce has been playing the drums, starting from a community traditional ensemble to various other bands whilst growing up. Bruce’s rich musical background makes him a much-demanded musician for various projects, recording shows, international tours and as a sound engineer. It is to be noted that Bruce has not only featured on many albums by Seychelles’ top artists but has also produced his own album of traditional music.

Johnny Volcere Photographer/Videographer/Musician

Johnny is another multi-skilled Seychellois creative artist with proven and extensive expertise as a producer, director, videographer and photographer. He has a diverse and successful track record both within and outside the Seychelles environment, with video documentaries filmed and edited by him recording national participation at key international cultural events, including the 2017 Cannes Music Festival and the 2018 Venice Biennial of Contemporary Art. Focusing upon his Seychelles portfolio, we immediately recognise considerable breadth and depth, with commissions ranging from the entertaining – the 2017 Miss Seychelles pageant, the 2017 (5 Kouler Akoutik) Musical Show, and (for three years running) the Seychelles Arts Award ceremony - to the more serious documentary format, within which context Johnny has completed films on tangible cultural heritage, recorded key presidential addresses, and produced a 2020 production on the historically devastating medical condition, leprosy.

Johnny’s initial training, received in Seychelles (notably with the state television broadcaster SBC), South Africa and China, covered technical and logistical aspects of still and moving imagery, whilst studies in fine art have sharpened and defined his aesthetic approach and his understanding of composition and lighting.

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Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

Jonathan Alvis Musician /Keyboardist

Jonathan was around ten when he started to develop a musical interest by listening to music on an old stereo tape recorder using his grandfather’s mono earphones.

Thanks to his family’s religious background, Jonathan started playing music in the church, which helped him gain invaluable experience and learn to improvise. He played with the “Omega Band” group, whose main genre was Gospel.

Throughout the years, Jonathan, wanting more exposure, joined different bands such as the “Bring it On Band” (Gospel Band), “Koustik Band and “Island Waves Band”, both focusing on entertainment, playing a variety of genres. In 2019, Jonathan was given the opportunity to be part of a backing group, “Conquerors Band”, which would accompany a local artist, “Auspicious”, for over two years.

“Now I have the opportunity to perform with several Seychelles music industry legends and represent my country internationally, for which I am very grateful.”

Ralph Cecile Musician/Drummer

Ralph Cecile Musician/Drummer Ralph Cecile is a 26 year old Seychellois drummer from the Island of Praslin. He has been playing the drums since secondary school. Throughout his career, he was privileged to record alongside some wellknown artists from Seychelles, such as Jahrimba, Mike Cedras (Gospel), Auspicious, and Tony Julie (bassist).

“My ambition is to be an internationally recognised drummer.”

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Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

Sanley Monnaie Musician/Guitarist/Mandolin

Born on the island of La Digue on the 5th April, 1963, Sanley is a vibrant, passionate and experienced musician with several years of experience in band performances. He is a skilled lead and rhythm guitar player who has a self-motivated attitude and commitment to music. Besides playing music, Sanley writes his own compositions and makes his own musical arrangements. Besides guitar, he also plays the harmonica, violin, “bonm”, triangle and the Moutya drum. Sanley is all about promoting the Seychelles creole music. He became exposed to traditional performances at a very young age as both his parents and other members of his family were actively involved in traditional music. His mother was a great dancer, and his father was a spontaneous composer and talented violinist. After playing with various music bands, Sanley is now the owner of his own band registered under the name “Sagay”.

Brian Matombe Musician/Triangle/Caller/Violinist/ Moutya Drums/Vocalist

Born in Seychelles, Brian grew up in the Anse Boileau district in a family where traditional and cultural life mattered.

Sound and dance movements were considered the happiest gift that brought joy to the Matombe family. Brian’s interest and passion for traditional music started at a very young age when he focused on playing musical instruments such as violin and the Moutya drums. Brian developed many musical skills and was a traditional dance caller, and successfully became one of the first founding members of the Seychelles Traditional Troupe.

He also performed in many other local groups. For such incredible talent, Brian has been selected numerous times as a local ambassador to represent our country and occasionally to perform on regional and international platforms. So far, one of his most significant accomplishments in his musical career came when he participated as a traditional dance caller in Martinique. Brian won a prize competing amongst representatives from several Creole countries. Brian produced and released two CDs, namely “Kas Pake” and “Lanbyans Tropik”. Both projects promote Seychelles’ famous “Tinge, Moutya, Kontredans and Sega”. In addition, he was featured on a few other local albums by different local artists.

