Music of Niger
| Music of Niger | |
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| Genres | |
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| Regional music | |
The music of Niger has developed from the musical traditions of a mix of ethnic groups; Hausa, the Zarma Songhai people, Tuareg, Fula Kanuri, Toubou, Diffa Arabs and Gurma.
Most traditions existed quite independently in French West Africa but have begun to form a mixture of styles since the 1960s. While Niger's popular music has had little international attention (in comparison with the music of neighbors Mali or Nigeria), traditional and new musical styles have flourished since the end of the 1980s.
The Hausa, who make up over half of the country's population, use the duma for percussion and the molo (a lute) in their Griot traditions, along with the Ganga, alghaïta (shawm) and kakaki (trumpet) for martial, state, and ceremonial occasions. These uses are typified by the ceremonial usage of large trumpets to mark the authority of the Sultanate of Damagaram in the southeast Zinder area (see Hausa music).
Over 20% of Niger's population are Zarma people, while the Tuareg and Fulani both number around a million in the early 21st century, somewhat less than 10% each. The Kanuri are just over 4% while the Toubou, Diffa and Gurma are all small populations of less than a half percent each.
The Zarma inhabit the region around the capital, Niamey. They play, generally solo, a variety of lutes (xalam or molo), flutes and fiddles and, like the Fula, carry on the griot tradition of caste-based praise singers and musicians. Songhai traditional music was the topic of extensive study in the late colonial and early independence period.
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