The African Mbira

The African Mbira (aka. plucked idiophone)
Image: Antique Mbira/Marimba Dark Africa Collection
Size in cm: 17 x 30 x 6
Weight: 400gr.

The mbira has been an important instrument in sub-Saharan Africa and has played a part in African culture for 800 years. Although it can be a solo instrument, it is more commonly used as an accompaniment to singers, musicians and dancers. It is not uncommon for the native African instruments to allow solo harmonization, but typically, harmony in African music serves as a variation to the theme being performed. Many versions of the mbira exist with tribes creating distinctive performance styles and names for the instrument. They vary widely in appearance, size, materials, and tuning from the smallest 6-note models of the Kalahari Bushmen, to the sophisticated 33-note instrument found in Zimbabwe. The name mbira is know throughout much of Africa, but regionally, the name mbira is more commonly used in Zimbabwe, while the name Kalimba is used in Kenya, the name ikembe is used in Rhuanda, and the name likembe is used in the Congo, while other names are bit less common such as sanza, sansa, marimba, marimbula, there are more generic names of finger harp, gourd piano, and thumb piano that are often used in the west. The mbira is also known as the thumb piano, because one's thumbs are used to pluck (or more accurately depress and release) the metal strips (tongues or lamellas) that sound particular notes. It is common for two mbiras to play together where one covers the melodic accompaniment of the singer while the other plays the bass line (or bourdon). Some mbiras have few tongues and others have many. Some of the more sophisticated instruments have two sets of tongues for one performer to play melody and harmony, or melody and bass line on the same instrument. In the 1920's, Hugh Tracey came from England to Rhodesia (now Zimbabwe) to help his older brother run a tobacco farm. He became fascinated by the local music culture and created the Kalimba, a version of the mbira. Introduced by Tracy in the early 1960's, Kalimba was the registered trademark for his diatonic instrument that soon became popular around the world. The word kalimba literally means little music. It was well suited for Western music and made it easy for the performer to play harmony using both thumbs. Today, versions of this African instrument can be found in most parts of the world, with a wide use in parts of Asia, the Middle East, North and South America. Much of this popularity is due to the work of Hugh Tracy, but the simplicity of the instrument's design and construction and the relative ease by which one can learn to play it has added to it's wide acceptance throughout the world.

Physical Description:
The basic mbira is a simple sound board or sound box with wooden (typically cane) or metal keys or tongues (called lamellas) attached on the top. The sound box is typically made from a calabash (gourd) or wood, and often the metal keys (tongues) were made from old spoon handles, bicycle spokes or spring wire that were cut and hammered to the desired shape. The keys (tongues) are plucked with the thumbs, or with combinations of thumbs and fingers. The keys usually consist of 6 to 33 metal keys (tongues) mounted across two bars (or wooden dowels) at one end attached to the sound box with another wooden dowel holding them in place. The bar closest to the sound hole serves as a bridge, the other to provide a means for the dowel to hold the keys (tongues) in place. The free ends of the keys (tongues) are positioned at different lengths to produce the variety of pitches. The length of the vibrating end of the keys (tongues) determines the pitch (a shorter key or tongue produces a higher pitch, and a longer key or tongue produces a lower pitch). Many of the mbiras with sound boxes, have holes drilled in the sides of the sound box. When the instrument is held in both hands with the thumbs plucking the tongues, the index fingers on each side can cover and uncover these side holes to change the resonance and can provide a tremolo effect. The mbira often has several rows of keys (tongues) positioned like multiple manuals (or rows of keys) on a keyboard. The lower manual (typically longer tongues and lower pitched notes) often represent the men's voices, while the upper manual (typically shorter tongues with higher pitched notes) represent the young men's voices, or are split with one side of the upper manual representing the young men's voices and the other representing the women's voices. The tuning and arrangement of the tongues are varied.

