What Is the Purpose in the Warrior Drummer African Art

Ewe drumming refers to the drumming ensembles of the Ewe people of Ghana, Togo, and Republic of benin. The Ewe are known for their experience in drumming throughout West Africa. The sophisticated cross rhythms and polyrhythms in Ewe drumming are like to those in Afro-Caribbean music and belatedly jazz. The original purpose of Ewe drumming were sung or performed by warriors. At present the songs and performed to gloat or for recreational use. For example, Agbadza was originally used as a warrior trip the light fantastic but is at present used to celebrate events.

Variation [edit]

Ewe drumming is very various and is played in many slightly unlike means. For example, an Ewe musician from Togo may play a piece or instrument slightly differently from the way a Ewe from Ghana does. The Fon people of Republic of benin are some other instance of this variation. They construct their villages, towns, and cities on h2o, and because of this, they do not play the same upright drums other Ewe play. Instead, they place big gourds on water every bit drums.

Instrumental performance [edit]

An Ewe drumming ensemble consists of several drums, a bell, and a rattle. Each ensemble ordinarily has a main pulsate, an fe bell called a gankogui, and a group of secondary drummers.

Bong instruments [edit]

Gankogui [edit]

The gankogui, also known as a gakpevi, is a bell, or gong instrument played with a wooden stick. Information technology is made out of forged iron and consists of a depression-pitched bell (often referred equally the parent bell) and a high-pitched bong (or the kid bell, which is said to residual on the bosom of the protective parent), which are permanently bound together. The gankogui is the skeleton, backbone, and foundation of all traditional Ewe music. The gankogui histrion must play steadily and without mistake throughout the slice. The gankogui player must exist a trustworthy person, and is considered blind if they practise non have a physical understanding of the instrument and its role in the drumming ensemble. In a drumming ensemble, a gankogui histrion uses no variation.

The time span of ane bell cycle establishes the temporal menses of the music, although some phrases embrace several bell cycles. The regulative time point—"the one"—is the instant of maximum, although quite temporary, stasis. In each bell cycle, it is the moment towards which the ensemble thematic bike moves. The bell phrase guides the tempo, aligns the instruments, and marks duration musical time into bong cycle units.

—David Locke, (2010: web)^[i]

Atoke [edit]

The atoke is a forged-fe bell instrument and is shaped somewhat like a boat or a assistant. It is held in the palm of the role player's weak hand and is played with a small forged-iron rod, held in the role player's strong manus. You strike the rod against the outside of the bell to create a pitch. The atoke serves the same purpose as the gankogui and is sometimes used instead of or a substitute for the gankogui. The gankogui and atoke come in all various sizes.

Rattle musical instrument [edit]

The side by side musical instrument used in traditional Ewe drumming is called axatse (pronounced ah-hah-chay). The axatse is a rattle-similar instrument made from a hollowed-out gourd covered with a cyberspace of seeds or beads. The axatse is ordinarily played sitting down. Information technology is held at the handle and in the players potent mitt and is shaken up hit the hand and downward hitting the thigh making two different sounds. The axatse usually plays the same thing that the bong plays but with some actress added notes in between the beats. Information technology can be described as the eighth note version of what the gankogui plays. It has also been described as enriching or reinforcing what the gankogui plays. Overall it gives free energy to the music and drives the music. The axatse produces a dry rattling but energetic sound.

Standard bong pattern and accompanying axatse part [edit]

Standard bell pattern (summit) with accompanying axatse role (bottom). The axatse begins on the 2nd stroke (in parenthesis)

The most common gankogui part is the 12-pulse basic Ewe,^[two] or standard blueprint.^{[3] [4]} The axatse function that accompanies the standard blueprint is: "pa ti pa pa ti pa ti pa ti pa pa." The "pa'due south" audio the standard pattern past striking the gourd against the knee. The "ti'southward" audio pulses in between the bell strokes, by raising the gourd in an upwards move and striking it with the complimentary hand. Every bit is common with many African rhythms, the axatse part begins (offset "pa") on the 2d stroke of the bell (1a), and the last "pa" coincides with 1. By ending on the beginning of the wheel, the axatse part contributes to the cyclic nature of the overall rhythm. Come across: standard bell with accompanying axatse role. Atsiagbekor.

