In the early 1960s, in a context where the Malian youth remains very mobile against the will of the new state, the musical production of Kar Kar highlights the stark contrast between the popular success of the singer and his speech on the status quo. Furthermore, the reappropriation of Bamana repertoire and "modern" musical forms (yeye, jazz, rock), this success is due to a speech simultaneously rewarding faith in the future of the country and the old social and family values​​, and revisited. From the analysis of a corpus of songs of Kar Kar whose career will be highlighted and colonial and post-colonial archives, the aim of this paper is to analyze the Bamana vocabulary of migration over the years 1960 and discuss inheritance in current perceptions Mali.