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African Music Journal of the International Library of African Music

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African Music Journal of the International Library of African Music AFRICAN MUSIC JOURNAL OF THE INTERNATIONAL LIBRARY OF AFRICAN MUSIC VOLUME 8 2010 NUMBER 4 CONTENTS 1. FROM THE EDITOR ..................................................................................................... 4 2. CONTRIBUTORS TO THIS ISSUE ............................................................................. 6 3. TALKING BALAFONS Hugo Zemp ........................... Côte d’Ivoire ....................................................7 4. KEEPING IT REAL: AMAXHOSA IIMBONGI MAKING MIMESIS DO ITS THING IN THE HIP-HOP AND RAP MUSIC OF THE EASTERN CAPE Lee William Watkins ............South Africa ..................................................25 5. THE EROTICIZATION OF BIKUTSI: RECLAIMING FEMALE SPACE THROUGH POPULAR MUSIC AND MEDIA Dennis M. Rathnaw ................Cameroon ................................................... 49 6. PARADING RESPECTABILITY: THE CHRISTMAS BANDS MOVEMENT IN THE WESTERN CAPE, SOUTH AFRICA AND THE CONSTITUTION OF SUBJECTIVITY Sylvia Bruinders ....................South Africa ................................................. 70 7. THE LALA KALIMBA: THE CORRELATION BETWEEN INSTRUMENT AND STYLE Marcel van Dijk ......................... Zambia .......................................................85 8. CROSSING DIASPORA’S BORDERS: MUSICAL ROOTS EXPERIENCES AND THE EURO-AMERICAN PRESENCE IN AFRO-CUBAN RELIGIOUS MUSIC Nolan Warden ...................... United States 9. LIFE IS SHORT, ART AND SCHOLARSHIP ARE LONG: A TRIBUTE IN MEMORY OF PROFESSOR WILLIE OSCAR ANKU George Dor ................................. Ghana .......................................................111 BOOK REVIEWS 1. Gerhard Kubik, Central African Guitar Song Composers, the Second and Third Generation Andrew Tracey .............................................................................................. 125 2. Amanda Villepastour, Ancient Text Messages of the Yorùbá Bàtá Drum Cracking the Code Gerhard Kubik ............................................................................................... 125 TALKING BALAFONS1* by HUGO ZEMP WITH SIKAMAN SORO Systems of substituting music for words — the best known being drummed and whistled languages — have long drawn the attention of travellers, explorers, colonial administrators, missionaries, ethnologists, linguists and ethnomusicologists. Earlier in L’Homme (Zemp & Kaufman 1969) I mentioned the two main categories defined by Stern: the “abridgement system”2, which preserves a certain similarity with natural language, primarily in the tones and the speech rhythm; and the “lexical ideogram”, which symbolises a concept directly, without reference to the phonemic structure of the language. From what we knew in the 1960s, the first system was particularly widespread in Africa, and the second in Melanesia. Crudely, this distribution is still useful. However I have since been able to show that the two systems can coexist in Melanesia, notably in the slit drum rhythms of the ’Are’are of the Solomon Islands (Zemp 1997). In their two-volume work on Speech Surrogates, Sebeok and Umiker-Sebeok (1976) include seventy-four articles, forty-one of them completely devoted to Africa, and five articles referring to it generally. Unless I am wrong, only three authors touch on the xylophone in passing: on the Jabo of Liberia (Herzog 1976: 566), the Idoma of Nigeria (Armstrong 1976: 868, 875), and one without specifying regions of Africa (Nketia 1976: 826). It is true that the sub-title of the work is Drum and Whistle Systems, but other instruments like bells, trumpets, flutes and chordophones are often mentioned. THe absence of specific references to the xylophone is due no doubt to the fact that this instrument is used less as a musical substitute for words and, as it is less immediately spectacular than the “bush telegraph” (talking drums sending messages over long distances), it has more rarely been the subject of enquiries into the possible connections with natural language. THe resonated xylophone known in French as “balafon”3, is an emblem of the 1 * First published as “Paroles de balafon”, by Zemp H. & Soro S., L’Homme 2004/3-4, No. 171-172, p. 313-331. THis translation is by Andrew Tracey. THe ethnomusicological and linguistic data were collected among the Senufo of the Côte d’Ivoire (former Ivory Coast) thanks to the efficient and devoted collaboration of Sikaman Soro, balafonist and research assistant, during trips (Dec 1998 to Feb 1999, and Oct 1999) funded by the CNRS under the Ethnomusicology Laboratory (UMR 7486). Sikaman Soro has continued to collaborate regularly, sending letters with different types of detail, notably linguistic.TH e comparative analyses, the musical transcriptions, the concept and the editing of the article are by Hugo Zemp. THe musical examples shown in the diagrams, as well as the interviews mentioned, are extracts from films 1 and 2 (see the filmography). THe transcriptions in Senufo have been set here in Roman characters. 