Cool Stuff: African Music

  

The Mbira:

    Originating in Zimbabwe over a thousand years ago, this instrument is played using the index and thumb fingers to vibrate tuned metal pieces. This can then be played with both hands, allowing for a melody and harmony to be played at the same time. The timbre of the instrument is very light and chime-like, with a high note range. By constructing it out of simple materials such as metal and wood, the portability and storage of the instrument itself increases (a trait key for traveling musicians and families). This instrument also has a descendant called the Kalimba, which is similarly constructed but with slight note/timbre differences as well as its default tuning. The Kalimba is also very popular in modern media, and is often featured in many viral music videos for its soothing sound and simple appearance.

The Gome:

    Similarly to the Mbira, the Gome drum originated from South Africa (specifically Ghana). Like many South African drums, it features an animal hide face with which to strike to produce base notes and powerful tones. However, one key feature that is unique to this drum is its capability to be played with both the musician's feet and hands (either separately or at the same time). By sitting on top of the instrument, the heel of the foot can act as both a mute and a mallet, while the hand/palm strikes for sharper notes. This then allows for not only ample percussion, but further expression during both group and solo playing from the musician.

South African Folk Dances (Domba, Volo, Ingoma, Indlamu & Mzansi):

    (*Warning for occasional/slight light flashes*)

    For my last topic, I wanted to include some traditional folk dances from across South Africa. In this example, the Domba, Volo, Ingoma (male and female dance), Indlamu & Mzansi are featured, along with drumming from Zulu culture. The vast array of both dancers and techniques displayed during this presentation reveal how diverse the cultures are across South Africa truly are (contrary to the common belief/concept of simple and migratory tribes/communities).  Along with the Zulu drumming, the dancers also use traditional items from each of the represented cultures (such as the traditional regalia at 3:35, or the war shields at 8:40). By coupling these traditions in a performative manner in front of an audience, culture can not only survive but serve as education both in and out of the original communities, furthering public knowledge as well as awareness of the diverse world around them.

Cool Stuff: South America

    For my first entry, I wanted to analyze and understand the soundscape of where these instruments would be played, along with the traditional sound and roots. This recording takes that desire to an entirely different level, with a traditional Incan master musician playing in traditional garb while in Cuzco (which if you didn't know is regarded as the historical site of the Incan capital). By playing these instruments within the walls of such a historic area, the culture and music can be felt by both sight and sound ( a feat hard to replicate even within a controlled environment such as an auditorium).

 

    After listening to traditional Incan music both in and out of class, one musical instrument intrigued me the most; the Chajcha. Surprisingly enough, I grew up around one of these, as my grandmothers favorite place to visit was the Andes when she was young (especially for the cultures that arose there). This video breaks down how the idiophone creates its sound (via the hollowness of the hooves) as well as the construction of the Chajcha itself, which was very interesting as well as entertaining to watch and admire. The drumming at the end also represents an unusual form of musical syncretism, as he later attaches the finished (Incan) Chajcha to the (American) snare drum/drum set as to obtain a somewhat syncopated rattle to each snare strike.

    With all of the music and instruments in mind, I wanted to spend my last moments of reflection on the environment and culture this music was formed in, as well as the citizens involved in these traditions. This video takes that desire to an entirely different level, with aerial shots and filming of some of the most famous Incan sites as well as traditions across Peru. From llamas to ruins, this short 6-minute film dives in to one of the richest cultural scenes I have ever seen, with all aspects of life, customs, hobbies, and passions explored. It is with this note that must say that Peru as well as South America will always hold a sense of wonder for me, and will hopefully continue to do so years into the future.

Blog #2: Music, Religion & Philosophy

    While most blogs will be concerning specific aspects and/or denominations of a religion, I would like to instead explore the direct development and change within the "usage" and "aesthetics" of Christian music in general. As a religion influenced by many surrounding beliefs and customs, cultural influences are important to remember while discussing this topic. By exploring the change within traditional and current Christian music, I want to reveal the changes and adjustments that have occurred over the course of time.

    

    For my first example, I wanted to use a classic childhood hymn. This specific song stood out to me while recalling my past due to its vast and catchy nature. It uses the repeating melody and hymn structure to ingrain the song into listeners (especially young children as a means to continue the communal singing tradition). By singing within a group while in a church hall/pews, the words can be physically felt within the body, further impacting the listening individual. In terms of aesthetics, the word choice and structure is entirely directed as a form of religion spreading/teaching.

    My second example completely changes the tradition of Christian hymn and group singing. In this church, a band is brought in to play and sing famous religious songs that are well known regardless of denomination/religion. Preaching, guest speakers/singers, and activities are then centered around a specific topic selected for the day (ranging anywhere to everyday difficulties to directly biblical concepts within scripture). This is a complete reversal of the traditional "hymns in unison" structure/"preach/sing/preach" method that most churches were founded upon. While the usage remains the same (to promote and catch listener's attention), the aesthetic is based upon modern Christian tastes and youth preferences.

    I wanted to include an actual sermon example for my case on the "new-age" religion topic. While classical Christian preaching usually involves "turning off your phone and tuning into God", technology is carried alongside traditional texts in this case to include both new and old traditions into one. Presentations as well as concerts are held during the extent of the sermon, along with community videos and concerns, all within a large auditorium. This is a completely different environment than the traditional "pew and altar/pulpit/lectern approach". While some may see this as a drastic change, the immense audience that the fusion reached allowed for this specific community to exponentially grow within its founding years. By approaching religion as a foundation for growth/development instead of a set-in-stone creation, the teachings can continue to be spread to the ever diversifying audience at a level of unparalleled understanding.

Cool Stuff: Native American Music & Tradition

     

           https://www.spiritualityandpractice.com/books/reviews/view/3304

    When addressing Native American culture, spirituality and self-expression are two of the biggest things that come to mind. Having lived in a heavily Indigenous area such as the foothills/mountains of South Carolina, I was raised with a syncretic blend of various integrated cultures and customs. One such tradition was a series of self-reflection cards titled the "Medicine Cards". These cards represented countless Indigenous divination and spiritual beliefs through the guise of animals/creatures, which could then be used to provide anything between food-for-thought and spiritual wisdom during hard times. These readings, while sometimes loose in interpretation, can be directly traced back to traditional native teachings of the inherent wisdom within nature.

In Indigenous musical culture, the hoop dance can also be viewed as yet another one of their many forms of animal reverence and respect. Similar to the medicine cards, the custom of hoop dancing revolves around using animal symbolism as a means of interpretation and story-telling. By using the hoops to represent creatures such as eagles, alligators, and butterflies, traditional dancers can not only show off their skills and techniques, but further educate and preserve their music/dance culture as well. This example, the 2021 Virtual Hoop Dance Contest, shows their perseverance and dedication for keeping Indigenous tradition as well as the spirit of Pow Wow alive during COVID-19.

    Lastly, I wanted to include Christian Parrish (also known as "Supaman") as my 3rd and final example of Indigenous culture. While the last two examples mentioned in this post contained trace elements of Syncretism, neither represented it as fluently and dynamically as him. It is through his unifying of Indigenous and American culture that he has gained an attentive and culturally diverse audience. In such a time of trials and tribulations, Christian Parrish stands as an example of the future for both Indigenous and global cultural evolution. By melding traditions together while still keeping each culture intact, Parrish is able to not only communicate through his art but inspire future artists to continue to develop spirituality as well as culturally.