Sound Properties:
The mbira produces a haunting, fluid percussive sound that is considered tranquil and enchanting. Since you can play either simultaneously or alternating between both thumbs, harmonic and rhythmic effects are possible. An important feature of mbira music is its cyclical nature, with each new repetition of a theme varying slightly from the last and incorporate numerous interwoven melodies, with contrasting and syncopated rhythms. Mbira music lends itself to rhythmic and melodic diversity, and entails a great deal of improvisation, qualities common to African traditional music. The compositions usually consist of a main melodic part (kushaura), and a secondary melodic part (kutsinhira). A special attention should be paid to the combination of quadruple (4/4) and triple 3/4 meters within the rhythmic structure of the music. Most compositions can be thought of as a sequence of four 12-beat phrases. Those 12 beat can be divided into three groups of four, or four groups of three. While the Mbira can be an effective solo instrument, it is rarely found by itself at traditional Shona religious ceremonies. It is ordinarily accompanied by hosho players, handclapping, and singing. The persistant array of complex rhythms and variations of the melodies provides a rich source of sounds that captivates listeners. Many effects can be employed by plucking up or down on the keys (tongues). The sound can also be altered by wrapping the tongues with wire or adding a mirliton device. This adds an additional buzzing or humming character to the sound of the instrument which is an important sound in many of the tribal cultures. Often, snail shells or metal bottle caps are often attached to the sound board or the sound box to create or enhance the rich buzzing sound. The buzzing is thought to clear the mind and allow the listener to focus totally on the music. These buzzing effects are not commonly used on the diatonic versions of the mbira or outside of the African tribal cultures. Most recordings do not include these effects as they tend to favor the pure sounds of the instrument. Mbira tunings are numerous, and usage depends on personal preference. Mbira players usually settle on a particular tuning and use it consistently. Some of the more common Mbira tunings are Nyamaropa (most common), Gandanga Dongonda, Gandanga (or Mavembe), Nyuchi, Dambatsoko, Katsanzaira, Mande, Nemakonde, Nyamaropa Dongonda, Samsengere, and Saungweme.

African Djembe

African Djembe

Information on the djembe, their preparation and origin as well as some background knowledge.

The Djembe is a West African instrument whose origin was a long time ago in Guinea.
Over the years, the musical cultures have blended in Africa.
Today, the djembe in many other countries, such as in Mali, Senegal, Gambia, Burkina Faso, Niger, Ivory Coast / Cote d'Ivoire and in Ghana.

Djembe or: Jembe is traditionally an instrument of the Mande Bambara and Malinke peoples. From their settlements it has spread since the 60's in a regular sweeping across West Africa to South Africa and in recent decades in Europe and America.

Traditionally, the djembe of "musicians" is made, wherein the timber body in the "rhythm" worked.
There are few high-quality timber species which are, according to African musicians for the Djembe-production very well.
These particular species are West African and exotic woods hot Lenke, Iroko / Odum or Dweneboa. They are ideal for the construction of instruments such as djembe and balafon suitable.

During my musical travels through West Africa, I came into a small town, where be built today without European tools, but with self-forged tools Djembe.
This is done by means of a common rhythm, with the heaviest operation eg the hollowing out of the heartwood the beat determined and minor works, such as Decorations at the foot of the djembe, the melody arise.

For generations, this tradition has been maintained in musical families. When I am on my first visit in 1986 approached the small African town, where the tradition still exists today, I assume meant the sound of drums and rhythms can be.
At first I thought that one of the usual events in Africa such as Birth celebrations, weddings, outdooring ceremonies, harvest festivals or funerals drummed, danced and sung, but as I approached, I realized very soon that there were musicians at work or carving the Djembés there. By working on the Holzkorpora created rhythms that combines revealed a complex melodies play.

Later, I told an old, blind musician and carver, that he has made throughout his life and music made these instruments with his hands and has played and believe that the instruments of the rhythm is on, drums in carving.

Very soon I realized the value differences between instruments, which are made from cheap materials and with European tools and instruments that would be made to the old style of music sent hands in excellent quality.

The demand for African Art

CNN.com's video on the "Growing Demand for African Art"
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African People and Culture

African People and Culture

The ZULU People of South Africa

The Zulu are the better indigenous accumulation in South Africa. They are able-bodied accepted for their admirable blithely black chaplet and baskets as able-bodied as added baby carvings.

