Sub-Saharan African Culture Essay
From the Maghrib down to Sub-Saharan Africa, many African cultures come together to establish the rich continent. Music from here has influenced many parts of the globe. Africans differentiate themselves according to various things such as gender, kinship, religion etc. African music’s preeminent function is to bring different tribes and sects into one Mudzimu, which simply means family.
Different music is used for different themes, depending on its classification. For instance, drama music might differ from poetic music. A whistling tune is common in African music. Keep in mind that music alters after people learn new things from different cultures. For example, African music involves European rhythmic patterns such as the duple meter, major scale, and harmony (Titon). Africa is also home to various different instruments, that have been brought into the continent from traders, sailors, merchants, etc. African music encourages togetherness for Africans all across the world. Intercultural learning and acceptance is vital in truly understanding a different culture.
Western Africa is home to a unique classification of …show more content…
people. The Ewe people reside in the nation-states of Ghana and Togo (Titon). These people had lived amongst several tribes such as Yoruba and the Fon. Family traditions include sharing rights and obligations. When the Ewe people were still living in Agokoli, they one day decided to escape. After a successful exit, they later became very tired and migrated and stopped traveling. Thus, they became known as “Anlo” which indicated being sore or tired. Ironically, these people are also known as being strong warriors. During the 1700’s as well as the 1800’s, conflicts arose with European merchants. Before going into battle, they would take a great oath called “atanmuga”. The Ewe believed in a supreme deity known as Mawu. It is said that other powers such as Se, unlike Mawu, do interact with various things in the world. Se is considered to possess God’s attributes of law, order, and harmony (Titon). According to the Ewe theory, before a spirit enters the fetus, it tells Se how the life will be on earth and how the life will conclude (Titon). I found it very intriguing that Ewe musicians can identify the ancestor whose spirit is inside them. When an Ewe passes away, it is believed that they will now become an ancestral spirit or guardian angel. Reincarnation is also a belief in Ewe tradition. Ewe drums include Kaganv, Kidi, Klobota, Totodzi, etc. Agbekor is a war drumming that the Ewe people have created. Hunters are said to hold powers that enable them to communicate and negotiate with animals for food, clothing, etc. Hunters claim that they have seen monkeys evolve into humans and play the drums. This laid out the foundation for the art of Agbekor. This is reason why performances with Agbekor are usually energetic and powerful. From a traditional standpoint, Agbekor was used to reveal the outcome of a war or to get ready for battle. Agbekor is translated in english to “clear life”. Once a battle concludes, the struggle is left behind and life is clear. it takes peace of mind to be able to learn Agbekor. One must listen for drumming patterns; they need to be aware of the all drumming sounds.”Listen to the bell” - is a very common phrase used by Ewe teachers (Titon). The axatse plays the role of sounding out the four-feel beats in Agbekor (Titon). The Kaganu takes care of the offbeats in between the four-feel beats. Evidently, Agbekor engages the listener as a motive for war. Adzo songs are without rhythm and contain references to wars or leaders. Individuals come together to conduct Agbekor. This points back to the ideal of having one joint mudzimu.
The Mande society originated in present day Mali. Mande was founded by Sunjata Keita. Mali musicians use a Kora which is described as as a 21-string bridge harp (Titon). Skilled artists are referred to as griots. To learn is to live in cities such as Timbuktu. Well-educated individuals would go on to become Muddah (praise singers). Keep in mind that Mande songs would often include praise for leaders. After 1600, the Mande empire witnessed a decline. The invasion of Moroccan expeditionary forces, the Atlantic Slave Trade, Islamic Jihads, and the British/French colonization weaken the structure of Mande (Titon). A Jaliya is a storyteller, guardian of history and mythology, counselor to royalty, and last but not least, an entertainer as well. They also played Koras’. I found it strange that descendants of the horon (freeborn) are still higher ranked in society than those who hail from a generation of slaves (jong). Jalis’ are high ranked persons in Mande society. The Jali received much respect from artists and singers (Titon). A Jali would learn an instrument through a single master. They would specialize in the Kora, Bali (xylophone), or Ngoni (guitar). (Titon) An important aspect in Mande society - speech, is referred to as Kuma. Storytelling is done by reestablishing characters and fusing together their words. Songs would often contain messages for the listener about being wise during their lifetime. When a performance is heavy on text, a Kora player would accompany the singer with Kumbengo, an instrument ostinato (Titon). A Kumbengo would create the tonal and metric framework of a piece (Titon).
The people of Dagbamba (or Dagomba) are considered to be Lunsi (plural for Luna).