Master drums [edit]

In almost all West African drumming ensembles, a lead drum or primary drum leads the group. The master drummer tells the ensemble when to play and when to stop, he too plays signals telling the other players to alter the tempo or the drumming blueprint. In some West African drumming ensembles, the principal drummer is to play the main theme of the piece and improvise. In Ewe drumming, the primary drummer does pulsate dialogue with the kidi. It enriches the kidi phrase by filling in the empty spaces on the kidi'southward role. The principal pulsate tin can as well improvise.

In Ewe drumming, the term master drum is non limited to one particular type of pulsate. A master drum can be an atsimevu, sogo, kroboto, totodzi, or an agboba; these are the just types of drums used as master drums, however. Different master drums are used in different pieces. For instance, if a group is playing "Agbadza" (an old Ewe war dance), the master drummer plays the sogo. The chief drum techniques and playing styles are generally the aforementioned regardless of which drum is used.

Sogo [edit]

The basic master drum is called a sogo (pronounced "so-go)". Sogo is the drum that tin can always be a substitute for the main pulsate. It is also the bodily "correct" main drum for some pieces. The sogo is a larger version of the kidi and is taller and fatter than the kidi. It can be played either with 2 wooden sticks, one manus and one stick, or both hands. This depends on the technique used in the slice being played. Depending on the piece, sometimes the sogo can play the aforementioned back up office every bit the kidi. It produces a low tone and is usually played sitting down.or standing up.

Atsimevu [edit]

Another main drum is chosen atsimevu (pronounced ah-chee-meh-voo). The atsimevu is the tallest of the Ewe drums. It is around 4½ feet tall. To play the atsimevu, the drummer must lean information technology over a stand chosen a vudetsi, stand up on ane side of the drum—and play it with either two wooden sticks or one hand and one stick. The atsimevu makes a heart range sound with some bass in the audio.

In the understanding of a drummer, a drumming stick is an extension of the hand. It remains under abiding control in guild to release merely the desired frequency of vibration equally it strikes the membrane. There are four types of stick drumming techniques in the art of master drumming, a basic technique and three variants of this technique. Each of these techniques produces a distinct pitch of the Atsimevu pitch series. . . In terms of a performance technique, the duration of resonance of a tone is usually controlled past damping the membrane at the periphery with a calorie-free just firm touch of the weak manus fingers. This technique is of prime importance in the articulation of the construction of a drum music or vugbe. It provides the means of indicating the basic motives, phrases and periods out of which the drum music is fabricated—Ladzekpo (1995: web).^[5]

Agboba [edit]

A newer, lesser used master pulsate is called the agboba (pronounced ag-bo-bah or sometimes bo-bah). This pulsate was invented by the Ewe in the 1950s to play a newly invented piece chosen agahu. The agboba is the deepest sounding drum played past the Ewe. It has a fat body and is played leaning over on a stand similar to that for the atsimevu.

The Kloboto and Totodzi [edit]

The kloboto (pronounced klo-bo-toe) or totodzi (pronounced toe-toe-jee) are two more than types of master drums, essentially the aforementioned, differing simply in pitch. These are the smallest drums used by the Ewe. They measure out lengthwise around eighteen inches. The two drums are not only used as master drums in some pieces only sometimes play the aforementioned function as the kidi. The kloboto and totodzi are always played with ii wooden sticks, and their player is commonly seated.

Other drums [edit]

Kidi [edit]

The kidi is a mid-sized drum played with two wooden sticks. Similar other Ewe drums, the drumhead is made of the skin of a deer or antelope. Its trunk is made out of wood and is sometimes decorated by elaborate carvings. It commonly plays an eighth annotation pattern with some variation (eastward.one thousand. a roll played instead of the first annotation of the phrase). The kidi does what is described by the Ewe as talking or conversing with lead drum. This is oft chosen drum dialogue. The kidi often improvises a fiddling bit at the advisable times.

Kaganu [edit]

The kaganu is the smallest and highest pitched drum used past the Ewe, but its sound does incorporate some bass besides. It is around 20 inches tall. Like all Ewe drums, the kaganu has a drumhead made of antelope or deer skin. The torso of the drum is made of wood and is often busy with carvings. The kaganu is played with two long skinny wooden sticks, unremarkably with the drummer sitting down. Like the gankokui and axatse, its pattern does not change for the duration of the piece. In Agahu, for example, the rhythm it plays are ii notes on the upbeats. Because Agahu is played was in the 4/4 fourth dimension, then the kaganu would play two notes on the "ands" of beats ane, 2, iii, and four. The kaganu likewise gives energy and drive to the music.

