Conversation and Collective E xpression in West African M usics Chapter 10 Akan Proverb The River and the Path The river crosses the path the path crosses the river ID: 815298
Download The PPT/PDF document "The R iver and the Path" is the property of its rightful owner. Permission is granted to download and print the materials on this web site for personal, non-commercial use only, and to display it on your personal computer provided you do not modify the materials and that you retain all copyright notices contained in the materials. By downloading content from our website, you accept the terms of this agreement.
Slide1
The River and the Path: Conversation and Collective Expression in West African Musics
Chapter 10
Slide2Akan Proverb: “The River and the Path”The river crosses the path,the path crosses the river, who is elder?The river crosses the path,the path crosses the river, who
is elder
?
The path was cut to meet the river
,
the river is of old
,
the river comes from “
Odomankoma
” the Creator.
Slide3Drum SpeechAkan Drum Proverb [PL 10-1]Recited in Twi, which is a tonal languageMeaning of a word determined “not just by the actual sounds of its syllables, but also by the specific patterns of pitch, rhythm, and timbral inflection with which it is articulated.”“
a-
kon
-TA”
= brother-in-law; a-KON-ta = mathematics
Atumpan
Drums capable
of
literally speaking in Twi
Call-and-response (imitative) between voice,
atumpan
as they alternately recite lines of the proverb
Proverb highly metaphorical:
“Just
as the path must meet the river, the Akan must cut their own paths toward communion with the sources of their creation: divine, ancestral, familial, and natural. They also must aim to follow their individual pathways toward intersection with one another and mutual support
.” (p. 201)
Slide4Meaning of the Proverb, Focus of the Chapter“Metaphorically, the artistry of West African music explored in this chapter is the meeting of the path and the river. Like the river, it flows to the pulse of many different rhythms, timbres, and layers that on first impression may suggest little sense of coherence (that is, to the non-African listener). But ultimately, the multidimensional musical flow reveals itself as an integrated collective of individual ‘voices’ that are unified by shared values and a communal sense of purpose.” (p. 202)Thus,
polyvocality
is a thematic focus of the chapter, which surveys a range of African
musics
, but focuses mainly on selected traditions of West Africa, with particular focus on the
kora
, an instrument of the Mande people.
Slide5African Musics in ContextAncient and modern traditions, extraordinary diversityAfrican popular music stars: Angélique Kidjo, Salif Keita, Fela
Anikulapo
Kuti
,
Miriam Makeba, Thomas
Mapfumo
,
Youssou
N’Dour
South African
isicathamiya
group Ladysmith
Black
Mambazo
With Paul Simon,
“Diamonds on the Soles of Her Shoes,”
from
Graceland
(1986) [PL 10-2]
Performing “
Unomathemba
,” from Grammy-winning 1987 album
Shaka
Zulu
[PL 10-3]
Note distinctive “clicking” sounds, which are part of the Zulu language
Slide6The African Continent, Sub-Saharan Africa, and the African DiasporaRegionsSaharan North Africa (Egypt, Libya, Tunisia, Algeria, Morocco, etc.)Horn of Africa (Ethiopia, Somalia, etc.)Sub-Saharan AfricaWest Africa (Ghana, Benin, Mali, Senegal, Gambia, Guinea, Guinea-Bissau, Nigeria, Togo). Our primary focus.
