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In many parts of sub-Saharan Africa, the use of music is not limited to entertainment: it serves a purpose to the local community and helps in the conduct of daily routines. Traditional African music supplies appropriate music and dance for work and for religious ceremonies of birth, naming, rites of passage, marriage and funerals. [1] The beats and sounds of the drum are used in communication as well as in cultural expression. [2]
African dances are largely participatory: there are traditionally no barriers between dancers and onlookers except with regard to spiritual, religious and initiation dances. Even ritual dances often have a time when spectators participate. [3] Dances help people work, mature, praise or criticize members of the community, celebrate festivals and funerals, compete, recite history, proverbs and poetry and encounter gods. [4] They inculcate social patterns and values. Many dances are performed by only males or females. [5] Dances are often segregated by gender, reinforcing gender roles in children. Community structures such as kinship, age, and status are also often reinforced. [6] To share rhythm is to form a group consciousness, to entrain with one another, [7] to be part of the collective rhythm of life to which all are invited to contribute. [8]
Yoruba dancers and drummers, for instance, express communal desires, values, and collective creativity. The drumming represents an underlying linguistic text that guides the dancing performance, allowing linguistic meaning to be expressed non-verbally. The spontaneity of these performances should not be confused with an improvisation that emphasizes the individual ego. The drummer's primary duty is to preserve the community. [9] Master dancers and drummers are particular about the learning of the dance exactly as taught. Children must learn the dance exactly as taught without variation. Improvisation or a new variation comes only after mastering the dance, performing, and receiving the appreciation of spectators and the sanction of village elders. [10]
The music of the Luo, for another example, is functional, used for ceremonial, religious, political or incidental purposes, during funerals (Tero buru) to praise the departed, to console the bereaved, to keep people awake at night, to express pain and agony and during cleansing and chasing away of spirits, during beer parties (Dudu, ohangla dance), welcoming back the warriors from a war, during a wrestling match (Ramogi), during courtship, in rain making and during divination and healing. Work songs are performed both during communal work like building, weeding, etc. and individual work like pounding of cereals, winnowing.
Alan P. Merriam divided Africa into seven regions for ethnomusicological purposes, observing current political frontiers (see map), and this article follows this division as far as possible in surveying the music of ethnic groups in Africa.
Sudan takes its name from that of the sub-Saharan savanna which makes, with the Nile, a great cross-roads of the region. South of the Sahara the Sahel forms a bio-geographic zone of transition between the desert and the Sudanian savannas, stretching between the Atlantic Ocean and the Red Sea. The Nilotic peoples prominent in southern Sudan, Uganda, Kenya, and northern Tanzania, include the Luo, Dinka, Nuer and Maasai. [13] Many of these have been included in the Eastern region.
The Senegambian Fula have migrated as far as Sudan at various times, often speaking Arabic as well as their own language. The Hausa people, who speak a language related to Ancient Egyptian and Biblical Hebrew, have moved in the opposite direction. Further west the Berber music of the Tuareg has penetrated to Sub-Saharan countries. These are included in the Western region, but the music of Sub-Saharan herders and nomads is heard from west to east.
These remaining four regions are most associated with Sub-Saharan African music: familiar African musical elements such as the use of cross-beat and vocal harmony may be found all over all four regions, as may be some instruments such as the iron bell. This is largely due to the expansion of the Niger–Congo-speaking people that began around 1500 BC: the last phases of expansion were 0–1000 AD. [15] [16] [17] Only a few scattered languages in this great area cannot readily be associated with the Niger–Congo language family. However two significant non-Bantu musical traditions, the Pygmy music of the Congo jungle and that of the bushmen of the Kalahari, do much to define the music of the central region and of the southern region respectively.
As a result of the migrations of Niger-Congo peoples (e.g., Bantu expansion), polyrhythmic culture (e.g., dance, music), which is generally associated with being a common trait among modern cultures of Africa, spread throughout Africa. [18] Due to the Trans-Atlantic slave trade, music of the African diaspora, many of whom descend from Niger-Congo peoples, has had considerable influence upon modern Western forms of popular culture (e.g., dance, music). [18]
The music of West Africa must be considered under two main headings: in its northernmost and westernmost parts, many of the above-mentioned transnational sub-Saharan ethnic influences are found among the Hausa, the Fulani, the Wolof people, the Mande speakers of Mali, Senegal and Mauritania, the Gur-speaking peoples of Mali, Burkina Faso and the northern halves of Ghana, Togo and Cote d'Ivoire, the Fula found throughout West Africa, and the Senufo speakers of Côte d'Ivoire and Mali.
