MUSICAL AND ORAL TRADITIONS

ROLE OF THE GRIOT

Musical activity in Senegal, especially among the Wolof, Mandinka, Toucouleur and Sereer, but not the Diola, is related to caste structure (see Social Organization). In this case the music making belongs to a social class of "griots" considered to be of a lower caste. The higher castes are content to be entertained. As previously discussed, the Griots are of two types: those who are musicians and those who speak. As described by Colvin, the griot's role in society included everything to do with communications: oral history, genealogies and social rankings, messages of social or diplomatic import, talking drum, war drums, royal and dancing drums, music, storytelling, and buffoonery. Griot families were attached to particular noble families, receiving protection and often generous remuneration in exchange for their services. Until the colonial period, however, they were considered tainted, obliged to live in segregated sections of villages, and sometimes they were denied underground burial. They were usually buried in a hollow baobab tree. Today such discrimination is illegal, and the worst prejudices and superstitions suppressed.

In the l9th century religious wars and colonial influence caused the breakup of ruling noble families. The Europeans appointed chiefs who often had no connection to the traditional ruling houses. Thus, with prestige and power usurped by the new chiefs and their resources drained by a French-imposed tax system, the traditional noble patrons could no longer care for their griots. Many griots were forced to adopt several patrons, and others became itinerant free-lance musicians. The griot's new role became more that of an entertainer and musician and less that of a genealogist and historian.

 

Although changed circumstances have made it impossible for patrons to provide for griots as in the past (indeed, the money economy has made it possible for material possessions to show off a patron's importance more than a griot's praises would) the modern patron does not want to lose his special link with the past by severing ties with the griot. Griots appear regularly at weddings, naming ceremonies and other special occasions attended by their traditional patron. For example, at a funeral, where a speaking griot might be present, the elegies and expressions of sympathy between the guests and the bereaved family would be transmitted by a griot. Other griots from the bereaved family would then give thanks for the sympathy expressed. On other occasions, besides praise singing, the griots may act as intermediaries in the exchange of gifts, in the paying of the bride price, or in the negotiating of the bride price.

Today many griots participate in the theater. Others are musicians in modern popular orchestras, although not all musicians are griots. The establishment of a Conservatoire de Musique, de Dance et d'Art Dramatique in Senegal has created a few problems with non-griot families whose offspring wanted to enroll. This is understandable since traditionally it was only the griot who had the right to even touch an instrument or perform, and anyone else who dared would have been looked down upon by society. But barriers are breaking down little by little as musicians and actors from other social classes are accepted and admired. Some griots use their traditional talents to provide entertainment for the growing tourist industry or work on the radio or television. But it is certain that without griots there would be no musical heritage in Senegal since this class was responsible not only for making the music and songs but also for making the instruments themselves.

MUSICAL INSTRUMENTS

The many different types of instruments found in the Senegambia reflect the ethnic groups forming the population and also give a hint of the rich cultural heritage behind each musical manifestation. All the instruments, whether string, percussion or wind, are fabricated from indigenous materials such as gourds (calabash), animal skins, millet stalks, horn, etc. Griots not only play the instruments and sing the songs but they also make their instruments. There is a mystical aspect about music as well: a musical instrument is thought of as something alive which produces its own language&endash;a language of sounds. This is why the skin of the goat (the most talkative of animals) is used almost exclusively in making drums or lutes. Lizard or snake skin may be used on certain instruments and occasionally the thin skin of the calf's belly is used for certain drums. Some instruments are used seasonally, (i.e. certain types of flutes are played after a good harvest and then put away again until the next year). Other instruments may only be played by women and some are for children, while others are expressly forbidden for children.

STRING INSTRUMENTS

• KORA - Sometimes called the African harp, this is the only instrument of Senegal with a scale. It is made from half of a large calabash (gourd) covered with goatskin stretched taut with metal tacks. A long neck holds strings which are joined to a bridge in the center of the instrument like a guitar. Most koras have 21 strings, but there might be as many as 22-25 strings. Holes in the side of the calabash improve the sound and resonance and also serve as convenient receptacles for money offered to the griot by an appreciative audience. The kora is played by holding it at waist level, the two hands grasping wooden pegs on either side of the strings while plucking them. The kora may have its origins in the l9th century, but some historians have placed it in an earlier period.
• SIMBING - An ancestor of the kora used by the Diola, it resembles the shape of the kora but has a curved shaft and only 6 strings. It may date from the 13th century.
• XALAM - The Wolof (and some Sereer) have three kinds of lute-like stringed instrument. Each type produces different sounds but they all have a long, wooden oval-shaped body covered with skin.
• RITI (pronounce reety) - A four-string lute which is played with a bow and is typical of the Peul.
• MOLO - A one-string lute played with a horsehair bow originating with the Toucouleur, Maure (Mauritanian) and Soninke.
• BOLOMBATA - Found among the Mandinkas, this sphere-shaped instrument made with a whole calabash and a curved bow topped by a piece of metal, is an instrument of war.