The Zulu accept that they are descendents from a arch from the Congo area, and in the 16th aeon migrated south acrimonious up abounding of the traditions and community of the San who additionally inhabited this South African area. During the 17th and 18th centuries abounding of the best able chiefs fabricated treaties and gave ascendancy of the Zulu villages to the British. This acquired abundant battle because the Zulu had able affectionate apple government systems so they fought adjoin the British but couldn't win because of the baby backbone they possessed. Finally, afterwards abundant of the Zulu breadth had been accustomed to the British the Zulu bodies absitively as a accomplished that they didn't appetite to be beneath British aphorism and in 1879 war erupted amid the British and the Zulu. Though the Zulu succeeded at aboriginal they were in 6 months baffled by the British who adopted the Zulu Kings and disconnected up the Zulu kingdom. In 1906 addition Zulu insurgence was advance and the Zulu abide to try to accretion aback what they accede to be their age-old kingdom.

The Zulu accept in a architect god accepted as Nkulunkulu, but this god does not collaborate with bodies and has no absorption in accustomed life. Therefore, best Zulus collaborate on a day to day akin with the spirits. In adjustment to collaborate with the alcohol the Zulu charge use divination to collaborate with the ancestors. All accident is a aftereffect of a angry abracadabra or affronted spirits, annihilation aloof happens because of accustomed causes.

The Zulu are about disconnected in bisected with about 50% active in cities and agreeable in calm assignment and addition 50% are working on farms.

Art from Zanzibar and Tanzania

Art from Zanzibar and Tanzania

Website recommendation: http://www.jumart.net/

Tanzania and Zanzibar are affluent in ability and art. Below are a few examples and in the absolute branch breadth to acquisition the art should you anytime appointment Tanzania.

Mokonde Abstraction is a charge shop for if you adore African abstraction from Tanzania. The Makonde bodies alive in the South East of Tanzania. This alien breadth of Tanzania has become acclaimed for the abstraction of atramentous [mpingo] or ironwood. Modern Makonde sculptures are able carvings, anniversary one unique. Their capacity usually accommodate shetani - which are spirits, demons and devils. The art is aqueous and at the aforementioned time awful angled. Traditionally the best able-bodied accepted carvings from this breadth were macho admission masks and abundant torsos absorption the accent of women in their society. Outside the arcade at the Cultural Heritage in Arusha in Northern Tanzania stands a twelve bottom aerial and ten bottom blubbery Mokonde carving. This abstraction is from a distinct timberline block and depicts intersecting abstracts assuming accustomed activity in Tanzania.

Tinga Tinga painting basic in Southern Tanzania and Mozambique and were corrective from pigments begin in nature; archetypal capacity to be corrective were bodies and animals. Eduardo S. Tingatinga was built-in in Mozambique but during the backward 1960s confused and acclimatized in Tanzania. He is accustomed with founding this art movement, which today takes his name; Tinga Tinga [sometimes spelt Tingatinga]. Traditionally corrective on aboveboard board bedding with active apply colors; generally corrective assimilate a atramentous background. The Tinga Tinga appearance of African art is corrective in a affable and aboveboard way.

The Maasai are apparently one of Africa's broadly apparent tribes. And their beadwork is apparent the apple over. The Maasai accept roamed the aerial grasslands of the Serengeti and Masai Mara of Southern Kenya and Northern Tanzania for centuries. The Maasai beadwork carries messages, from breadth you are and to which age accumulation you belong. The patterns and colors in a armlet are fabricated alone for anniversary age accumulation and the women alive calm in groups that adjudge the appearance of the jewellery to be fabricated for menfolk.

Red signifies danger, ferocity, bravery, strength, and decidedly unity, because it is the blush of the claret of the cow that is collapsed back the association comes calm in celebration.

Blue is important because it represents the sky which provides baptize for the cows.

Green is important because it represents the acreage which grows aliment for the beasts to eat. Green additionally represents the bloom of the Maasai association as there is a bounded bulb alleged olari which grows alpine and plentiful, as the Maasai.

Orange is the blush of the gourds that authority the milk that are offered to visitors and accordingly is the blush of hospitality.

Yellow additionally represents accommodation because it is the blush of the beastly banknote on the beds.

White is the blush of milk, which comes from a cow, advised a allowance from the gods to the Maasai bodies and so represents purity; and additionally health, because it is milk that nourishes the community.

Black represents the bodies but added decidedly it represents the hardships of life.

