A Drummer's Testament:  chapter outlines and links

Volume I:  THE WORK OF DRUMMING

Part 2:  DRUMMERS AND DRUMMING IN DAGBON

• 10.  The Work of Drumming
• 11.  The Respect of Drumming and How Drumming Started in Dagbon
• 12.  Drummers and Other Musicians of Dagbon
• 13.  How We Make Our Drums and Gungons
• 14.  How a Drum Is Beaten

Chapter titles above go to chapter outlines on this page.
Chapter title links in the outline sections below go to chapter portals.
Outline section links go to web chapter sections.

Volume I Part 2:  Drummers and Drumming in Dagbon

Chapter I-10:  The Work of Drumming

Alhaji Ibrahim’s family background and where he learned drumming; his respect as a drummer; an example of Baakobli and market-drumming:  how Alhaji suffered and how he learned patience; the need to learn work well; learning both guŋgɔŋ and luŋa; the difference between those who have traveled to the South and those who only know Dagbon

Alhaji Ibrahim's family lines in drumming

• 1.    introduction to Alhaji Ibrahim's life as a drummer
• 2.    drumming is from family; Alhaji Ibrahim's drumming from both father (drummer) and father's mother (Palo-Naa line)
• 3.    Alhaji Ibrahim's father's mother's line:  Bizuŋ through Palo-Naa Dariʒɛɣu
• 4.    Palo moved from Namɔɣu to Savelugu under Savelugu-Naa Mahami, son of Naa Garba
• 5.    Palo-Naas:  Dariʒɛɣu, Kosaɣim, Ziŋnaa, Wumbie, Kpɛmahim
• 6.    story of Palo-Naa Wumbie and Palo-Naa Kpɛmahim
• 7.    the line of Palo-Naa Wumbie
• 8.    Alhaji Ibrahim's father's mother's line from Palo-Naa Wumbie
• 9.    Alhaji Ibrahim's father's father's line from Naa Luro through Boggolana Mahama to Abdulai

Alhaji Ibrahim’s parents

• 10.    how Alhaji Ibrahim's father Abdulai was caught to become a drummer
• 11.    Abdulai follows Bukari Kantampara to Voggo and remains there
• 12.    Alhaji Ibrahim's mother Kaasuwa's line from Naa Luro to her father Sulemana through the chieftaincies of Zoggo, Singa, and Dalun
• 13.    Alhaji Ibrahim's mother's mother's link to blacksmiths
• 14.    how family lines mix
• 15.    how Abdulai got Alhaji Ibrahim's mother as a wife
• 16.    Sulemana follows Savelugu-Naa Mahami to war; gunpowder in a mortar:  "worms die together"

Alhaji Ibrahim’s youth

• 17.    the children of Abdulai and Kaasuwa; four survived
• 18.    all are drummers; drumming catches one of Alhaji Ibrahim sister's children
• 19.    Alhaji Ibrahim grows up in Voggo, helps Alhaji Mumuni look after Abdulai
• 20.    after Abdulai dies, Alhaji Ibrahim goes to Nanton to live with Nanton Lun-Naa Iddrisu
• 20.    Alhaji Mumuni in Voggo, left for the South when British conscripted soldiers for World War II; Lun-Zoo-Naa Abukari in Abdulai's house
• 21.    Abdul-Rahaman leaves Voggo and does not learn drumming well
• 22.    drummers who do not learn drumming well; "a dry fish cannot be bent"
• 23.    Alhaji Mumuni's high standard in drumming; his experience in the South
• 24.    Alhaji Mumuni in Voggo and Savelugu, refused five drumming chieftaincies
• 25.    Alhaji Ibrahim's early lessons from Nanton Lun-Naa Iddrissu
• 26.    drumming talks have difference; some are not taught

Senior drummers and drumming in Tamale

• 27.    Alhaji Ibrahim moves to Tamale and stays with Alhassan Lumbila, Mangulana, and Sheni; Mangulana's name
• 28.    the friendship between Alhaji Mumuni and Alhaji Adam Mangulana
• 29.    the friendship between Alhaji Mumuni and Sheni
• 30.    Alhassan Lumbila, Mangulana, and Sheni's line from Tolon
• 31.    Alhaji Ibrahim in Tamale:  singing, beating guŋgɔŋ and luŋa
• 32.    Tamale has many people, more drumming events

Traveling to the South

• 33.    Alhaji Ibrahim stays in Kintampo; traveling and learning; Gonja and Wangara dances
• 34.    Alhaji Ibrahim stays in Kumasi; many tribes; learns to beat the dances of Zambarimas, Chembas, Dandawas, Yorubas, Gurumas
• 35.    drumming for Ashanti women and princes
• 36.    Alhaji Ibrahim stays in Accra; Mossi dances
• 37.    Alhaji Ibrahim stays in Takoradi; Wala dances

Patience and learning drumming

• 38.    Alhaji Ibrahim returns to Tamale; teaching; beating with knowledge
• 39.    patience and learning wisdom from Nanton Lun-Naa Idrissu and Sheni
• 40.    Alhaji Ibrahim's reputation for learnedness
• 41.    in order to learn, make yourself blind and a fool