The coastal regions are home to the Niger-Congo speakers; Kwa, Akan, the Gbe languages, spoken in Ghana, Togo, Benin, and Nigeria, the Yoruba and Igbo languages, spoken in Nigeria and the Benue–Congo languages of the east.
Inland and coastal languages are only distantly related. While the north, with its griot traditions, makes great use of stringed instruments and xylophones, the south relies much more upon drum sets and communal singing.
Complex societies existed in the region from about 1500 BCE. The Ghana Empire [19] existed from before c. 830 until c. 1235 in what is now south-east Mauritania and western Mali. The Sosso people had their capital at Koumbi Saleh until Sundiata Keita defeated them at the Battle of Kirina (c. 1240) and began the Mali Empire, which spread its influence along the Niger River through numerous vassal kingdoms and provinces. The Gao Empire at the eastern Niger bend was powerful in the ninth century CE but later subordinated to Mali until its decline. In 1340 the Songhai people made Gao the capital of a new Songhai Empire. [20]
The music of Cape Verde has long been influenced by Europe, [40] Instrumentation includes the accordion (gaita), the bowed rabeca, the violão guitar and the viola twelve string guitar as well as cavaquinho , cimboa and ferrinho . Styles include batuque, coladera, funaná, morna and tabanca.
The central region of African music is defined by the tropical rain-forests at the heart of the continent. However Chad, the northernmost state, has a considerable subtropical and desert northern region.
The north of this region has Nilo-Saharans such as the Zande people. Early kingdoms were founded near Lake Chad: the Kanem Empire, ca. 600 BCE – 1380 CE [41] encompassed much of Chad, Fezzan, east Niger and north-east Nigeria, perhaps founded by the nomadic Zaghawa, then ruled by the Sayfawa dynasty. The Bornu Empire (1396–1893) was a continuation, the Kanembu founding a new state at Ngazargamu. These spoke the Kanuri languages spoken by some four million people in Nigeria, Niger, Chad, Cameroon, Libya and Sudan. They are noted for lute and drum music. The Kingdom of Baguirmi (1522–1897) and the Ouaddai Empire (1635–1912) were also centred near Lake Chad.
The East African musicological region, which includes the islands of the Indian Ocean, Madagascar, Réunion, Mauritius, Comor and the Seychelles, has been open to the influence of Arabian and Iranian music since the Shirazi Era. In the south of the region Swahili culture has adopted instruments such as the dumbek, oud and qanun – even the Indian tabla drums. [53] The kabosy, also called the mandoliny, a small guitar of Madagascar, like the Comorian gabusi, may take its name from the Arabian qanbūs . Taarab, a modern genre popular in Tanzania and Kenya, is said to take both its name and its style from Egyptian music as formerly cultivated in Zanzibar. Latterly there have been European influences also: the guitar is popular in Kenya, the contredanse, mazurka and polka are danced in the Seychelles. [54]
Drums ( ngoma , ng'oma or ingoma) are much used: particularly large ones have been developed among the court musicians of East African kings. The term ngoma is applied to rhythm and dance styles as well as the drums themselves. [53] as among the East Kenyan Akamba, the Buganda of Uganda, [58] and the Ngoni people of Malawi, Mozambique, Tanzania and Zambia, who trace their origins to the Zulu people of kwaZulu-Natal in South Africa. [59] The term is also used by the Tutsi/Watusi and Hutu/Bahutu. [60] Bantu style drums, especially the sukuti drums, are played by the Luhya people [57] (also known as Avaluhya, Abaluhya or Luyia), [61] a Bantu people of Kenya, [62] being about 16% of Kenya's total population of 38.5 million, and in Uganda and Tanzania. [62] They number about 6.1 million people. [63] Abaluhya litungo. [64]
Lists of folk music traditions |
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The Southern Bantu languages include all of the important Bantu languages of South Africa, Zimbabwe and Botswana, and several of southern Mozambique. They have several sub-groups;
Gerewol. [79] Dan people masked dance. [25] Yoruba gelede. [32] Hausa asauwara [80] Ewe dances: agbadza – Gadzo. [81] Mande include the Mandinka, Maninka and Bamana Dances: bansango – didadi – dimba – sogominkum. [82] Dagomba dance: takai – damba – jera – simpa – bamaya – tora – geena. São Tomé and Principe dance: danço-Congo – puíta – ússua. [39] Cape Verde [40] Dance = batuque – coladera – funaná – morna – tabanca. Kasena Dances: jongo – nagila – pe zara – war dance. [37] Akan dances: adowa – osibisaba – sikyi. The Ashanti [37] Nzema people [25] dance: abissa – fanfare – grolo – sidder
Sub-Saharan Africa, Subsahara, or Non-Mediterranean Africa is the area and regions of the continent of Africa that lie south of the Sahara. These include Central Africa, East Africa, Southern Africa, and West Africa. Geopolitically, in addition to the African countries and territories that are situated fully in that specified region, the term may also include polities that only have part of their territory located in that region, per the definition of the United Nations (UN). This is considered a non-standardized geographical region with the number of countries included varying from 46 to 48 depending on the organization describing the region. The African Union (AU) uses a different regional breakdown, recognizing all 55 member states on the continent—grouping them into five distinct and standard regions.