In Stone Town, Zanzibar, there are accounted to be 806 board doors dating from 1870. Designs arise from about the Persian Gulf, Afghanistan and the Punjab. They aboriginal accustomed in East Africa about 1500AD. It was in the time of Sultan Barghash (1870-1880) - the third Omani of Zanzibar that the doors became popular. The ellipsoidal aperture is encased in an intricately carved anatomy with the exoteric band of the anatomy carved into chains allegorical of the enslavement of angry alcohol aggravating to access the residence. There are eleven chain sections to a archetypal door. The abutting anatomy is sometimes carved with lotus flowers or approach leaves. Fish are generally carved into the doors, actuality an important allotment of aliment on the island. Above the aperture panels the axle is carved with rosettes, sometimes the name of the abode buyer is carved assimilate the lintel. In the earlier doors there is generally a ballad from the Koran and the date of carving. The axial column amid the doors is additionally carved. Generally the aperture panels accept huge assumption studs set into the aperture which are an accessory adaptation of spikes originally advised to anticipate battering by elephants.

The best way to ascertain the art of Tanzania is by visiting and exploring Dar es Salaam and Zanzibar. All to generally the day-tripper will appointment Tanzania for the bold safari. The cultures, the bodies the backdrop out of the bold parks has so abundant to action and is all to generally neglected. If you are anytime advantageous abundant to appointment Tanzania booty some time to analyze the art and ability begin in the cities forth the Swahili coast. Art can be begin in Dar es Salaam at Morogro Stores abutting to the Slipway and Mwenge Market. In Zanzibar there is art at the Old Fort in Stone Town.

Tribal Abstracts: Fang

Tribal Abstracts: Fang
Image: Female Fang Mask from Cameroon
Size in cm: 62 x 15 x 7
Weight: 200gr.

Fang Tribal Geographicals: Cameroon, Gabon and Equatorial Guinea

The tribes that are alleged “Fang” in the geographic or ethnographic abstract cardinal 800,000 and aggregate a all-inclusive circuitous of apple communities, accustomed in a ample breadth of Atlantic close Africa absolute Cameroon, continental close Guinea and about the accomplished arctic of Gabon, on the appropriate coffer of the Ogowe River. Historically the Fang were itinerant, and it is almost afresh that they accept acclimatized into this ample area. The afoot actuality of the Fang banned the conception of affiliated shrines at gravesites. Instead, the charcoal of the important dead, in the anatomy of the skull and added bones, were agitated from abode to abode in a annular case box. The abundant rain backwoods arena area the Fang acclimatized is a plateau of average altitude, cut by innumerable amnion with avalanche and avalanche apprehension aeronautics for the best allotment impossible, and with a altitude about equatorial. Fang are principally hunters but additionally agriculturists. Their amusing anatomy is based on a clan, a accumulation of individuals with a accepted ancestor, and on the family.

The ensemble of Fang peoples convenance a band adherent to antecedent lineages, the bieri, whose aim is to both assure themselves from the asleep and to recruit their aid in affairs of circadian life. This familial band does not absorb the Fang’s religious universe, for it coexists with added behavior and rituals of a added aggregate character. It is the bieri, or antecedent sculpture, which has best acutely accustomed acceleration to the authoritative of arresting board sculpture. The bronze of the Fang can be classified into three capital groups: active on continued necks, half-figures and abounding figures, continuing or seated. Carved with abundant simplicity, at the aforementioned time they display a aerial amount of composure in the allocation of annular forms. The close is generally a massive annular form. The accoutrements accept assorted positions: easily bound in advanced of the anatomy (sometimes captivation an object); captivated in advanced of the chest or absorbed to it; easily comatose on the knees in the built-in figures. The axis is generally abstract into a annular form. Legs are short, stunted. Usually there is a domed, advanced forehead and the eyebrows generally anatomy arcs with the nose. The eyes are generally fabricated of metal roundlets. The bieri would be consulted back the apple was to change location, back a fresh crop was planted, during a palaver, or afore activity hunting, fishing, or to war. But already afar from the reliquary chest, the sculpted article would lose its angelic amount and could be destroyed. The ritual consisted of prayers, libations, and sacrifices offered to the ancestor, whose scull would be rubbed with crumb and acrylic anniversary time. With its ample head, continued body, and abbreviate extremities, the Fang bieri had the admeasurement of a newborn, appropriately emphasizing the group’s chain with its antecedent and with the three classes of the society: the “not-yet-born,” the living, and the dead. The charcoal were about skull fragments, or sometimes complete skulls, jawbones, teeth and baby bones. The bieri additionally served for ameliorative rituals and, aloft all, for the admission of adolescent males during the abundant so festival.