The eastern, southern, and central regions of the continent also host rich musical traditions
African diaspora
Euro-American slave trade
Gave rise to musical traditions including ragtime
, blues, jazz, rhythm-and-blues, soul, rock-and-roll, rap, hip-hop, salsa, Cuban son, Puerto Rican
bomba
, Trinidadian steel band, Jamaican reggae, Brazilian
samba (several of which we will return to in Chapter 11)
Mutual feedback loop historically and still today between the musical cultures of Mother Africa and global African diasporic communities
Slide7Music, Culture, and History in Sub-Saharan AfricaPre-colonial kingdoms Mande, Ghana, Songhay, Dahomey, Buganda 15th centuryForeign intervention, eventual foreign domination (colonization)
17th-19
th
centuries
Slave trade
African diaspora
– United States, Caribbean (Cuba, Jamaica, Trinidad, Puerto Rico), South America (Brazil)
Post-WWII
Nationalism movements,
independent
African nations
(
Ghana first in 1957
),
globalization
N
ew
musical developments
related to all of these phenomena
Example: “
Ingculaza
(AIDS),” by
Dumisani
“
Ramadu
”
Moyo
[PL 10-4] (see p. 205)
Religious practice
Traditional African religions
, Christianity, Islam, religious
syncretism
Importance
of paying homage
key
in much religious practice (reflected in music)
Slide8Fontomfrom: An Akan Royal Drum EnsembleMost African music is not drumming-centered, but we explore one more drumming-based pieced before moving to other types of traditions: Fontomfrom, a royal drum ensemble music of the Akan.The ensemble and its music important symbols of the power and legitimacy of the Akan chief that owns the instruments. Chief may dance to Fontomfrom accompaniment (aides monitor the chief while dancing to ensure he does not fall – sign of weakness, vulnerability)
Fontomfrom
may be played from both a stationary position and
processionally
.
“In
its totality, this music is far more than just a drumming piece. It is a multipart conversation spoken in percussive tones, and beyond that it is a musical model of idealized social interaction among members of Akan society
.” (p. 210)
Slide9Musical Guided Tour: “Instruments and Basic Rhythmic Patterns in Fontomfrom Music”Access at Online Learning Center (OLC): www. mhhe.com/bakan3eText transcript, pp. 207-08 (See also Fig. 10.1, bottom of p. 208)This tour introducesThe instruments of the ensembleDrums: from,
atumpan
,
eguankoba
Bell:
dawuro
The standard rhythmic patterns played on the different instruments
Of fundamental importance is the 12-beat
time-line
rhythm of the
dawuro
bell
Concepts of polyrhythm, call-and-response, and conversational elements in West African music
A
foundation for understanding and appreciating
the music’s complexity, “and
at least a rudimentary sense of how the principle of multipart musical conversation in West African music
works.”
Slide10GLE: “Fontomfrom (Akan Royal Drum Ensemble Music)” [PL 10-5], Pt.1 0:00–0:32Lead drummer signals beginning of performance with rhythms played on the from.Dawuro (iron bell) joins the from at 0:02, playing standard time-line rhythm (though with first note “missing” first time through the pattern).
The other drums (
atumpan
,
eguankoba
) enter at 0:08, joining the
from
and dawuro and initiating a section of great polyrhythmic complexity.
At 0:27, the rhythms of the different drum parts become more clearly synchronized and pattern-based
.
0:33–0:47
Section featuring call-and-response musical dialogue between the
from
and the
atumpan
.
Slide11GLE: “Fontomfrom,” Pt. 20:48–1:02Full ensemble.Texture features layered ostinatos with variations.1:03–1:32A second passage of call-and-response dialogue between the from and the atumpan.
1:33–end
Layered ostinato texture with variations is initially reestablished, after which the texture continues to alternate between full ensemble passages and sections of
from
-
atumpan
call-and-response. The
dawuro
bell pattern continues throughout.