The number of languages natively spoken in Africa is variously estimated at between 1,250 and 2,100, and by some counts at over 3,000. Nigeria alone has over 500 languages, one of the greatest concentrations of linguistic diversity in the world. The languages of Africa belong to many distinct language families, among which the largest are:
Given the vastness of the African continent, its music is diverse, with regions and nations having many distinct musical traditions. African music includes the genres amapiano, jùjú, fuji, afrobeat, highlife, Congolese rumba, soukous, ndombolo, makossa, kizomba, and others. African music also uses a large variety of instruments across the continent. The music and dance of the African diaspora, formed to varying degrees on African musical traditions, include American music like Dixieland jazz, blues, jazz, and many Caribbean genres, such as calypso and soca. Latin American music genres such as cumbia, salsa music, son cubano, rumba, conga, bomba, samba and zouk were founded on the music of enslaved Africans, and have in turn influenced African popular music.
The music of Togo has produced a number of internationally known popular entertainers including Bella Bellow, Akofah Akussah, Afia Mala, Itadi Bonney, Wellborn, King Mensah and Jimi Hope.
The music of Burkina Faso includes the folk music of 60 different ethnic groups. The Mossi people, centrally located around the capital, Ouagadougou, account for 40% of the population while, to the south, Gurunsi, Gurma, Dagaaba and Lobi populations, speaking Gur languages closely related to the Mossi language, extend into the coastal states. In the north and east the Fulani of the Sahel preponderate, while in the south and west the Mande languages are common; Samo, Bissa, Bobo, Senufo and Marka. Burkinabé traditional music has continued to thrive and musical output remains quite diverse. Popular music is mostly in French: Burkina Faso has yet to produce a major pan-African success.
The music of Niger has developed from the musical traditions of a mix of ethnic groups; Hausa, the Zarma-Songhai, Tuareg, Fula, Kanuri, Toubou, Diffa Arabs and Gurma and the Boudouma from Lac Chad.
Central Africa is a subregion of the African continent comprising various countries according to different definitions. Middle Africa is an analogous term used by the United Nations in its geoscheme for Africa and consists of the following countries: Angola, Burundi, Cameroon, Central African Republic, Chad, Democratic Republic of the Congo, Republic of the Congo, Equatorial Guinea, Gabon, Rwanda, and São Tomé and Príncipe. These eleven countries are members of the Economic Community of Central African States (ECCAS). Six of those countries are also members of the Economic and Monetary Community of Central Africa (CEMAC) and share a common currency, the Central African CFA franc.
Chad is an ethnically diverse Central African country. Each of its regions has its own unique varieties of music and dance. The Fulani people, for example, use single-reeded flutes, while the ancient griot tradition uses five-string kinde and various kinds of horns, and the Tibesti region uses lutes and fiddles. Musical ensembles playing horns and trumpets such as the long royal trumpets known as "waza" or "kakaki" are used in coronations and other upper-class ceremonies throughout both Chad and Sudan.
The Hausa are one of the largest ethnic groups in Nigeria, Niger, Ghana, Sudan, Cameroon and in many other West and Central African countries. Their folk music has played an important part in the development of Nigerian music, contributing such elements as the Goje, a one-stringed fiddle. There are two broad categories of traditional Hausa music: rural folk music and urban court music. They introduced the African pop culture genre that is still popular today.
