Born on March 22nd, 1974 in Koumantou in the Cercle (District) of Bougouni, Batoma from her true name Kinzé DIALLO is from the Fulani ethnic group. From a farmer father and housewife mother, she was not lucky enough to go to school which was made up for by a close education by her mother Dagatio KONE. It is difficult to talk about the artist "Batos" the name she prefers to be called by without referring to her mother. In fact, this brave lady is and remains a singer who is and continues to be the celebrity of the music from her area; a music lagging behind for a long time but containing true unexplored potentialities. Coming back to our artist, Batoma grew up in the shadow of her Mum on the public place during the "BARRY" (very loved folklore of the area) sessions as well as those of "GUITA" and" BOTI". Thus she learned and learned well for before reaching the age of ten she participated as a soloist to in the artistic group of Koumantou in Bougouni in 1987-88 and 1989. Unfortunately, she had to stop that career barely starting for music is rather a hobby than an employment. However, in spite her young age, she was so tenacious that she tried to organize her age mates to sing and in the moon light and above all to accompany the different folklores. That is how she came to her brother in law’s at the request of the arranger, violinist Aliou Traore teacher at the Institut National des Arts (National Institute of Arts). From that time she started long sessions of listening then rehearsal in order to compose the master copy of the album which will constitute her first release. Mainly draw from the folklore of Koumantou with rhythmic variations to give a national even international dimension. There are seven songs developing themes such as gratitude, commitment to the mother land or other themes praising women who are the triggers of development. The songs are accompanied mainly by the violin, N’goni, and the balafon.

The Titles
BAGNONGO: (or woman jealousy) Here it is a critique of women’s sterile jealousy that often leads to unnecessary boasting scenes.

DENI WILI KA DONKE: (get up and dance) is an invitation to all to dancing. Through this invitation the artist claims her sense of belonging and lives her Malian citizenship. She also claims to be ready to accompany her compatriots wherever they go to be their spokesperson.

NE SIRANNA JEN YE: (I worry about the World) here the artist develops the topic of human nature inconsistency. The human being appears to be an unknown. While developing this philosophy she is acknowledging a man who is always ready to help her whenever she is facing problems or feels abandoned.
FASO DEN KULU: (all compatriots) is an invitation to develop the Malian nation in order to promote better future since a foreign country can never be the substitute of the homeland.

SAJURULE: (or the parasite) a prayer for anyone not to be dependant, therefore, an acknowledgement of the implicit cruel nature of death, the only thing that provokes dependence.

KALANBAGA: (the Teacher) a dedication to the arranger Aliou TRAORE and all the instrumentalists who contributed to realize this album.

DENWOLOMUSOW: (mothers) an invitation to ban malicious gossip, verbal attacks in the back of someone and prejudice, all being vices favoring the deterioration of human relationships.

As we can see, Batoma keeps away from “Griotism” to provide practical advice. In her conception of the world, she is convinced that “good deed never goes amiss” and human being does not need evil to live.