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Alhaji (Dr) Mamman Shata Daura〔Shata: Mahadi Mai Dogon Zamani, by Ibrahim Sheme, Yusuf Tijjani Albasu, Aliyu Ibrahim Kankara, and Ali Malami; Informart Publishers Ltd., Kaduna, 2006〕 (born in 1923 in Musawa, Katsina State, Nigeria, died on 18 June 1999) was a Nigerian singer.〔Warren L. D'Azevedo, ''The Traditional artist in African societies'', 1973, p148, "A very famous singer, Alhaji Muhamman Shata, uses hand motions to signal to his drummers the rhythms he desires while in the midst of composing new lyrics in an impromptu fashion."〕〔The New Grove dictionary of music and musicians 8, p312 Sir George Grove, Stanley Sadie, 1980〕〔African urban notes Michigan State University. African Studies Center, California. University, Los Angeles. African Studies Center, University of Wisconsin--Milwaukee. Department of Political Science, 1970, 5-6 p23, "Similarly, I have been informed (by J. Michael Armer) that during the period of riots in Northern Nigeria in 1966, the great popular singer Alhaji Muhamman Shata composed and sang songs urging the people to keep calm."〕〔''World music: the rough guide'', Simon Broughton, Kim Burton, 1994 "Muhamman Shata is always accompanied by a troupe of virtuoso drummers who play kalangu, small talking drums."〕〔Glossary of Hausa music and its social contexts, David W. Ames, Anthony V. King, 1971 p25〕 He was a well-known Hausa griot/musician among the Hausa people of West and North-east Africa. His vocals were often accompanied by talking drums, known as kalangu. He performed for the Hausa people of Northern Nigeria for more than half a century. ==Early life== He went to an Islamic school as a boy, according to Hausa Muslim tradition. Musawa village was under the Katsina Native Authority (N.A.) when Shata was born. When the Local Governments were created it came under Kankia Local Government. Today, Musawa is a Local Government of its own. Shata's father, Ibrahim Yaro, did not want him to become a musician due to widely held belief of those days that music or praise-singing was a form of 'roko' or begging. His father being of the Fulani ethnic stock, the young Shata was expected to become a farmer — a more dignified occupation. Shata's insistence on becoming a musician was therefore seen as a rebellion against the norm. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Mamman Shata」の詳細全文を読む スポンサード リンク
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