THE CRAFT OF WEST AFRICAN INSTRUMENT-MAKING

[instrument-making]

The craft of West African instrument-making

by Eduard Alves a.k.a. Dudu Bongo

West Africa possesses an infinite variety of musical instruments that is unrivalled except perhaps in Asia. Beyond the expected variety of drums, they have also a rich array of harps, lutes, zithers, rattles, plucked lamellophones, stuck instruments, horns, whistles, etc. These instruments take part in the foundations of West African and Black African culture in general, given that music is an integral part of African lifestyle. Professional craftsmen who specialised in instrument-making are extremely rare in Africa. Generally speaking, each musician makes his own instrument. Furthermore, they believe that instruments are more than material objects. They are often considered quasi-human for the capacity they have to transmit, express, sing and even talk.

The intention of this project is to introduce myself to West African music and, particularly, to the process of crafting traditional instruments. Beginning with the selection of materials that will shape the instruments, following with their construction and ending with a composition of a repertoire for the final performance. At present, the collection is composed of four pieces that could be classified into two main groups: two melodic and two percussive instruments. The melodic chordophones are the Kamale N’Goni, native to Nigeria, and the Guembri, native to South Africa. The percussive group counts with the Udu and the Xekerê or Agbê, both native to Nigeria. They can also be sub-classified into aerophone and idiophone respectively.

As a musician and West African enthusiast, I wanted to experiment the process of making instruments that could suit my particular tastes and adaptations (taking into account the traditional way of construction). The size of the Kamale N’Goni, for instance, is determined by the dimension of its calabash, therefore, every instrument of its particular kind is unique. Its general characteristics correspond to those of its type, but each one has its own individual beauty — its own qualities and defects.

The last part of the project counts with a repertoire of short compositions based on the different sounds, dynamics, ranges and textures that I am capable of extracting from the instruments. An important fact to take into consideration in the performance is the adaptation of the acoustic elements with the current phase of technological experimentation that I am also interested in, merging together the ancient sounds of West Africa with the modern digital sound treatment.

[instrument-making]

The craft of West African instrument-making

by Eduard Alves a.k.a. Dudu Bongo

West Africa possesses an infinite variety of musical instruments that is unrivalled except perhaps in Asia. Beyond the expected variety of drums, they have also a rich array of harps, lutes, zithers, rattles, plucked lamellophones, stuck instruments, horns, whistles, etc. These instruments take part in the foundations of West African and Black African culture in general, given that music is an integral part of African lifestyle. Professional craftsmen who specialised in instrument-making are extremely rare in Africa. Generally speaking, each musician makes his own instrument. Furthermore, they believe that instruments are more than material objects. They are often considered quasi-human for the capacity they have to transmit, express, sing and even talk.

The intention of this project is to introduce myself to West African music and, particularly, to the process of crafting traditional instruments. Beginning with the selection of materials that will shape the instruments, following with their construction and ending with a composition of a repertoire for the final performance. At present, the collection is composed of four pieces that could be classified into two main groups: two melodic and two percussive instruments. The melodic chordophones are the Kamale N’Goni, native to Nigeria, and the Guembri, native to South Africa. The percussive group counts with the Udu and the Xekerê or Agbê, both native to Nigeria. They can also be sub-classified into aerophone and idiophone respectively. 

As a musician and West African enthusiast, I wanted to experiment the process of making instruments that could suit my particular tastes and adaptations (taking into account the traditional way of construction). The size of the Kamale N’Goni, for instance, is determined by the dimension of its calabash, therefore, every instrument of its particular kind is unique. Its general characteristics correspond to those of its type, but each one has its own individual beauty — its own qualities and defects. 

The last part of the project counts with a repertoire of short compositions based on the different sounds, dynamics, ranges and textures that I am capable of extracting from the instruments. An important fact to take into consideration in the performance is the adaptation of the acoustic elements with the current phase of technological experimentation that I am also interested in, merging together the ancient sounds of West Africa with the modern digital sound treatment.

[instrument-making]

Making of the Xekerê or Agbê.

The Agbê or Xekerê is a handmade rattle. It consists of a hollow gourd or calabash, covered on the outside with a net of seeds, beads, shells, or any available material. Although its origins are West African, today it is found in the Americas and Caribbean as well. When African slaves were taken to the "New World," they carried with them many of these rich musical traditions, which took root in varying degrees in different parts of South America and the Caribbean. In Cuba and Brazil (among others), Yoruba religious traditions using drums and shekeres are found almost completely intact (in Cuba is named Santería, Candomblé in Brazil) - with similar rhythmic patterns, names of instruments and accompanying chants.