Shula Ndiaye's major interview, the committed voice of Senegalese Afro-folk

A leading figure in Afro-folk and Afro-blues, singer-songwriter Shula Ndiaye proudly carries the voice of Senegal and her Rufisque roots. On the eve of her ambitious 2027-2029 World Tour and her selection as one of the continent's five cultural ambassadors in Europe, she reflects in this exclusive interview on the vital need to archive our history, reinvent the traditional storytelling tree, and place art at the heart of civic development and peace.

Why did you title your album "SENEGAL JÀMM REKK"?

Shula Ndiaye: “SENEGAL JÀMM REKK” (Senegal, peace and nothing else) is a heartfelt appeal, an act of civic faith, and a collective prayer. Senegal is going through a pivotal period where the aspirations of our youth are immense and social equilibrium is under strain. Peace ( Jàmm ) is not a passive concept; in Wolof, it is a living structure, a pact of solidarity and mutual respect. It is a dynamic that is created daily. This project is a comprehensive 11-track collection, including the eponymous EP SENEGAL JÀMM REKK , accompanied by three standout singles: the highly anticipated remix of Jàmmi Reew , the unifying anthem Fa Didi Fa Jàmm , and the ode to social vigilance, Ana Bayla . Through this work, I wanted to remind everyone that our most precious asset and the foundation of all prosperity remains national unity.

What message do you wish to convey through the intersection of Afro-folk acoustics, traditional arrangements and contemporary poetry, particularly to young people?

This fusion expresses a deep conviction: Africa does not need to deny its roots to touch the universal. The open-tuning acoustic guitar engages in a dialogue with the noble strings of the traditional xalam or kora, the sacred polyrhythms of water ( Baawunaan ), and the poetic breath of the Wolof people. It is a rejection of commercial homogenization. Afro-folk acoustic music lays bare the spoken word, values ​​silences, and restores its spiritual weight to language. It is an invitation to slow down, to reconnect with what is essential, and to recognize the unsuspected modernity of our ancestral memories. I encourage young people to listen to their elders, to collect the stories of our grandmothers, and to study our rhythms and sounds. If we do not archive our own memory, others will come and extract it and sell it back to us in a distorted form.

Explain to us the concept of "Acoustic Palaver"...

The traditional African Palaver Tree is the most beautiful democratic and peaceful institution our ancestors bequeathed to us: an ingenious social mechanism that demonstrated how social cohesion was preserved through education and human relationships within our traditional societies. "Acoustic Palaver" is the stage and civic reinvention of this space. It is not a frontal concert where the artist performs before a passive audience; it is an open circle where acoustic sound, oral storytelling, social questions, and shared moments of reflection become a living laboratory for the peaceful resolution of tensions.

Your academic background at the Faculty of Arts at UCAD has opened the door to heritage research. What message do you have for young talents about the importance of education?

My time at UCAD studying Anglophone Studies and Comparative Literature formed the intellectual framework of my entire career. I solemnly say to young people and young artists: raw talent is a divine gift, but education is what forges your sovereignty. Studies give you the methodological tools to analyze discourse, decipher contracts, archive your creations, and resist cultural alienation. An educated artist is a free spirit who knows where they come from and where they are leading their people. Never separate the pen from the guitar!

What are your feelings about being one of the 5 cultural actors selected in Africa to represent the continent at the Symposium and Studio Labs in Europe?

It is an immense honor and a great responsibility to participate in the prestigious International Symposium and Studio Labs of Excellence, "Ancestral Futurities," at Tanzquartier Wien, Austria. This selection recognizes the universal reach of our sound research and proves that the indigenous knowledge of Rufisque and Senegal engages in dialogue on equal footing with the most demanding global academic and artistic institutions. My feelings are a mixture of profound gratitude and republican pride. I go there as an ambassador for my homeland and my continent to share and demonstrate the philosophical modernity of our intangible heritage.

You have worked alongside great figures like Ouza Diallo and Youssou Ndour. How important is it for an artist to be around these experienced voices?

It's a true springboard, rich in lessons about professional rigor, but also a formidable school of life. Starting out very young alongside Father Ouza Diallo in Yaye Amy , then joining the Super Étoile choir with Youssou Ndour at the height of his creativity, was the most formative of conservatories. Alongside them, one learns absolute respect for the audience, a strong work ethic, and the sense of social responsibility that the status of artist demands.

In 2017, you were awarded the Women's Leadership and Entrepreneurship Award (JEADER / UN Women). Your album will include the track "Jàmmi Jigeen Fepp". How do you analyze the status of women in Africa and in Senegal?

Women are the moral, economic, and spiritual backbone of our nation. In Jàmmi Jigeen Fepp , I sing of peace for all women, for they are the ones who bear the burden of crises while keeping our families afloat. From our fish-processing mothers in Rufisque and Bargny who brave the sea, to the entrepreneurs and intellectuals who build the economy, African women do not ask for charity: they demand institutional recognition of their leadership and equitable access to decision-making power to continue transforming society.

What fight are you waging to change things, and what appeal are you making to the authorities?

Through my company, SME SUARL, I am fighting for the professionalization of cultural sectors and access to viable economic opportunities for young creators. Starting in September 2027, we will launch music production and distribution projects to support them, thanks to American and British partners, as well as on the ground through our "UBUNTU: Art Takes Action" movement. Creators are the primary ambassadors of our regions' cultural influence, but they often face a critical lack of logistical and financial support. Our authorities should implement sustainable and responsive mechanisms to support this cultural diplomacy. Supporting artists is not a burden, but an investment in the future for the attractiveness of our regions.

What activities do you carry out in Rufisque and what does the World Tour consist of?

Rufisque is the headquarters of my company, SME SUARL: it is the root, the sanctuary of inspiration, and the beating heart of all my work. We are preparing the official launch of the Palabre Acoustique World Tour 2027–2029 , which will begin in February 2027 in Rufisque with a large-scale, popular inaugural concert on the TER Esplanade, before touring stages around the world. This will be followed by the launch of the "UBUNTU: ART TAKES ACTION" program in Dangou Nord and with 400 farmers from Rufisque, through an agro-ecological and artistic project (Eco-Art) focused on preserving arable land, reforestation, and food sovereignty, coupled with public health initiatives and support for women fish processors. We will continue with the "Talking Tree" masterclasses (musical initiation, traditional singing, sound archaeology, and filmmaking) to allow young people to reclaim our oral history and train in technical professions. Finally, in 2028, we will organize the biennial international and itinerant festival Afrika Cà Kanam in Rufisque , to foster international connections in our region, strengthen its cultural appeal, and pass on this knowledge to younger generations.