2 Stern’s original term. A possible French translation would be ‘réduction’. 3 THe word ‘balafon’ means in both French and English the resonated xylophone of west Africa (and sometimes even of central Africa). It comes from the Malinké bala fo, “xylophone/talk”, i.e. “make xylophone talk”, in talking balafons 7 Senufo of Côte d’Ivoire (former Ivory Coast). It is not for nothing that Ivorians call their North “balafon country”4. THe Kafibele, a sub-group of the vast conglomerate of Senufo societies5, distinguish between seven types of orchestra in which balafons are combined with other musical instruments. Each type of orchestra has a different name and plays under precise circumstances. In each orchestra, the balafonists play tunes with specific linguistic meanings. Interpreting the words Oumar Coulibaly, on the Tiebara and Nafara sub-groups of the Senufo, and Till Förster, on the Kafibele Senufo, are the first writers to have drawn attention to the connections between balafon music and language. “A piece of jegele [balafon] music is above all a speech translated onto the instrument, [...] there is no music without text [...]. THis is why, when composing a jegele piece, one starts first by finding the literary element: the text, that is the words one wants to transmit [underlined in the text]. [...] the musical setting of the language is based on the tones and the rhythmic structure of speech [...]” (Coulibaly 1982: 43). “Playing the xylophone is called in Senufo “having a conversation” (sy̰ɛ̰̄ɛ̰̄rɛ̰̄jō). A phenomenon characteristic of all xylophone ensembles is the musical setting of the language, consisting in following the tonal pitches of the syllables of the spoken language, which in Senufo carry meaning. By this means, it is possible to a certain extent to transmit texts which are not sung [our emphasis]” (Förster 1987: 29). One could add that the balafons “sing”, since the tunes are called jèŋṵ́gō, “balafon songs”, which shows the importance of the verbal content. Let us examine first a short phrase as spoken by the master balafonist Nahoua Silué: “wàà ǹ pā̰ ná̰ wòlò má̰” 6 someone (i.p.) arrive here us with “Here’s one of them just arrived with us!” other words “play xylophone”. THe word appears from the end of the 17th century in the publications of French travellers to refer to the xylophonist or the xylophone (Charry 2000: 363, 365). THe Senufo, who speak Senar, a language of the Voltaic or Gur family (and not Mande), have their own terms which vary according to dialect.THe Senar language has three semantic and grammatical tones, as well as glides. Some of the authors who transcribe it mark all the tones, using a horizontal dash to show the mid-tone; others only mark the low and high tones respectively with a grave and an acute accent. THe Korhogo Baptist Mission uses no accent wherever the tone is the same as the previous syllable, nor on the first syllable if it is a mid-tone. To avoid confusion with words whose tones are not known, I have used a uniform notation showing the mid-tone with a horizontal dash over the vowel. 4 Cf. three Senufo stories about the origin of the balafon (Zemp 1976). 5 THe ethnographic literature on the Senufo has been enriched since the publication of Pierre Boutin and Jean Jamin’s bibliography (1977). My recent field research has benefited mostly from the works of Till Förster (1987, 1997) which are the most recent and deepest on the Senufo; further, they concern the Kafibele sub-group whose balafon music is the subject of my research. 6 i.e. immediate past 8 journal of international library of african music THe tonemic structure per syllable is: low, low, mid, high, low, low, high; the intonation as spoken is shown in the sonagram below (Fig. 1). Before playing it on the balafon, Nahoua explained: Every balafon tune (ŋṵ́gō, literally “song”) really has a meaning. Speaking of this, I can talk about those for the announcement of a death. I can explain some of these. Because if we balafon players are going to sit down somewhere to have a friendly chat, we joke a lot. Every balafon tune has a meaning for us. When the death has to be announced and they are calling for the riflemen, if it’s someone old and the poro drums are played, then we play, saying that the dead are saying: ‘Here’s one of them just arrived with us!’ ”7. Fig. 1. Sonagram of the fundamentals (partials 1) of the phrase: “Here’s one of them just arrived with us!” spoken twice 7 THe whole translation, which had to be shortened in the film, is restored here. talking balafons 9 Fig. 2. Graphic transcription of the
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