Tonal drumming [edit]

Similar many West African drums, the main drum and sometimes the kidi have the ability to speak the language. Most African languages are tonal, then by producing dissimilar sounds at different pitches on the drum, the drummer tin imitate the tones of the linguistic communication. Some African drums can even imitate consonants past hit the pulsate with a stick or paw at unlike angles and with different parts of the stick or hand. The Ewe also play a pair of ii drums chosen atumpan (pronounced ah-toom-pahn), which are used all over Ghana equally talking drums. The atumpan player stands upwards and plays the drum with two sticks shaped like an L.

In Anlo-Ewe cultural understanding, a pulsate is a super projection of the homo vox. In this view, the office and ability of the drum in play embodies the Sub-Saharan concept of combining natural forces of the universe in forming the supernaturals. In the composition of this conscious feel, human force is combined with other natural forces - skin of animal, hollowed solid tree-trunk, etc. - as a medium for arousing the attending and reaction of mankind. In a variety of tonal properties - pitch, timbre, intensity, and intricate rhythms - the pulsate and the drummer, in common cooperation, create patterns of consciousness that requite a moment of inspiration to those they touch. Among the Anlo-Ewe, a legendary metaphor, ela kuku dea 'gbe wu la gbagbe ways, "a dead animal cries louder than a live one," to explain the man experience that inspired the origins of the pulsate. A man being tendens to concenter more attention when dead than when alive. So when the need came to communicate louder, a super vox surrogate was built out of a skin of a dead fauna that could deliver the bulletin louder and clearer—Ladzekpo (1995: web).^[six]

Cross-rhythmic structure [edit]

The ethnomusicologist David Locke states: "Cross-rhythm pervades Ewe drumming."^[seven] In fact, the overall rhythmic structure is generated through cross-rhythm. Cross-rhythm was start identified equally the basis of sub-Saharan rhythm in the early on writings of A.M. Jones, and was later explained in great detail in lectures by the Ewe master drummer and scholar C.K. Ladzekpo, and in the writings of Locke.

At the center of a cadre of rhythmic traditions within which the composer conveys his ideas is the technique of cantankerous rhythm. The technique of cross rhythm is a simultaneous apply of contrasting rhythmic patterns within the same scheme of accents or meter.

In Anlo-Ewe cultural understanding, the technique of cross rhythm is a highly adult systematic interplay of varying rhythmic motions simulating the dynamics of contrasting moments or emotional stress phenomena likely to occur in bodily man being.

Equally a preventive prescription for extreme uneasiness of heed or cocky-doubt nigh ane's chapters to cope with impending or anticipated problems, these imitation stress phenomena or cantankerous-rhythmic figures are embodied in the art of trip the light fantastic toe-drumming every bit mind-nurturing exercises to alter the expression of the inherent potential of the man thought in meeting the challenges of life. The premise is that by rightly instituting the mind in coping with these false emotional stress phenomena, intrepidity is achieved.

Intrepidness, or resolute fearlessness, in Anlo-Ewe view, is an extraordinary forcefulness of mind. It raises the mind higher up the troubles, disorders, and emotions the apprehension or sight of smashing perils strives to excite. By this strength, ordinary people become heroes by maintaining themselves in a tranquil state of heed and preserving the gratis apply of their reason under near surprising and terrible circumstances—Ladzekpo (1995: Spider web).^[eight]

three:2 (hemiola) [edit]

The well-nigh cardinal cross-rhythm in Ewe music, and Sub-Saharan African music traditions in general, is three-against-ii (iii:ii), or 6-against-iv (6:four), also known as a vertical hemiola. The cycle of two or four beats are the master beat out scheme, while the triple beat scheme is secondary. Ladzekpo states: "The term secondary beat scheme refers to a component vanquish scheme of a cross rhythm other than the primary crush scheme. In a like way every bit a primary beat, each secondary shell is distinguished by measuring off a distinct number of pulsations. A recurrent grouping of a number of these beats in a musical period forms a singled-out secondary beat scheme."^[9]