The Fang acclimated masks in their abstruse societies. The ngil (gorilla) masks were beat by associates of a macho association of the aforementioned name during the admission of fresh associates and the animality of wrong-doers. Masqueraders, clad in raffia apparel and abounding by helpers, would actualize in the apple afterwards dark, aflame by ablaze torchlight. Fang masks, such as those beat by afoot troubadours and for hunting and backbreaking sorcerers, are corrective white with facial appearance categorical in black. Typical are large, continued masks covered with adobe and featuring a face that was usually heart-shaped with a long, accomplished nose. Apparently it has been affiliated with the asleep and ancestors, back white is their color. The ngontang ball association additionally acclimated white masks, sometimes in the anatomy of a four-sided helmet-mask with billowing forehead and eyebrows in heart-shaped arcs. The ngontang affectation symbolizes a ‘young white girl’. The so, or red antelope was affiliated with an admission that lasted several months; these masks action continued horns.

Musical instruments – like the harp, its ends sculpted into admirable figurines – accustomed advice with the hereafter. Blacksmiths bellows, abounding absolutely beautiful, were sculpted in the appearance of figures; there are additionally baby metal disks featuring heads, alleged “passport-masks”, the Fang absorbed these to their arms.

Special spoons were carved and acclimated to administrate magically comestible aliment as allotment of acceptable admission rites. An alone man’s beanery was a preciously attentive control that was agitated on his being in a accept bag back he catholic and was placed on his tomb back he accomplished away.

Zimbabwean stone sculpture

Zimbabwean stone sculpture
Image: Soapstone Hornbill "Toko"
Size in cm: 19 x 07 x 04
Weight: 600gr.

The Zimbabwean stone sculpture is a singular phenomenon in the context of African Art. A similar type of art it has not met in any other African country. This art is also singular in that it practically from scratch, ie from any tradition was born and after about thirty years ago to dissolve into the anonymity of mass production for the market again began folklore. Today it is probably right to say that it is no longer the art direction is.

There were the special circumstances of the history of the country who have contributed to the rise and decline. In the 50s of last century, Southern Rhodesia, as Zimbabwe was then known, to the stage of comparatively liberal multiracial experiment, at least in cultural terms.

In the capital Harare, a university and a National Gallery were established. The first director of the new National Gallery was the Briton Frank McEwen. His role in the development of the "new direction" can not be overestimated. He had learned in the thirties in Paris, which impulses from the ethnic African art to modern European painting and sculpture emanated. His interest was to go to the roots themselves, seek out the creative powers of Africa and promote the positive atmosphere in Rhodesia, the development of domestic, as he thought, unadulterated art.

It's not to say so, that it has no plastic in front on the floor, where traditions of Zimbabwe. But the view of African art history of the last two thousand years shows that the entire southern Africa compared with West and Central Africa was poor in artifacts. He was settled too thin. It lacked the great kingdom, the power of the ritual art of the past represented in the rule. Only in Great Zimbabwe, in the realm of Monomutapa, there had been cult figures made of stone eagle. But their sculptural tradition has long gone down with the Empire. That these figures are cited in the context of contemporary stone sculpture again and again, has to do with the need of the new government to strengthen the cultural self-esteem of the nation. Above all, the wrong job to do on the tradition with the marketing needs of the gallery. The "typical African" sells better.

Significantly stimulated and encouraged by McEwen developed in the mid sixties, a scene of young talented African Stone Sculpture. Among the first Yoram Mariga, John Takawira, Henry Munyaradzi, Nicholas and Joseph Mukomberanwa Ndandarika. They were all later, the leaders of the new movement. McEwen asked the young artists to make art for art's sake and to be inspired by their inner images and the myths of her people, the Shona. The concept of the Shona Sculpture was born. In 1965 the first work was shown abroad. 1968, works were shown in an exhibition at the New York Museum of Modern Art. The special exhibition at the Musée Rodin in Paris was the international recognition. In their motives, these early works were quite African. In anthropomorphic figures, they often symbolized the belief in the original unity of man and animal. It played an important mythical eagle and monkey role. In its style, these works were often "archaic" or "primitive" and recalled the art of the Aztecs, Mayas and Eskimos. However, it would be wrong to speak of a unified style.