Its nice to know that Lunsi are similar to Mande because a Luna is also a guardian of history and also an entertainer. The Lunsi culture was innovated in Dagbon (Kingdom of Dagbamba) (Titon). There are 2 types of drums that the Lunsi play. The gungon is cylindrical and has a snare on each of its two heads, while a Luna is made into an hourglass shape (Titon). Praise Name Dancers are called Salima. A famous Salima is called “Nag Biegu” which is translated in english to “ferocious wild bull” (Titon). This Salima is dedicated to Naa Abudu who served as a great leader for Dagbon during the late 1800’s. His most famous quote is ‘I am a dangerous wild bull. Kill me if you can.” (Titon) People from Dagbamba speak Dagbanali, which is a tonal
language.
The Shona consist of over 50 million Bantu-speaking Africans living in the central and southern parts of Africa. These people are skilled at playing a “thumb piano” known as Mbira. Chiefs and leaders of Shona are called Mhondoro. This indicates that they are educated perhaps in the field of civil engineering. Likewise with many other cultures, the Shona are also hunters and gatherers (agriculturally based people). When the Shona land was being colonized by the english speaking settlers, music helped the Shona cope with hardships. Traditional songs with hidden messages motivated these Africans to fight against the invaders on their sacred land. In Shona belief, there are 4 classes of spirits; Mhondoro(spirits of chiefs), Mudzimu (family members), Mashave (non relatives or animals), and the Muroyi (witches). (Titon) Mbira music serves as a way of enabling the living to interact with their ancestral spirits.
The BaAka people can be referred to as Forest people. They share environmental relations with the natural world. Their small shelters were made of leaves and could house several friends and family members. They were also hunters and gatherers; however, they would emphasize on only gathering healthy foods. Similar to our justice system, BaAka men and would express equal powers and obligations. Unfortunately after wars and unjustified colonization, the BaAka people have limited their original lifestyle. They now reside in nation-states as a result of anti-colonial wars (Titon). Music of the Forest People is pure and very peaceful. People of the Forest praise Egalitarianism, which involves cooperation, personal autonomy, argument negations, etc. They hold the Mabo Ceremony to restore balance in life, they consult with Ginda (acknowledgeable persons).
To conclude, Africans practice a sense of stability, helpfulness, and dignity. World music has evolved from Africa. Skillful drumming is a very cool asset that Africans have acquired. Even though that their are different types of Africans, ultimately they all come together to create the African Mudzimu.
Different music is used for different themes, depending on its classification. For instance, drama music might differ from poetic music. A whistling tune is common in African music. Keep in mind that music alters after people learn new things from different cultures. For example, African music involves European rhythmic patterns such as the duple meter, major scale, and harmony (Titon). Africa is also home to various different instruments, that have been brought into the continent from traders, sailors, merchants, etc. African music encourages togetherness for Africans all across the world. Intercultural learning and acceptance is vital in truly understanding a different culture.
Western Africa is home to a unique classification of …show more content…
people. The Ewe people reside in the nation-states of Ghana and Togo (Titon). These people had lived amongst several tribes such as Yoruba and the Fon. Family traditions include sharing rights and obligations. When the Ewe people were still living in Agokoli, they one day decided to escape. After a successful exit, they later became very tired and migrated and stopped traveling. Thus, they became known as “Anlo” which indicated being sore or tired. Ironically, these people are also known as being strong warriors. During the 1700’s as well as the 1800’s, conflicts arose with European merchants. Before going into battle, they would take a great oath called “atanmuga”. The Ewe believed in a supreme deity known as Mawu. It is said that other powers such as Se, unlike Mawu, do interact with various things in the world. Se is considered to possess God’s attributes of law, order, and harmony (Titon). According to the Ewe theory, before a spirit enters the fetus, it tells Se how the life will be on earth and how the life will conclude (Titon). I found it very intriguing that Ewe musicians can identify the ancestor whose spirit is inside them. When an Ewe passes away, it is believed that they will now become an ancestral spirit or guardian angel. Reincarnation is also a belief in Ewe tradition. Ewe drums include Kaganv, Kidi, Klobota, Totodzi, etc. Agbekor is a war drumming that the Ewe people have created. Hunters are said to hold powers that enable them to communicate and negotiate with animals for food, clothing, etc. Hunters claim that they have seen monkeys evolve into humans and play the drums. This laid out the foundation for the art of Agbekor. This is reason why performances with Agbekor are usually energetic and powerful. From a traditional standpoint, Agbekor was used to reveal the outcome of a war or to get ready for battle. Agbekor is translated in english to “clear life”. Once a battle concludes, the struggle is left behind and life is clear. it takes peace of mind to be able to learn Agbekor. One must listen for drumming patterns; they need to be aware of the all drumming sounds.”Listen to the bell” - is a very common phrase used by Ewe teachers (Titon). The axatse plays the role of sounding out the four-feel beats in Agbekor (Titon). The Kaganu takes care of the offbeats in between the four-feel beats. Evidently, Agbekor engages the listener as a motive for war. Adzo songs are without rhythm and contain references to wars or leaders. Individuals come together to conduct Agbekor. This points back to the ideal of having one joint mudzimu.
