Introduction

Figure 1-1

Photo: Kakraba Lobi performing at the University of Ghana, Legon circa 1970.

Figure 1-2

Photo: Men dancing at Kakraba Lobi’s funeral as cowrie shells are tossed on the keys of Maal Yichiir’s xylophone.

Figure 1-3

Video: Excerpt of Maal Yichiir performing a section of Saan Di Bieko at the funeral of Kakraba Lobi, ending with the call for his drummer to join.

Figure 1-4

Photo: Professional portrait of El Vuur.

Figure 1-5

Photo: Belendi Saanti pausing for a break during a performance beneath the shade of mango trees in Vondiel.

Figure 1-6

Video: Maal Yichiir performing with full percussive accompaniment.

Next Chapter

Xylophone Music in Africa

Figure 2-1

Video: Bobobo (play play play) music performed at an Ewe funeral in Ketu, Volta Region.

Figure 2-2

Video: Belendi Saanti performing his composition Den Den Chene (Straight to the Point), in Vondiel.

Figure 2-3

Photo: Birifor pit xylophone in Tuna, Northern Region.

Figure 2-4

Photo: Hausa musician playing a xylophone in Cameroon circa 1914. Private collection, used with permission.

Figure 2-5

Photo: Hans Holbein’s Dance of Death (1523), one of the earliest European depictions of a xylophone.

Figure 2-6

Photo: Xylophone ensemble from Cameroon circa 1914. Private collection, used with permission.

Figure 2-7

Photo: Bɔgyil ensemble with gaŋgaa and kuur (out of frame) in Saru, Northern Region.

Figure 2-8

Video: Bɔgyil ensemble in Donyɛ, featuring several members of the Vuur family.

Figure 2-9

Photo: Vuur Sandaar applying a mirliton to a kogyil in his workshop in Donyɛ.

Figure 2-10

Audio: Approximate Western tunings of C and G fifteen key kogyile, and of kogyile made by Tijaan Dorwana and Vuur Sandaar.

Trans: Approximate Western tunings of C and G fifteen key kogyile, and of kogyile made by Tijaan Dorwana and Vuur Sandaar.

Download as a PDF

Figure 2-11

Averaged Tuning of the Birifor kogyil compiled by Larry Godsey (1980).

Figure 2-12

J.H. Kwabena Nketia saying a eulogy for Kakraba Lobi at Kawo Kudi park in Accra.

Figure 2-13

Photo: The typical grip of Birifor xylophonists.

Figure 2-14

Reenactment of the Hunt at the 2009 Kobine festival in Lawra.

Figure 2-15

Photo: Bewaa group performing at the Kobine festival in Lawra, Upper West Region.

Figure 2-16

Photo: Detail of the Dagara kuor calabash drum, Lawra.

Figure 2-17

Photo: Detail of Birifor instruments, (clockwise) kogyil, gaŋgaa, lar, and kuur.

Figure 2-18

Audio: Audio of gaŋgaa, lar, and kuur variations.

Trans: Transcription of gaŋgaa, lar, and kuur variations.

Download as a PDF

Figure 2-19

Audio: Ganda Yina as a programed arrangement.

Trans: Score of Ganda Yina.

Download as a PDF

Figure 2-20

Audio: Saan Fo Dan Tara Ferai as a programed arrangement.

Trans: Excerpt of Saan Fo Dan Tara Ferai.

Download as a PDF

Figure 2-21

Audio: Saan Yi Kyena Dakpolo as a programed arrangement.

Trans: Excerpt of Saan Yi Kyena Dakpolo.

Download as a PDF

Figure 2-22

Photo: Detail of modern (top) and traditional (bottom) Birifor xylophone mallets.

Next Chapter

Ethnicity and Ritual Contexts of

Musical Performance

No figures included in Chapter 3.

Please continue to the Next Chapter

Xylophonists from Vondiel and Donyɛ

Figure 4-1

Photo: The Bole-Wa road through Tuna.

Figure 4-2

Map: Interactive map of approximate location of primary research areas. (Google 2011).

View Fieldwork area in a larger map

Figure 4-3

Photo: Saanti’s house in Vondiel.

Figure 4-4

Video: Women and girls preparing shea butter to a rhythmic pulse in Vondiel.

Figure 4-5

Photo: Saanti explaining his compositions beneath the mango trees in Vondiel.

Figure 4-6

Photo: Saanti retelling his family history in Vondiel.

Figure 4-7

Audio: Old cassette of El Vuur performing Lubile Prai.

