- Origins, People, and Culture
The origin of the djembe, which is an open goblet drum, is traced back to West Africa, notably in Guinea and Mali at around 1300 during the reign of King Sundiata. The drum is designed from a high-density wooden material extracted from the tree identified as ‘djem’ found in Mali; it is reinforced with goatskin ‘be’ used for the membrane, hence the name ‘djembe’ (Bilmeier & Keita, 2004). In myth, the drum was stolen from chimpanzees by a village fool identified as So Dyeu, who thought it was more fit for human civilization.
Historians further trace the drum’s origin to the Susu or Maninka people whose native homeland, Mande, stretches between the present-day Malian capital, Bamako, and Kankan in Guinea. The Maninka society was stratified into a traditional caste; the djembe was first associated to the Numu (blacksmith caste) and was initially designed as a musical instrument played during traditional dances and other cultural festivities of a historical griot caste (Bilmeier & Keita, 2004). As the people migrated to the far reaches of Sundiata’s empire, the drum would be assimilated into various cultures spreading through West Africa. Those who played the instrument earned the name djembefola coined from the drum itself.
In the larger West African culture, djembe was played during various festivities and events, ranging from weddings, circumcision, excisions, and funerals. It also had seasonal significance among the Maninka people who used it as an instrument for traditional songs during harvest seasons to thank the gods for bountiful yields. It also became a common instrument for the council of elders’ meetings to resolve domestic and kinship disputes. Even though it was initially meant for the griot case, the hereditary restrictions for the djembe have gradually been assimilated in cultural exchanges and have practically now disappeared.
References
Billmeier, U. & Keïta, M. (2004). A Life for the Djembé—Traditional Rhythms of the Malinké (5th ed.). Kirchhasel-Uhlstädt: Arun-Verlag.
- The Role of Djembe in Traditional Dance
Every traditional society has a distinct culture with which it identifies. Historians observe that West African societies, most notably those within the Mande region, have signature dance styles that accompany particular drumming rhythms that can only be composed with the djembe. Mande dance is organized in that each specific rhythm has a set of steps, albeit with room for embellishment and the composition of new rhythms and sets. The role of the djembe is to achieve rhythm, symphony, and to create tempo in a wide range of traditional dances. The drum is specially designed to create different rhythms with respect to the ceremony at hand; the rhythmic composition for a wedding would vary considerably from that of funerals depending on the mood of the occasion. In addition, djembe soloing plays a vital role in accentuating the steps that the dancers will take for a more unified presentation.
The djembe drum is played in two distinct signature patterns in Mande dance; nyenaje (entertainment) and tulon (play) (Bilmeier & Keita, 2004). Traditionally, specific dance acts composed with the help of the djembe were associated with particular places, time, and occasion, but, as witnessed today, the djembe rhythms have been adopted into a wider cultural relevance. The djembe also has an important role in honoring guests; drumming at a wedding, for example, is directed to the main guests as a traditional practice to signify the coming of age. In other West African dances, the djembe is designed to create rhythms for the ballet tradition and other choreography.
References
Billmeier, U. & Keïta, M. (2004). A Life for the Djembé—Traditional Rhythms of the Malinké (5th ed.). Kirchhasel-Uhlstädt: Arun-Verlag.
- Djembe in Contemporary Music
Given its rich cultural roots and signature rhythms, the influence of the djembe has evolved over the years to gain outside influence in cultures that the founding Mande society may not have anticipated at first. A perfect example of this cultural evolution is the integration of djembe signature rhythms in national ballets. The initial outsider audience of the djembe rhythm was made possible by the founder of Les Ballets Africain, Fodeba Keita, in 1952. The ballet made its maiden headlining tour around Europe, after which President Sekou Touré of Guinea proclaimed the country’s first national ballet. Given the cultural influence of the djembe, two more national ballets were launched in 1961 (Ballet d’Armee) and in 1964 (Ballet Djoliba) (Charry, 2000).
Amid the widespread cultural influence of the djembe, President Touré reached out to Keita to help take a new direction in which the djembe rhythm and composition was used for promotional means. This move saw the secularization of traditional customs, dances, and other aspects of Mande culture through the national ballets. There emerged a wide range of rhythms and dances from various ethnic and cultural backgrounds; the essence of this secularization, as Touré envisioned it, was to rid the society of the fetishist ritual practices that he felt were too primitive for music in a civilized society. Therefore, the djembe rhythm helped music extend its cultural relevance to accommodate shared national values while maintaining its distinct signature style. The publicity that came with the extensive national ballet tours saw the djembe’s cultural influence grow into contemporary music.
References
Charry, E. (2000). Mande Music: Traditional and Modern Music of the Maninka and Mandinka of Western Africa. University of Chicago Press.
4: Cultural Experience
One of the most memorable things about this class will be the cultural experience that I gained. Studying about the djembe, its role in traditional West African societies and its growing influence in music in the contemporary world has been a cultural simulation exercise. The class cultivated a cultural exchange through a broad range of educational activities that reinforced my learning process to appreciate diversity and the fullness of distinct cultures. Understanding what the djembe means for West African societies is a rich cultural experience. This class has helped me both socially and psychologically. For instance, I now have a newfound fondness for traditional dances and music, which I have gained by enjoying the distinct and unique aspects of musical composition, rhythm, and sound. Learning about the djembe also inspired me to take playing lessons with a special West African composer at an affordable fee. I feel the need to learn how to play this instrument to expand on the competency I already have with my experience with the guitar, ukulele, and the symphony. The lesson appealed to my appreciation for musical instruments, composition, and rhythm, and now I just want to learn more diversity in the range of instruments I can perform with. Along with my newfound appreciation for instrumentation comes a brand-new experience with the ballet. Essentially, this class has been a meaningful cultural journey for me, and it has helped shape my perceptions towards cultural diversity. To me, the djembe is not merely an instrument but a cultural symbol that signifies the unique nature of the musical composition, sound, and rhythm. It has been a fulfilling experience that has cultivated a deeper understanding and appreciation for culture.