The music of West Africa has a significant history, and its varied sounds reflect the wide range of influences from the area's regions and historical periods.
Yoruba music is the pattern/style of music practiced by the Yoruba people of Nigeria, Togo, and Benin. It is perhaps best known for its extremely advanced drumming tradition and techniques, especially using the gongon hourglass shape tension drums. Yoruba folk music became perhaps the most prominent kind of West African music in Afro-Latin and Caribbean musical styles; it left an especially important influence on the music used in Santería practice and the music of Cuba.
The talking drum is an hourglass-shaped drum from West Africa, whose pitch can be regulated to mimic the tone and prosody of human speech. It has two drumheads connected by leather tension cords, which allow the player to change the pitch of the drum by scraping the cords between their arm and body.
The individual member states of the African Union (AU) coordinate foreign policy through this agency, in addition to conducting their own international relations on a state-by-state basis. The AU represents the interests of African peoples at large in intergovernmental organizations (IGO's); for instance, it is a permanent observer at the United Nations' General Assembly.
This is a list of folk music traditions, with styles, dances, instruments, and other related topics. The term folk music cannot be easily defined in a precise manner. It is used with widely varying definitions depending on the author, intended audience and context within a work. Similarly, the term traditions in this context does not connote any strictly-defined criteria. Music scholars, journalists, audiences, record industry individuals, politicians, nationalists, and demagogues may often have occasion to address which fields of folk music are distinct traditions based along racial, geographic, linguistic, religious, tribal, or ethnic lines, and all such peoples will likely use different criteria to decide what constitutes a "folk music tradition". This list uses the same general categories used by mainstream, primarily English-language, scholarly sources, as determined by relevant statements of fact and the internal structure of works.
The Bassa are a Bantu ethnic group in Cameroon. They number approximately 800,000 individuals. The Bassa speak the Basaa language.
The population of Africa has grown rapidly over the past century and consequently shows a large youth bulge, further reinforced by a low life expectancy of below 50 years in some African countries. Total population as of 2020 is estimated to be more than 1.3 billion, with a growth rate of more than 2.5% p.a. The total fertility rate for Africa is 4.7 as of 2018, the highest in the world according to the World Bank. The most populous African country is Nigeria with over 206 million inhabitants as of 2020 and a growth rate of 2.6% p.a.
The Hausa are a native ethnic group in West Africa. They speak the Hausa language, which is the second most spoken language after Arabic in the Afro-Asiatic language family. The Hausa are a culturally homogeneous people based primarily in the Sahelian and the sparse savanna areas of southern Niger and northern Nigeria respectively, numbering around 86 million people, with significant populations in Benin, Cameroon, Ivory Coast, Chad, Central African Republic, Togo, Ghana, as well as smaller populations in Sudan, Eritrea, Equatorial Guinea, Gabon, Senegal, Gambia. Predominantly Hausa-speaking communities are scattered throughout West Africa and on the traditional Hajj route north and east traversing the Sahara, with an especially large population in and around the town of Agadez. Other Hausa have also moved to large coastal cities in the region such as Lagos, Port Harcourt, Accra, Abidjan, Banjul and Cotonou as well as to parts of North Africa such as Libya over the course of the last 500 years. The Hausa traditionally live in small villages as well as in precolonial towns and cities where they grow crops, raise livestock including cattle as well as engage in trade, both local and long distance across Africa. They speak the Hausa language, an Afro-Asiatic language of the Chadic group. The Hausa aristocracy had historically developed an equestrian based culture. Still a status symbol of the traditional nobility in Hausa society, the horse still features in the Eid day celebrations, known as Ranar Sallah. Daura is the cultural center of the Hausa people. The town predates all the other major Hausa towns in tradition and culture.
African Harps, particularly arched or "bow" harps, are found in several Sub-Saharan African music traditions, particularly in the north-east. Used from early times in Africa, they resemble the form of harps in ancient Egypt with a vaulted body of wood, parchment faced, and a neck, perpendicular to the resonant face, on which the strings are wound.
The Bantu peoples are an ethnolinguistic grouping of approximately 400 distinct native African ethnic groups who speak Bantu languages. The languages are native to 24 countries spread over a vast area from Central Africa to Southeast Africa and into Southern Africa.
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