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Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

SINGERS Patrick Victor Singer/Artistic Director

The iconic face of Seychelles music and stagecraft, Patrick is one of the Indian Ocean’s best troubadours. Patrick has been in the field of music all his professional life. He has written numerous songs, directed many productions and worked with various artists. As a singer, playwright, musician and composer, he has brought Seychelles music and culture worldwide and produced dozens of albums. Patrick is a Seychelles legend holding an honorary doctorate from the University of Seychelles, and he is also the Honorary Ambassador for Culture.

Sandra Esparon Singer

Living in the Takamaka district, Sandra started singing at the age of 14, predominantly in church. She continued singing through her school years and participated in the Creole Festival. In 2004 a collaboration with GH BOYZ band resulted in Sandra’s first recording, a song called “San Ou”. Her career as a performing artist continued to grow. Sandra performed in France, Belgium, Madagascar, Mauritius, Reunion, and Rodrigues. She has collaborated with professional artists such as Shaggy, Amel Bent, Black Eyes Peas, 50 Cent, and Rihanna. To date, she has recorded six solo albums and has accumulated 17 music awards, including Airtel and Cable Tune Awards. Sandra is passionate about all genres of music but prefers dancehall, reggae, raga and Seychelles’ traditional sega.

Jean-Marc Volcy Singer

Jean-Marc Volcy is a Seychellois songwriter, singer, and composer. He is renowned for his genre of mixing traditional Seychelles music with his creativity, which gives a unique, beautiful fusion.

He is also well known in Mauritius and Reunion Island. He was internationally recognised by being awarded the best East African artist of the year in 1993 by Radio France International (RFI). In 2000, he won the Kora Award in South Africa.

Jean-Marc has also won several awards locally. Until now, he has released 10 albums. He remains a well-respected artist in his beloved country Seychelles and strives to make his music known to a broader world audience.

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Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

OUR SPONSORS

La Cave a Vins Premier Building Victoria Tel: 4324610 email:cavavins@Seychelles.net website:www.caveavins.sc

TAKAMAKA RUM SEYCHELLES

ACKNOWLEDGEMENT Contributors: Mrs. Jessie Freminot Miss Najoie Philoe Miss Marietta Matombe Miss Margaret Vel Miss Joshinta Horter Miss Julienne Barra Miss Mosianne Jeremie Mr. Andreix Rosalie Mr. Brian Matombe Mr. Barnett Bertin Mr. Chanel Kilindo Mr. Darrel Havelock Mr. Patrick Victor Mr. Jud Ernesta Mr. Hilary Seth Mr. Guy Belle

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Drummers: Mr. Brian Matombe Mr. Chanel Kilindo Mr. Barnet Bertin Mr. Darrel Havelock Mr. Andreix Rosalie Mr. Lindone Jules Dancers : Mr. Javis Renaud Mr. Jude Labrosse Miss Margaret Vel Miss Najoie Philoe Mrs. Dorothy Moumou

Executive Producer Mr. Jimmy Savy Choreographer Mrs Ruth Barbé Translation of Moutya lyrics: Mr. Bernard Shamlaye Translation to French: Mrs Patricia Carolus-Daniel Cover photo: Mr Michel Denouse Cover Design: Mr Nigel Henriette

Designed and sponsored by Kreol Magazine, Rila Publications Ltd, London, UK Celebrating the Inscription of Moutya as a UNESCO Cultural heritage

The Seychelles National Institute for Culture, Heritage and the Arts is committed to continuing our work in the community and promoting our culture, but we need your help more than ever.

Any donations will go a long way to support us, and we will be very grateful for any help you can offer.

Contact:

Mr David André

Secretary General, Seychelles National Institute for Culture, Heritage and the Arts

Tel: +248 282 3007

sg.cultureinstitute@gov.sc

Media Contact: Barbara Eugénie

Director PR, Marketing & Communications Seychelles National Institute for Culture, Heritage & the Arts

Email: b.eugenie@gov.sc

Website: https://seychellescultureinstitute.org Instagram: https://www.instagram.com/Seychelles.CultureInstitute/ Twitter: https://twitter.com/SeyCulturInst1 Facebook: https://www.facebook.com/seychellescultureinstitute Youtube: https://www.youtube.com/channel/UClajkLJcFZSZhhrS72_PSNA 31

Celebrating the Inscription of Moutya as a UNESCO Cultural heritage