 

PERCUSSION

• DRUMS are the basic and most familiar instruments among all the ethnic groups and are featured at most events whether ceremonial, ritual or social, and serve as a device for announcing, warning or calling together. Each group has its own type of drums: the Mandinka use three conical drums together, varying in length, and played by 3 musicians. The Sereer have a large "kings" drum made of a hollow log covered with skins at both ends, and a slit cut in the lengthwise side. It is played horizontally with a stick.
  •  TAMMA (also called talking drum) is a small drum with strings connecting the drumheads which can change the pitch as they are squeezed by the arm of the player. It is held under the arm and played with the hands and a stick.

    SABAR has three meanings: In addition to being a type of drum, it also means the ensemble of drums playing together, as well as the dance itself. There may be 10-12 drums in a sabar ensemble and each one has a different sound and is played in a different rhythm.

• BALAFON. An xylophone-like instrument with an equidistant heptatonic scale system having between 16-27 keys.
  
• TULUB. A long hollow calebash which is played by old Wolof and Sereer women by striking rhythmically with a piece of wood. One does not have to be a Griot to play this instrument.
  
• RHOMBE. A simple string attached to a stick, this instrument makes a whirring noise, which, when used during circumcision and death rites, protects the initiate and drives away the soul of the departed.
  
• Other percussion are gourds covered with beads or shells, rattles, bells or whistles and, something which everyone can use, clapping hands.

WIND INSTRUMENTS

FLUTES. These may be made of terra cotta. wood, millet, stalks, bamboo, horn or calabash.

 

---

DANCE

 Dynamic and rhythmic dances in Senegal, the most popular of which is called Sabar or Mbalax, are performed at any of the celebrations discussed in the previous section. Additionally, there are other special dances performed during the "làmbs" (wrestling matches) on holidays, and other occasions.

Although each ethnic group has its favorite drumming tunes and unique dance styles, most Senegambians perform a similar popular dance. Accordingly, a semi-circle or full circle is formed with the dancers facing the drummers. One by one, dancers will come forward for a short but spirited display of fancy footwork and vigorous hip movements. Women's head scarves will often be thrown into the ring to show appreciation, and a dancer may draw someone else into the circle with the same "musoor" (head scarf). Mandinka dancers are known for their arm movements and footwork, where as Wolofs tend to emphasize their hips. Men usually play the drums while the women dance, but sometimes men will also participate. This type of dancing is more of a community affair with everyone participating. In contrast, the special acrobatic male dance of the Fulas is more of a performance. Their ensemble consists of a lead flutist, a fiddler, and one or more drummers beating ringed fingers on calabash gourds placed on their chests. Each musician will take his turn performing acrobatic feats to the accompaniment of the others. These dancers often perform on weekends in various neighborhoods of Dakar.

The "Taaxuraan" is a type of show put on in villages including dance and music. Men's dances are featured with the men wearing the very full chaya pants which sway back and forth as they move. Wolof dance is accompanied by a "tama" (underarm talking drum). Two types of griot participate in the Taaxuraan - the tama players and others who sing and speak (in a Rap style).

While the Sabar features mostly women dancers, the taaxuraan is mainly a men's thing where they improvise and rap puns, jokes, and riddles adressed to the female audience they hope to charm. The "Taatu Lawbe" is performed by women wearing many strings of beads around their waists and their hips up in the air. The beads make a clacking noise while the hips undulate. This dance has given birth to the modern-day "Ventilateur" or the slower "Climatiseur." A Lebu dance of rejoicing on the election of a new Djaraf (chef de village) is called the "Gumbe." At the shore, when the fishermen come back with a good catch, is another occasion for Lebu women to perform a special dance. Mask dances are more traditional among the Mandinka, Bassari and Diola in the south and east of Senegal and the Gambia. The "Kankurang" is a masked individual who acts as a body guard for circumcised boys, protecting them from evil spirits. The origin of this personage is thought to be in the 12th century. The Kankurang appears at ceremonies covered in leaves or bark with tufts of leaves on the upper arms and ankles. His head and torso are also covered in red-orange bark. Brandishing a machete and a stick, his fierce and menacing dance is meant to threaten on-lookers and inspire fear. Some Kankurangs chew on a piece of bark as they perform to the drumming, clapping and whistling during the ceremonies. M'Bour is often the site of a Kankurang appearance during Korite, and in late September to celebrate the return of the curcumcised from the "Mbaar" or sacred woods (their retreat).

The "Kumpo" of the Diola is a very unique-looking masked figure. It resembles a broomstick covered in sheaths of raffia topped by a head-pole. Its dance involves whirling,- crouching, and a finale of spinning around its pole. It emerges during public holidays such as Christmas, Tabaski or Korite and is escorted on a tour of neighborhoods by a group of singers with iron bells.

 

from ACI
-- HOME --