Slide12Musical AfricanismsComplex polyphonic textures [PL 10-6] (E. T. Mensah) Layered ostinatos with varied repetition [PL 10-7] (King Sunny Adé) Conversational element [PL 10-8] (Mahlatini and the Mahotella Queens)
Improvisation
[PL 10-9] (
Boubacor
Traoré
)
Timbral variety [PL 10-10]
“
B
uzzing” timbre of mbira
dzavadzimu
Slide13More than Drumming: African Musical DiversityBefore moving our focus specifically to the kora, here are just a few of thousands of possible examples of non-drumming-based African music:Central African BaMbuti vocal polyphony [PL 10-11]Timbila xylophone orchestra of the Chopi people, Mozambique [PL 10-12]
Mmensoun
animal horn
aerophones
of Ghana [PL 10-13]
Nkokwane
musical bow of the
Qwii people, Southern Africa [PL 10-14]
Music played on the Ugandan
endongo
(note “buzzing” timbre) [PL 10-15]
Slide14The Kora and Its Musicultural WorldConstruction of kora (see labeled diagram, p. 213)21-string spike harp chordophoneStraight wooden neck, calabash resonator, soundholeHigh bridgeTwo handgripsTwo parallel rows of nylon strings
(traditionally antelope hide)
Rawhide tuning collars
Cowhide face
Demonstration of kora
by
Toumani
Diabaté
Kora performance by
Toumani
Diabaté
[PL 10-16]
Slide15Mande History and CultureMandeManinka: Mali and GuineaMandenka: Senegal and Gambia (Senegambia)Mande languages (many languages, dialects) Mande Empire (Mali Empire) Sunjata Keita, 13th century
Keita = royal family surname
European colonization of Mande lands
Senegal
, Mali, Guinea (
French)
Gambia
(
British/English language)
Guinea-Bissau
(Portuguese)
Slide16The Jeli and the Art of JeliyaJeli classified as a type of griot (praise singer/musician)Plural: jeliluFemale: jelimuso (pl.
jelimusolu
) – sing, don’t usually play instruments
Most famous
jelimuso
is the singer
Kandia
Kouyaté
[PL 10-17]
Jeliya
repertoire – praise songs-based
Jeli
and the
jeliya
tradition date back to time of
Sunjata
(13
th
century)
Kora
one of several instruments associated with
jeli
and the musical arts of
jeliya
Others include the
bala
(balafon
) [PL 10-18]
and
koni
(
ngoni
) [PL 10-19]
Herditary jeli families: Kouyaté, Diabaté, Sissoko (Cissokho)
Slide17Salif Keita and Seckou Keita Traditionally, descendants of the royal Keita family were forbidden from playing music professionally. Still problematic, but some Keitas have “broken rank” to pursue musical careersMalian pop star and national icon Salif Keita [PL 10-20] (photo, p. 217)Singer/percussionist [PL 10-21] and kora player Seckou
Keita (photo, p. 217)
In his song “
Sabu
Ngima
” (Good Help) [PL 10-22],
Seckou Keita proclaims:
“It
is not today that I have decided to be a musician and to sing. It is the luck of being born into the Griot [
jeli
] tradition through my mum’s family, the
Cissokho
[
Sissoko
]. Oh mum! Oh dad! I am not shy to sing and play the
kora.
My
mum and my dad like it. They agree that I am lucky to have this gift from God. Love has united my mum and dad despite the traditions [of social class exclusivity in marriage]. These traditions also do not allow a king such as somebody from the
Keitas
to become a musician, a griot. My grandfather always said to me, “If you leave well, you will arrive well.” Everyone has luck from somewhere
.”
Slide18GLE: Seckou Keita, “Dounuya” [PL 10-23] Solo voice and koraThree main types of texture:Kumbengo (accompaniment) – 0:10-0:23Birimintingo (solo improvisation) – 1: 41-2: 14Sataro (declamatory vocalization) – 2:15-2:56
Word painting, e.g.,
hammerlike
chords at 1:28 under “Why should we choose the
bad?”
Key moral message of
song
I
mprove
our relationships (with each other, God,
etc.);
symbolized in both the song
text
and the kora part
Slide19Guided Listening Quick Summary, “Dounuya,” Pt. 10:00–0:09Solo kora introduction featuring short (staccato) notes and syncopated rhythms.0:10–0:23Solo kora continues, but now the playing style is kumbengo.Flowing, layered ostinato texture and interwoven kora lines in the low, middle, and high registers of the instrument.
Ostinato patterns are varied each time they recur
.
0:24–0:29
Keita breaks from the
kumbengo
style momentarily at 0:24 to play a virtuosic,
birimintingo
flourish; this anticipates the arrival of the sung verse to follow
.
