20 Drissa wondered if Dramane had mistakenly claimed that the man in the pit was a I dozo i since Drissa recalls hearing an earlier version of the story in which Dramane did not identify the man as one. Because Drissa had been listening to Dramane's songs for some fifteen years by the time that he, Dramane, and I began collaborating, Drissa could transcribe and translate Dramane's words better than anyone else. Dramane and I dozo i s inscribed Dramane's song in the embodied, emplaced, material, and performative (Vásquez 2011) aspects of their I kozi i to maintain what Gadamer (2013) would have called a "tradition" and which I prefer to call, as Dramane would, I dozoya i . Dramane, in turn, became my I sababu i vis-à-vis other I dozo i s. I soon noticed how important I sababuya i , or I sababu i -ness, was to I dozo i s. Working with I dozo i s required ever new demonstrations of trustworthiness, best brokered through a mutual acquaintance, at each step along the way of my encounters with them, a I dozo i expectation reflected in Dramane's song texts (see below and Hellweg 2009, 2011, 2019). [Extracted from the article]