Figure 4-8

Photo: View of Donyɛ from the roof of Sandaar’s house.

Figure 4-9

Photo: Vuur’s sons and grandchildren at his grave in Donyɛ.

Figure 4-10

Audio: Old cassette of El Vuur performing several compositions from the funeral cycle, starting with Saan Di Bieko.

Figure 4-11

Photo: Vuur Compound in Donyɛ.

Figure 4-12

Photo: Vuur Sandaar playing kogyil in Donyɛ.

Figure 4-13

Photo: Sandaar carving a xylophone key in his workshop.

Figure 4-14

Photo: El Vuur’s sons discussing the conflicts they each face.

Figure 4-15

Mwan performing an excerpt of Darikpon on two kogyile in Donyɛ.

Figure 4-16

Photo: Vuur Mwan reflecting upon the texts of his compositions in Donyɛ.

Next Chapter

Xylophonists from Bubalanyuro, Bayelyiri,

Jorikoyiri, and Saru

Figure 5-1

Photo: Yichiir performing in Bubalanyuro.

Figure 5-2

Photo: Chile (far left) and Yichiir (far right) in Bubalanyuro discussing their childhood in the company of their extended family.

Figure 5-3

Photo: Yichiir at his farm.

Figure 5-4

Photo: Chile performing outside his home in Bubalanyuro.

Figure 5-5

Photo: Yichiir performing at the Evangelical Church of Ghana, Bubalanyuro.

Figure 5-6

Video: Excerpt of Yichiir performing Yesu Ya Na (Jesus the King) with his congregation at the Evangelical Church of Ghana, Bubalanyuro.

Figure 5-7

Photo: Yichiir (right) and Lombɔr (center) perform at the funeral of Kakraba Lobi, where Lombɔr ensured that Yichiir retain his cowries and coins.

Figure 5-8

Photo: Lombɔr helping out on Yichiir’s farm.

Figure 5-9

Photo: Alhansan enjoying my knowledge of xylophone compositions Bayelyiri.

Figure 5-10

Photo: Layir Bayir (orange shirt) and Alhansan (brown shirt) with local boys conversing in Bayelyiri.

Figure 5-11

Photo: Alhansan performing his compositions in Bayelyiri.

Figure 5-12

Photo: Funeral for a woman in Jorikoyiri, held beneath a large tree.

Figure 5-13

Video: Funeral for a woman in Jorikoyiri, performance by Kuyiri Darigain.

Figure 5-14

Photo: Darigain explains his relationship with other blind people, as his nephew listens.

Figure 5-15

Photo: Houses in Saru just before the Volta river crossing that connects Ghana and Côte d’Ivoire.

Figure 5-16

Photo: SK in Abavana, Accra, rehearsing for a performance with Hewale Sounds.

Figure 5-17

Audio: Kogyil duet by SK Kakraba and Ba-ere Yotere, Accra.

Next Chapter

Blindness and Witchcraft’s Causality

Figure 6-1

Photo: A young ferryman drinks from the black Volta outside of Saru, a breeding ground for Onchocerca volvulus.

Figure 6-2

Photo: Students during outdoor exercises at the Methodist School for the Blind, Wa.

Figure 6-3

Photo: A group interview with students from the Methodist School for the Blind in Wa.

Figure 6-4

Photo: Message written on the wall in John Dari’s “Craft Shop of Disabled Apprentices.”

Figure 6-5

Photo: John Dari displaying both skill and strength dancing with his remaining leg.

Figure 6-6

Photo: Detail of the icons of Saanti’s xylophone (left) and El Vuur’s xylophone (right).

Figure 6-7

Video: Excerpt from a Sunday service at the Evangelical Church of Ghana in Bubalanyuro.

Figure 6-8

Video: Yichiir performs his composition based off of Luke 18:18-29.

Figure 6-9

Video: Yichiir performs his composition based off of Matthew 7:21.

Figure 6-10

Video: Yichiir performing Yesu Ledia Naa (Jesus is King) after church in Bubalaynuro.

Next Chapter

Enemy Music (Dondomo Yiel)

Figure 7-1

Video: Yichiir performing his composition Chenjere (I See Still) in Bubalanyuro.

Figure 7-2

Video: Yichiir performing his composition Jaanfo (Learning) in Bubalanyuro.

Figure 7-3

Video: Yichiir performing his composition Den Dem Di (Small Small Eat) in Bubalanyuro.

Figure 7-4

Video: Yichiir performing his composition Nborfo (Cheating) in Bubalanyuro.