0:30–1:08
First verse of “
Dounuya
” song, sung by Keita as his kora playing now becomes the accompaniment; section concludes with a second
birimintingo
passage at 1:03
.
1:09–1:40
Second sung verse of “
Dounuya
” song (new text, varied melody).
Slide20Guided Listening Quick Summary, “Dounuya,” Pt. 2At 1:28, hammerlike chords in the kora’s high register heighten the musical drama when the important line “Why should we choose the bad [when the good is there for us to choose]?” is sung.1:41–2:14This section once again features the kora alone (solo); no singing.
Texture highlights occasional
birimintingo
passages over continuing
kumbengo
accompaniment.
Interesting call-and-response dialogue between middle- and upper-range kora “voices” beginning at 2:02
.
2:15–2:56
Keita now returns as vocalist, but performing in
sataro
style rather than singing as he did before
.
2:57–end
Final vocal refrain on the line “Why should we choose the bad?” once again enhanced by
hammerlike
chords in the upper register of the kora.
Slide21GLE: Toumani Diabaté and Taj Mahal, “Atlanta Kaira” [PL 10-24] From album KulanjanCollaboration between blues/world music guitarist Taj Mahal and kora virtuoso Toumani Diabaté
,
plus “all-star” band of
jelilu
including:
Bassekou
Kouyaté
(“
bass”
koni
on “Atlanta
Kaira
”)
B
allaké
Sissoko
(
kora)
Kassé-Mady
Diabaté
*
(male vocalist
) [*Note: Great HD video, with close-up shots of
koni
,
bala
as well]
Lasana
Diabaté
(
bala)Ramatou Diakité (female vocalist) Taj Mahal
F
ound inspiration on both sides of the Atlantic, hearing a connection between the guitar styles of old-style American bluesmen like Jesse Fuller [PL 10-25] and contemporary Malian musicians like Ali
Farka
Touré
[PL 10-26].
Video of duet, Ali
Farka
Touré
and
Toumani
Diabaté
“Catfish Blues” [PL 10-27], also on the
Kulanjan
album, represents its more blues-oriented side
Toumani
Diabaté
Son of kora legend and Malian national hero
Sidiki
Diabaté
(original “
Kaira
” [PL 10-28] ; means “peace”)
One of the leading kora players
of his generation
Slide22Key Musical Features, “Atlanta Kaira”Sauta modeOne of four principal modes in Mande musicF G A B C D E (F) [note “Lydian” raised fourth] As in “Dounuya”: complex polyphonic texture (layered ostinatos, varied repetition, improvisation)
Kumbengo
,
birimintingo
,
sataro
“Conversational” elementsRich
timbral
variety
Slide23Guided Listening Quick Summary, “Atlanta Kaira,” Pt. 1SOLO KORA INTRODUCTION (TOUMANI)0:00–0:41Played in the sauta mode.Good illustration of the musical range of the instrument and of Toumani
Diabaté
’s
virtuosity.
ENSEMBLE
INTRODUCTION TO “KAIRA” SONG
0:42–0:52
Instrumentation: two koras,
bala
,
koni
, and guitar.
Eight-beat cycle established; texture features layered ostinatos with variations
.
“KAIRA” SONG
0:53–1:28
The two singers,
Kassé-Mady
Diabaté
(man) and
Ramatou
Diakité
(woman), enter the texture and sing “
Kaira
” song.
Melody highly ornamented in characteristic
jeliya
style.
Kumbengo
accompaniment provided by instrumental ensemble
.
Slide24Guided Listening Quick Summary, “Atlanta Kaira,” Pt. 2FIRST SATARO SECTION1:29–2:50Text pays homage to Sidiki Diabaté.Dramatic, almost speechlike vocal delivery by
Kassé-Mady
Diabaté
.
Musical dialogue between vocal
part (
Kassé-Mady)
and
birimintingo
passages on kora (
Toumani
).
IMPROVISED
KONI SOLO
2:51–3:32
No singing.
Koni
player (
Bassekou
Kouyaté
) breaks away from “bass line”
kumbengo
to play an improvised solo.