We have to grasp the fact that if from babyhood you lot are brought up to regard beating 3 confronting 2 every bit being just as normal as beating in synchrony, then y'all develop a ii dimensional attitude to rhythm… This bi-podal conception is… part of the African'due south nature—Jones (1959: 102)^[10]

Novotney observes: "The 3:2 relationship (and [its] permutations) is the foundation of near typical polyrhythmic textures plant in West African musics."^[eleven] three:2 is the generative or theoretic form of sub-Saharan rhythmic principles. Agawu succinctly states: "[The] resultant [3:2] rhythm holds the key to understanding . . . there is no independence here, because 2 and 3 belong to a unmarried Gestalt."^[12]

3:8 [edit]

The following bong design is used in the Ewe rhythm kadodo.^[13] The 24-pulse pattern crosses the barline, contradicting the meter with iii sets of five strokes, across eight main beats (2 measures of 4 main beats each). The three unmarried strokes are muted.

The kadodo bell pattern is an embellishment of three "wearisome" cantankerous-beats spanning two measures, a type of macro "hemiola." The cross-rhythm is three-over-eight (3:viii), or inside the context of a single 4-shell cycle (unmarried measure), the ratio is 1.five:4. The iii cross-beats are represented beneath every bit whole-notes for visual emphasis.

Run into also [edit]

• Ewe music
• King Mensah Ewe musician
• Agbadza

References [edit]

1. ^ Locke, David (2010: spider web). "Yewevu in the Metric Matrix." MTO, a journal of the Society for Music Theory. v. 16, n. 4. Dec. http://www.mtosmt.org/issues/mto.10.16.4/mto.ten.16.4.locke.html
2. ^ Ladzekpo, Kwaku (1977). Cited by Peñalosa (2010: 243). The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins. Redway, CA: Bembe Inc. ISBN 1-886502-80-three..
3. ^ Jones, A.M. (1959: 210-213) Studies in African Music. 1978 edition: ISBN 0-19-713512-9.
4. ^ Novotney, Eugene D. (1998: 155). Thesis: The 3:2 Relationship as the Foundation of Timelines in West African Musics Archived 2012-03-05 at the Wayback Machine, UnlockingClave.com. Urbana, IL: Academy of Illinois.
5. ^ Ladzekpo, C.K. (1995: web). "Atsimevu Tonalities And Performance Techniques," Foundation Course In African Trip the light fantastic toe-Drumming. https://abode.comcast.net/~dzinyaladzekpo/Foundation.html
6. ^ Ladzekpo, C.G (1995: spider web). "A dead animal cries louder than a live 1," Foundation Grade In African Dance-Drumming. https://abode.comcast.net/~dzinyaladzekpo/Foundation.html
7. ^ Locke, David (1982). "Principles of Off-Beat Timing and Cross-Rhythm in Southern Ewe Dance Drumming" Society for Ethnomusicology Periodical Nov. eleven.
8. ^ Ladzekpo, C.K. (1995: webpage). "The Myth of Cross-Rhythm" Archived 2012-11-23 at the Wayback Auto, Foundation Form in African Dance-Drumming.
9. ^ Ladzekpo, C.M. (1995: webpage). https://home.comcast.net/~dzinyaladzekpo/SixFour.html
10. ^ Jones, A.M. 1959. Studies in African Music, v.i p. 102. London: Oxford University Press.
11. ^ Novotney, Eugene D. (1998). The Three Against Two Human relationship every bit the Foundation of Timelines in West African Musics Urbana, IL: University of Illinois. UnlockingClave.com.
12. ^ Agawu, Kofi (2003: 92). Representing African Music: Postcolonial Notes, Queries, Positions New York: Routledge. ISBN 0-415-94390-6.
13. ^ "Kadodo," Ritual Music of the Yeve, (Ladzekpo brothers). Makossa phonorecord 86011 (1982).

Other References [edit]

• Robert Ayitee, Kwashi Amevuvor, Ewe Principal Drummers from Ghana, Westward Africa.
• Ladzekpo, CK. https://spider web.archive.org/web/20090415164952/http://bmrc.berkeley.edu/people/ladzekpo/Foundation.html Foundation Course in African-Trip the light fantastic Drumming. Drums and Drumming. 1995.
• Kinka: traditional songs from Avenorpedo

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Source: https://en.wikipedia.org/wiki/Ewe_drumming

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