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Forholdet Mellom Tradisjonell Musikk Og Moderne Afrikansk Popmusikk I N'gaoundéré, Kamerun

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Forholdet Mellom Tradisjonell Musikk Og Moderne Afrikansk Popmusikk I N'gaoundéré, Kamerun - forholdet mellom tradisjonell musikk og moderne afrikansk popmusikk i N'gaoundéré, Kamerun. Musikk, bruk og funksjon, holdninger. Masteroppgave i musikkvitenskap, Universitet i Oslo Jon Einar Hagen Våren 2008 1 Forord A desa desa betyr ”gå forsiktig, ikke ha hastverk” på haussa, i følge grioten Baba Sani, en av musikerne som omtales i denne oppgaven. Jeg synes dette er en god holdning, som kan gjelde både for musikklivet i byen N'gaoundéré i Nord-Kamerun og mitt arbeid med denne oppgaven. På den annen side ønsket nok noen musikere i N'gaoundéré at utviklingen skulle gått raskere, og det gjelder også mitt arbeid med denne oppgaven… Det er mange jeg skylder takk for deres bidrag til oppgaven; først og fremst mine samarbeidspartnere og informanter i de fem musikkgruppene jeg studerte. Dessverre er tre av de sentrale informantene døde. Magalie Robert gikk bort i mai 2003, og både Moussa Babanguida og Ousmanou Kereste i januar 2005. Denne oppgaven er også til minne om dem. Videre vil jeg takke Vakoté Dieudonné, hans bror Kodji Thomas og resten av familien for at jeg fikk bo hos dem i N'gaoundéré under feltarbeidet våren 2000. Vakoté var også, sammen med Waka Daniel og Vegard Nygård, med i teamet jeg jobbet med i Kamerun i 1996-97. Det var et flott år som ga meg lyst til å komme tilbake for å lære mer. Eric Christian Sam Dall’Epem II satte meg i kontakt med folk og hjalp meg med mange ting. Mai Pascal Nkemegni og Bello Theodore hjalp meg med Gospel Singers sin musikk. Det Norske Misjonsselskap hadde flere misjonærer i N'gaoundéré, og jeg vil spesielt takke Dag Tormod Milje, Janne Eide, Lise Tørnby, Stein Erik Febakke, Erik Sandvik og Ellen Eliassen. Jeg vil også rette en stor takk til familien min for all mulig slags hjelp, lån av datautstyr og tilhørende ”utvidet brukerstøtte”. Ikke minst vil jeg takker veilederen min, Jan Sverre Knudsen, for interesse, gode tips og konstruktiv kritikk. Og til slutt en takk til alle som har mast på meg for å få oppgaven ferdig – det hjalp ikke så mye. A desa desa… Forsidebilde: Dandjouma Ahmed og Ousmanou Londji fra Kerestes gruppe. 2 Innholdsfortegnelse Forord ......................................................................................................................................... 2 Innholdsfortegnelse .................................................................................................................... 3 1. Innledning........................................................................................................................... 5 1.1. Problemstilling ........................................................................................................... 5 1.2. Bakgrunn .................................................................................................................... 5 1.3. Forventninger og mål ................................................................................................. 6 1.4. Kamerun, Adamaoua, N'gaoundéré............................................................................ 6 2. Presisering av problemstillingen ........................................................................................ 7 2.1. Tradisjonell musikk.................................................................................................... 7 2.2. Moderne afrikansk popmusikk................................................................................... 8 2.3. Musikk, funksjon og bruk, holdninger ..................................................................... 10 2.3.1. Musikk.............................................................................................................. 11 2.3.2. Funksjon og bruk.............................................................................................. 11 2.3.3. Holdninger........................................................................................................ 12 3. Metode.............................................................................................................................. 12 3.1. Hva er musikkantropologi? ...................................................................................... 12 3.2. Observasjon, intervjuer og musikkopptak................................................................ 14 3.3. Informant-gruppene.................................................................................................. 16 4. Musikk.............................................................................................................................. 20 4.1. Trekk ved tradisjonell og moderne afrikansk musikk .............................................. 20 4.2. Møter mellom vestlig og ikke-vestlig musikk.......................................................... 25 4.3. Medialisering............................................................................................................ 28 4.4. Baba Sani.................................................................................................................. 30 4.4.1. Instrumenter og repertoar ................................................................................. 30 4.4.2. Mballa-rytme .................................................................................................... 32 4.4.3. Zengue-rytme.................................................................................................... 34 4.4.4. Banga-rytme ..................................................................................................... 35 4.4.5. Musikk hos lamidoen ....................................................................................... 37 4.5. Kereste...................................................................................................................... 39 4.5.1. Instrumenter og repertoar ................................................................................. 39 4.5.2. Mballa-rytme .................................................................................................... 39 4.5.3. Zengue-rytme.................................................................................................... 41 4.5.4. Laguna, tradisjonell versjon ............................................................................. 42 4.5.5. Laguna, moderne versjon ................................................................................. 44 4.6. Babanguida............................................................................................................... 49 4.6.1. Instrumenter og repertoar ................................................................................. 49 4.6.2. Taxi-moto......................................................................................................... 50 4.7. Gospel Singers.......................................................................................................... 54 4.7.1. Instrumenter og repertoar ................................................................................. 54 4.7.2. Mangten............................................................................................................ 54 4.7.3. So ko’m ne me.................................................................................................. 57 4.8. Negro Stars............................................................................................................... 59 4.8.1. Instrumenter og repertoar ................................................................................. 59 4.8.2. Etat-Major (Extra Musica) – et eksempel på soukous ..................................... 60 4.8.3. Mbana na e (Toto Guillaume) – et eksempel på makossa................................ 66 3 4.8.4. Essingan (Les Têtes Brulées) – et eksempel på bikutsi.................................... 68 4.9. Oppsummering om musikk ...................................................................................... 72 5. Bruk og funksjon.............................................................................................................. 73 5.1. Forskjell på bruk og funksjon................................................................................... 73 5.2. Tradisjonell og moderne bruk av musikk................................................................. 78 5.3. Griotens rolle............................................................................................................ 81 5.4. Baba Sani.................................................................................................................. 82 5.4.1. Bryllupsfest....................................................................................................... 82 5.4.2. Banga for lamidoen etter fredagsbønnen.......................................................... 85 5.5. Kereste...................................................................................................................... 87 5.5.1. Konsert hos lamidoen....................................................................................... 87 5.5.2. Kombinert øvelse og konsert på Grand Marché............................................... 88 5.5.3. Hamadou Petit på muslimsk navnefest ............................................................ 90 5.5.4. Spilling til dans ved forskjellige anledninger................................................... 91 5.6. Babanguida............................................................................................................... 93 5.6.1. Konsert med Wakilis utenfor lamidatet............................................................ 93 5.7. Gospel Singers.........................................................................................................
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