The solo has a blues-like character in some parts
.
SECOND SATARO SECTION
3:33–4:21
Kassé-Mady’s
vocals again featured here.
Similar to earlier
sataro
section.
Slide25Guided Listening Quick Summary, “Atlanta Kaira,” Pt. 3“KAIRA” SONG, SECOND STATEMENT4:22–endSung as before by Kassé-Mady and Ramatou
with instrumental ensemble accompaniment.
Slide26Angélique Kidjo: The Diva from BeninKidjo, according to the Rough Guide to world music, “has done more to popularise African music than any other woman” Winner of numerous awards, including the Grammy Award for best world music album for Eve
(2014)
Album was inspired partially by her experiences as UNESCO goodwill
ambassador
Earlier albums included a trilogy of
Oremi
, Black Ivory Soul,
and
Oyaya
!
, which explored African diasporic
syncretisms
of R&B, Brazilian, and Caribbean
musics
, respectively
Born in
1960 in
Ouidah
, Benin, to artistic
family
French the official
language of Benin,
but
Kidjo
sings most of her songs in her native language,
Fon
Moved to Paris
and became a world
beat
star there
Breakthrough album was
Aye
, opening track of which was
“
Agolo
”
(1994)
First
internation
hit album was
Fifa
(1996), which included catchy tracks like
“
Wombo
Lombo
”
and featured several guest artists including Carlos Santana [on PL 10-29]
Slide27GLE: Angélique Kidjo, “Okan Bale” [PL 10-30]From the album Black Ivory SoulPop balladProduced by Jean Hebrail, Kidjo’s French producer/husband
Lyrics:
“I
know where I come from. From you, my family. Let me take a moment to thank you because you bring me joy and strength. If my moves are full of blessings, it comes from you, my family
.”
Note growing prominence of the kora as the arrangement progresses, as well as the interaction between voice and kora.
Kora player is
Mamadou
Diabaté
, younger cousin of
Toumani
; based in New York, he has played with everyone from jazz trumpet great Donald Byrd to Zimbabwean pop legend Thomas
Mapfumo
[PL 10-31]
Slide28Guided Listening Quick Summary, “Okan Bale,” Pt. 1INTRODUCTION0:00–0:35Ethereal synthesizer tones, acoustic guitar, electric bass (playing harmonics), harmonized voices (all Kidjo’s, overdubbed).From 0:24–0:32,
Mamadou
Diabaté
plays kora solo in
birimintingo
style.
FIRST VERSE (VERSE I)
0:36–0:57
Sung by
Kidjo
.
Acoustic guitar is the main accompanying instrument; kora is largely absent
.
FIRST BRIDGE SECTION (BRIDGE I)
0:58–1:18
Different chord progression; guitar shifts to mainly staccato articulations.
Brief kora
birimintingo
at 1:07–1:09 between vocal phrases
.
Slide29Guided Listening Quick Summary, “Okan Bale,” Pt. 2FIRST CHORUS (CHORUS I)1:19–1:51Dialogue between lead voice (Kidjo) and harmonized background vocals (also Kidjo, overdubbed).
Beautiful, lush chord progression (outlined largely by the background vocals).
Role of kora limited (no solo parts).
INTERLUDE
(“REPRISE” OF INTRODUCTION)
1:52–2:13
Solo kora (
birimintingo
) featured again.
Kora solo more extended and florid in style than in introduction
.
SECOND
VERSE (VERSE II)
2:14–2:35
Similar to first verse, but kora takes a more active role, weaving in and out of the lead vocal line with
birimintingo
flourishes.
Slide30Guided Listening Quick Summary, “Okan Bale,” Pt. 3SECOND BRIDGE SECTION (BRIDGE II)2:36–2:57Similar to first bridge section, but this time it is a kora birimintingo, rather than a guitar lead-in, that provides the transitional material leading into the chorus
.
SECOND CHORUS (CHORUS II)
2:58–end
Similar to first chorus, except that the kora is now much more active than before, inserting several
birimintingo
flourishes.