African Drumming and
Communication
January
06, 2007 by
There is little room
for argument that the music of sub-Saharan
Drumming for the most part is a backbone on which
to hang instruments of melody and little else for the rest of the world. Rhythm
in
Where differences come into the study of rhythmic
importance in African music is in how the Africans themselves perceive and
utilize that all-important element. The ability to apply multiple
interpretations of what rhythm means to Africans is based substantially on the
fact that rhythms are utilized differently in African music compared to western
music.
Traditionally, this difference is described as
polyrhythmic because two or three rhythms may be playing against each other at
once, while others prefer the term polymetric. The
African rhythm is actually a metrical call and answer device that serves to
create a pattern that should be viewed as a response. This further underlines
the importance of understanding African rhythms as expression of communication
and even a language device. This pattern of respondency
in turn creates the locus for debate over the perception of rhythm. Academic
studies over the course of the past century have debated on how Africans
actually perceive this pattern while at the same time proving how remarkably
difficult a task it may be.
The opening salvo in
the attempt to delineate the meaning of rhythm in African music, at least from
an ethnomusicologist perspective, dates back to the pioneering work of Erich
Von Hornbostel. Hornbostel
quickly leapt upon the importance of the responsive drumming, paying particular
attention to the cultural differences between African rhythm
and western rhythms. Unfortunately, of course, this
bifurcation present a dual manner of looking at the topic. Hornbostel may well have admired the differences, but in
positioning African rhythm as a separate entity he either fell or jumped into
the trap of racism inherent in depicting a culture as separate from another.
Even today, that trap is very difficult to keep away from entirely, try as one
might to be neutral.
For Hornbostel, the
situation was ethnically intrinsic and though a certain level of neutrality was
expressed, he couldn't evade an underlying distinction that is weighted with
ideological meaning. When Hornbostel refers to black
African musicians as "them" he is creating a subtle but valid
distancing device that serves to construct an unfortunate differentiation that
goes beyond culture. Key to understanding Hornbostel's
theories is that African rhythm is essentially a
motional expression.
By this is meant that rhythm is inextricably tied
to movement. And movement is an expression of emotion, but also communication.
Therefore, this theory postulates that African rhythm is much more than simple drumbeats,
but has a kinetic extension to it as well. Yet, one cannot help but come around
to the old notion that African rhythm is therefore genetically wired into the
culture if one buys into this idea and that definitely raises suspicions. There
is much to suggest that this theory has little basis in reality.
For instance, the fact that communication can be
done over great distances. The African talking drum is so named because it can
approximate very closely the rhythm and pitch of human speech. Since this is
done over vast distances, the effect of motion is quite obviously not terribly
important. The whole idea of relating rhythm to motion sets up a unique problem
that once again unfortunately is tied to the issue of race, whether theorists
truly mean to do so or not. This is the inherent problem that lies at the heart
of finding the actual use of rhythm among Africans. The scholarly work is
almost entirely done by outsiders and as such there is simply no realistic way
to reach any core truth.
The suggestion is that
an orientation of understanding of the rhythm is critical and indeed this may
have a cultural significance that explains the broad differentiation between
how Africans approach rhythm and how westerners approach rhythm. The difference
is clearly in the perception,
but the perception may not be as explicit as it seems.
Westerners tend to regard rhythm solely from an aural standpoint, but that
doesn't mean that Africans necessarily can be said to be regard rhythm as
extension of motion. Rather what might get closer to the point is that Africans
"feel" rhythm as well as hear it.
Yet even that seems to be missing the whole point
of African rhythm. Perhaps academic study has overemphasized the perception
that Africans have in regard to rhythm. The simplest answer is almost always
the right answer and when looking at the history of African music and drumming,
the simplest answer seems to be that which is most overlooked. Cognitive
perception aside and gestalt theory aside, breaking down the usefulness of
African rhythm is probably the best method for gaining a full or even partial
understanding how Africans have come to perceive the use of rhythm. Even taking
into consideration the idea of motion based meaning, it becomes obvious that
rhythm is at the forefront of the most meaningful component of all
civilization.
Civilization cannot survive past anarchy unless it
develops a proper language and language is meaningless unless it can be both
used and understood for communication. Therefore, when looking at how Africans
perceive rhythm and especially how they use it, it only makes sense to focus on
the one element of African rhythm that permeates all academic scholarship into
the issue. And that element always comes back to simple communicative uses of
rhythm.
African rhythm is not merely meant to be taken as
a musical accompaniment, it is literally a method of
communicating. And often that communication must travel over long distances.
Drumming and rhythm are essentially means for communication and if Africans can
be said without question to perceive anything about rhythm is that they can
perceive how communication proceeds. The languages that are spoken in western
The drums themselves
are designed for communication; African drummers can pound a rhythm that
replicates not only speech rhythm, but also speech pitch. Clearly this is
indicative of a perception that the use has meaning that is very specific. In
order to facilitate this meaning, a drummer
naturally must have a sense of pitch that is extraordinarily
well developed. This highly developed pitch may provide the explanation behind
why so many ethnomusicologists insist on African rhythm being so highly distinctive
in itself as well as distinctive from western drumming.
The particular use of rhythm for communication is
clearly distinguished from western drumming in the sense that the kind of
communication possible in African drumming is simply not possible outside a
tonal language. If, for instance, drummers-even African drummers-tried to
approximate the English language in the way that African drummers approximate
their native language the result would be a cacophony of noise,
indistinguishable from anarchic and dissonant tonalities.
The reason is that the listener could only
acknowledge the number of syllables. It goes back to the polymetrical
argument over polyrhythmic. African drumming isn't merely about rhythm.
Westerners perceive drumming in that way because western rhythm tends to be
separate from pitch. African drumming is reliant upon tonal changes in pitch
and therefore it can be used to approximate speech. Western drumming could be
used as well, of course, but pitch is rarely used for communication except for
inflection in western languages.
Of course, language is not merely and completely
communication. Language is a bonding activity and drums have always played a
role that delves into the social fabric in
Drumbeat and rhythms
are used during festivities that carry less weight, such as sporting events.
Interestingly, the particular rhythms and tones can communicate much like a
sportscaster making comments upon the action. This certainly supports the idea
of assigning a value beyond
cognitive
understanding to African rhythm.
If rhythm can be so subtle that an audience
understands them on a level of commentary, then clearly there is room for doubt
that motion is necessary for understanding them. Motion indicates that
cognition requires something along the lines of body language, but if the
rhythm itself is communicating the thought and there is no perception of
movement, what then?
Perhaps the most fascinating element of African
rhythms and the one that separates it from western counterparts is that it is
used for the purpose of narrative. African history has a long oral tradition
and within that tradition the rhythm of the drum plays an important role. Not
only does is a storyteller often accompanied by drumbeats, but on occasion epic
sized narratives are expressed almost entirely through drumbeats. The rhythm
varies and the call and response speaks to the listener. Obviously, then,
perception is not at issue. It is merely a historic and cultural assumption.
Just as people of a certain culture know what certain words mean when given a
certain kind of inflection, so to will Africans instantly recognize the
patterns of drumbeats.
Agreement may still be lacking on the essentials
regarding how Africans perceive and use rhythm, but one thing is inarguable.
Africans use rhythm differently from westerners and have traditionally
incorporated it into their culture as a means of communication. So effective is
this means of communicating that it can actually substitute for spoken language
due to the ability of drummers to approximate human speech patterns to near
perfection.