Figure 7-5

Video: Chile performing his composition Dondomo Lem Ba Turo in Bubalanyuro.

Figure 7-6

Video: Chile performing Donyuor’s untitled enemy music composition in Bubalanyuro.

Figure 7-7

Video: Alhansan performing his untitled composition about his experience of adversity in Bayelyiri.

Figure 7-8

Video: Alhansan performing his untitled composition about accusations of witchcraft in Bayelyiri.

Figure 7-9

Video: Excerpt of Saanti performing his composition Adie Dondomo (House Enemy) in Vondiel.

Figure 7-10

Video: Saanti performing his composition Yi Barma Kapen (Let Me Have My Peace) in Vondiel.

Figure 7-11

Video: Mwan performing his composition Dondomo (The Enemy) in Donyɛ.

Next Chapter

Historical Memory and Speech Surrogation

in Funeral Music

Figure 8-1

Video: Saanti performing his composition Namunu Nyuor Daa. Vondiel.

Figure 8-2

Video : Saanti plays the phrase Yonyɛ, npuorfo na yan yan yan on the kogyil in Vondiel.

Figure 8-3

Video: Saanti demonstrating the alignment of text and melody in a section of is composition, Yi Barma Kapen. Vondiel.

Figure 8-4

Video: Excerpt from Saanti’s Yi Barma Kapen, demonstrating the use of flams, rhythm, and tonal range to effectively surrogate. Vondiel.

Figure 8-5

Video: Vuur Mwan performs his composition Dondomo while local men from the community sing in Donyɛ.

Figure 8-6

Video: Yichiir performing after church in Bubalanyuro, with members of the church singing the text associated with Yichiir’s melody.

Figure 8-7

Table: Birifor funeral song cycle for a man.

Figure 8-8

Table: Birifor funeral song cycle for a woman.

Figure 8-9

Video: Excerpt of Chile performing Daarfo in Bubalanyuro.

Figure 8-10

Video: Excerpt of Chile performing Pir Kpara in Bubalanyuro.

Figure 8-11

Audio: El Vuur performing Lubile Prai.

Figure 8-12

Video: Yichiir performing Lubile Prai in Bubalanyuro.

Figure 8-13

Video: Chile performing Saan Di Bieko in Bubalanyuro.

Figure 8-14

Video: Mwan performing Saan Di Bieko in Donyɛ.

Figure 8-15

Video: Yichiir demonstrating the call that invites his drummer to play in Bubalanyuro.

Figure 8-16

Video: Yichiir performing Darikpon in Bubalanyuro.

Figure 8-17

Video: Saanti performing Darikpon in Vondiel.

Figure 8-18

Video: Mwan performing Darikpon in Donyɛ.

Figure 8-19

Audio: SK performing Ganda Yina in Accra.

Figure 8-20

Audio: SK performing Saan Fo Dan Tara Ferai in Accra.

Figure 8-21

Audio: SK performing Saan Yi Kyena Dakpolo in Accra.

Figure 8-22

Video: Yichiir performing Chikuorbene in Bubalanyuro.

Figure 8-23

Video: Alhansan performing Chikuorbene in Bayelyiri.

Figure 8-24

Audio: SK performing Benekponble in Accra.

Figure 8-25

Audio: SK performing Ben Yere Yo in Accra.

Figure 8-26

Video: Saanti performing Guun in Vondiel.

Figure 8-27

Video: Saanti performing the phrases characteristic of each of the primary types of Guun in Vondiel.

Next Chapter

Urbanization and Musical Change

Figure 9-1

Photo: The busy streets of Accra.

Figure 9-2

Photo: Mosque outside of Kakraba Lobi’s former house. Mamobi, Accra.

Figure 9-3

Photo: SK performing with Hewale Sounds at the Alliance Française of Accra . (photo courtesy of SK Kakraba).

Figure 9-4

Photo: SK performing with Hewale Sounds in Switzerland (photo courtesy of SK Kakraba).

Figure 9-5

Photo: SK performing with Hewale Sounds at the Holiday Inn, Accra. (photo courtesy of SK Kakraba).

Figure 9-6

Audio: Hewale Sounds’ “Kalabule,” from the album Trema (2003).

Figure 9-7

Audio: Hewale Sounds’ “Saabewana,” from the album Trema (2003).

Figure 9-8

Photo: Tijaan Dorwana’s xylophone workshop in Pig Farm, Accra.

Figure 9-9

Photo: Continued musicking in the aftermath of Kakraba Lobi’s funeral ceremonies. Mamobi, Accra.