Instead, over the years developed the important artists own personal styles. Henry Munyaradzis minimalist design of the human head reminiscent of Paul Klee. Nicholas Mukomberanwas work seemed influenced by Cubism. When John Takawira could see a resolution expressive of the contour. Without doubt, the artists were exposed to Western influences. The National Gallery has shown works by Picasso and Henry Moore and other important artists of European modernism, but also ethnic African art. It is pointless to argue about whether the sculptures, which at that time were, were typically African or not. Anyway, they were not traditional in the strict sense, nor really modern. They were something special, a synthesis, an experiment, just the Zimbabwean stone sculpture.

When Frank McEwen was the genuine inspiration from the wealth of collective unconscious, he refrained form the artist. Instead, he shielded them against the temptations was already emerging from the commercialization, poor work rejected as "airport art" (they were actually destroyed) and shifted his Workshop School to the country. In 1965 the white settler colony of Southern Rhodesia declared its unilateral independence from the British crown. The international sanctions imposed against the country then, not only economically isolated Southern Rhodesia, but also culturally. But should it prove necessary for the new art as a blessing. It allowed the young artists the chance of a slow maturation on the right track. The growing reputation of the "Shona Sculpture" and the beginnings of interest from collectors offered the best sculptors of a sufficient material basis in order to establish themselves as professional artists living not only for their art, but for them too.

Which matured at the time, could be harvested after the country gained independence in 1980. The eighties were the culmination of the movement but also the beginning of its decline. Numerous exhibitions abroad made known its most important representatives and encouraged them to experiment and to choose for their work larger size. Surfaces were trimmed raw. With new tools, especially harder chisels, could be harder stones such as Spring Stone, lepidolite or Verdite editing and design easier breakthroughs. Young artists were joined to the movement. had studied Tapfuma Gutsa of Art in London, working in mixed media and often combined in his elegant works of stone and wood. Brighton Sango stone sculptures were abstract. They remembered nothing more in Africa. The term "Shona Sculpture" was unpopular with art connoisseurs as well as some artists. It almost seemed as if the Zimbabwean sculpture is alive enough to develop.

But after independence, also uses the problems. It was becoming obvious that the Zimbabwean stone sculpture was neither traditional nor typical African and not anchored in the country. She had neither a public nor a critical feedback from the local press. Even the wealthy new elite was not interested in that which spawned their most important artistic representatives abroad. The major annual exhibitions of the National Gallery were called but National Heritage Exhibition, but it lacked the artistic traditions, which were invoked in the name of the new nation. The quality of the pieces took off year after year, what the curators obviously did not prevent, to increase the quantity of the exhibits. Just as the market works. In the capital, were settling down numerous galleries, offering everything that increased the tastes of the tourists, whose numbers from year to year, in line. Because prices and sales were always started more young Zimbabweans who had no talent to copy what would sell. The result was a regrettable decline in quality, while damage to the reputation of the whole movement. In the nineties, this trend continued to the airport art. With the ominous decline of the economy, the plight of the African population grew in the cities as well as in the country. Those who did not work trying to get in the informal sector to stay afloat. On the way, flooding the mass produced pieces that were at best craftsmen, generally cheaper but kitsch, the market and undermined completely, which had developed by then.

Today, a review is possible on the Zimbabwean sculpture. The leading artists of the early years nearly all have died. A marked generation of younger artists whose work is of artistic quality and creativity would be, could not grow under the described circumstances. The time was too short and the movement is too small, as this could have caused what constitutes generally the art of a country: continuity and change, individuality, while many references to the cultural and social environment. Too weak, the response in our own society, and was too much demand from commercial interests and tourism needs determined. The Zimbabwean situation has equalized in this respect, the other African countries.

More valuable now seem in retrospect, the work of the most important representative of the early period. Their quality has moved the name of Zimbabwean stone sculpture in the world in the first place. The originality and uniqueness of artists such as Nicolas Mukomberanwa, John and Henry Munyaradzi Takawira is undisputed, even if their work is based on a syncretism, on an ambivalent fusion of African tradition and European modernity, which gives the impression both of the familiar as the stranger. Today, as the movement has lost almost all their contours, such works usually come only from private collections on the market.