The Mande society originated in present day Mali. Mande was founded by Sunjata Keita. Mali musicians use a Kora which is described as as a 21-string bridge harp (Titon). Skilled artists are referred to as griots. To learn is to live in cities such as Timbuktu. Well-educated individuals would go on to become Muddah (praise singers). Keep in mind that Mande songs would often include praise for leaders. After 1600, the Mande empire witnessed a decline. The invasion of Moroccan expeditionary forces, the Atlantic Slave Trade, Islamic Jihads, and the British/French colonization weaken the structure of Mande (Titon). A Jaliya is a storyteller, guardian of history and mythology, counselor to royalty, and last but not least, an entertainer as well. They also played Koras’. I found it strange that descendants of the horon (freeborn) are still higher ranked in society than those who hail from a generation of slaves (jong). Jalis’ are high ranked persons in Mande society. The Jali received much respect from artists and singers (Titon). A Jali would learn an instrument through a single master. They would specialize in the Kora, Bali (xylophone), or Ngoni (guitar). (Titon) An important aspect in Mande society - speech, is referred to as Kuma. Storytelling is done by reestablishing characters and fusing together their words. Songs would often contain messages for the listener about being wise during their lifetime. When a performance is heavy on text, a Kora player would accompany the singer with Kumbengo, an instrument ostinato (Titon). A Kumbengo would create the tonal and metric framework of a piece (Titon).
The people of Dagbamba (or Dagomba) are considered to be Lunsi (plural for Luna).
Its nice to know that Lunsi are similar to Mande because a Luna is also a guardian of history and also an entertainer. The Lunsi culture was innovated in Dagbon (Kingdom of Dagbamba) (Titon). There are 2 types of drums that the Lunsi play. The gungon is cylindrical and has a snare on each of its two heads, while a Luna is made into an hourglass shape (Titon). Praise Name Dancers are called Salima. A famous Salima is called “Nag Biegu” which is translated in english to “ferocious wild bull” (Titon). This Salima is dedicated to Naa Abudu who served as a great leader for Dagbon during the late 1800’s. His most famous quote is ‘I am a dangerous wild bull. Kill me if you can.” (Titon) People from Dagbamba speak Dagbanali, which is a tonal
language.
The Shona consist of over 50 million Bantu-speaking Africans living in the central and southern parts of Africa. These people are skilled at playing a “thumb piano” known as Mbira. Chiefs and leaders of Shona are called Mhondoro. This indicates that they are educated perhaps in the field of civil engineering. Likewise with many other cultures, the Shona are also hunters and gatherers (agriculturally based people). When the Shona land was being colonized by the english speaking settlers, music helped the Shona cope with hardships. Traditional songs with hidden messages motivated these Africans to fight against the invaders on their sacred land. In Shona belief, there are 4 classes of spirits; Mhondoro(spirits of chiefs), Mudzimu (family members), Mashave (non relatives or animals), and the Muroyi (witches). (Titon) Mbira music serves as a way of enabling the living to interact with their ancestral spirits.
The BaAka people can be referred to as Forest people. They share environmental relations with the natural world. Their small shelters were made of leaves and could house several friends and family members. They were also hunters and gatherers; however, they would emphasize on only gathering healthy foods. Similar to our justice system, BaAka men and would express equal powers and obligations. Unfortunately after wars and unjustified colonization, the BaAka people have limited their original lifestyle. They now reside in nation-states as a result of anti-colonial wars (Titon). Music of the Forest People is pure and very peaceful. People of the Forest praise Egalitarianism, which involves cooperation, personal autonomy, argument negations, etc. They hold the Mabo Ceremony to restore balance in life, they consult with Ginda (acknowledgeable persons).
To conclude, Africans practice a sense of stability, helpfulness, and dignity. World music has evolved from Africa. Skillful drumming is a very cool asset that Africans have acquired. Even though that their are different types of Africans, ultimately they all come together to create the African Mudzimu.