Alhaji Ibrahim as a young drummer in Tamale; the story of Baakobli

• 42.    Alhaji Ibrahim's drumming as a young man; following elders to events; guŋgɔŋ and singing; market-day drumming
• 43.    story of following Baakobli to market
• 44.    beating praises and beating for horses to dance;
• 45.    Alhaji Ibrahim is injured by a dancing horse
• 46.    Baakobli gives gifts and money to Alhaji Ibrahim
• 47.    Alhaji Ibrahim annoyed about having to share the money; Sheni's advice about patience
• 48.    Alhaji Ibrahim seeing the benefits of patience
• 49.    Alhaji Ibrahim's respect and leadership

Differences among Dagbamba drummers; differences between Dagbamba and other drumming

• 50.    many different types of drumming in Dagbon
• 51.    differences in knowledge; women drummers' children:  "I-don't-want-to-die" drummers
• 52.    different standards of learnedness in drumming
• 53.    learning is in the heart (interest)
• 54.    without the heart, will not learn; with heart can learn even without teaching
• 55.    Alhaji Ibrahim learned the dances of the tribes because of heart
• 56.    no tribe beats Dagbamba dances, but Dagbamba drummers beat other tribes' dances
• 57.    beating luŋa is different from other drums

Alhaji Ibrahim’s learnedness and respect

• 58.    learning like building a house, needs a strong foundation
• 59.    Alhaji Ibrahim's path to knowledge from learning and traveling
• 60.    Alhaji Ibrahim's leadership of drummers in Tamale
• 61.    Alhaji Ibrahim's craftsmanship in making drums
• 62.    Alhaji Ibrahim's leadership and respect because of knowledge
• 63.    example of Wangara funeral at Savelugu
• 64.    how Alhaji Ibrahim listens and learns
• 65.    importance of trying to do something well
• 66.    fast drumming compared to clear drumming
• 67.    Alhaji Ibrahim's group of drummers the leading Dagbamba drummmers

Differences between guŋgɔŋ and luŋa

• 68.    importance of luŋa to lead drumming
• 69.    Alhaji Ibrahim has reached the highest respect among drummers
• 70.    Alhaji Ibrahim leaves guŋgɔŋ to beat luŋa
• 71.    differences of guŋgɔŋ beating; Sheni's son Mohamadu's beating is interesting because he lived in the South
• 72.    using the left hand in beating guŋgɔŋ to increase the sound; example of Mohamadu's shyness beating guŋgɔŋ in front of Alhaji Ibrahim
• 73.    Alhassan Lumbila's son Fuseini Jɛblin's guŋgɔŋ beating
• 74.    difference in guŋgɔŋ beating between Alhaji Ibrahim's youth and Jɛblin's time; Taachi drumming
• 75.    Jɛblin's extent in drumming

Differences between drummers in Dagbon and in the South

• 76.    drummers learn drumming to different extents
• 77.    drummers in the South do not know some drumming of Dagbon, like Punyiɣsili
• 78.    drummers in the South do not know as much about drumming for chiefs
• 79.    how chiefs dance compared to commoners; changing dances and changing styles
• 80.    drummers in North know more than drummers in the South; no one knows all of drumming
• 81.    importance of roaming to learn more
• 82.    conclusion

Chapter I-11:  The Respect of Drumming and How Drumming Started in Dagbon

Drummers and chiefs; why chiefs need drummers; the family relationship of chiefs and commoners; the origin of drumming:  Bizuŋ as the son of Naa Nyaɣsi; origins of Namo-Naa; original drumming of the land-priests in Dagbon:  Ʒɛm; the eldership of the guŋgɔŋ and yua over the luŋa; the seniority of the luŋa; the respect of drummers and chiefs

Respect of drumming begins with learning

• 1.    introduction to the respect of drumming; drummers closeness to chiefs
• 2.    Alhaji Ibrahim's respect is from his learnedness in drumming; learning with seriousness
• 3.    towns where Alhaji Ibrahim learned drumming:  Voggo, Nanton, Tamale, Kintampo, Kumasi, Accra, Takoradi, Yendi
• 4.    any work you do, you need to know the work well
• 5.    to learn drumming, have to learn about the nature of the work of drumming in tradition

Ways drummers show a person's respect

• 6.    drummers show a commoner's relationship to chieftaincy
• 7.    people want to hear about their grandfathers; drummers know the lines of a person's family
• 8.    someone who doesn't know his grandfathers can be abused as a slave; educated Dagbamba don't know Dagbon as drummers do
• 9.    drummers know more about chiefs' families than chiefs themselves
• 10.  people can learn about their families from their elders; drummers also know praise-names
• 11.  drummers show a person his or her respect by showing the family
• 12.  people can be surprised by drummers' knowledge
• 13.  chiefs depend on drummers for their respect
• 14.  chiefs without drummers are not chiefs
• 15.  drummers' knowledge is passed from generation to generation

Origins of drummers:  Bizuŋ and Naa Nyaɣsi

• 16.  Naa Nyaɣsi's war against the tindanas; the towns were without chiefs during the time of Nimbu, Naa Gbewaa, and Naa Shitɔbu; Dagbamba at Yɔɣu and Yiwɔɣu
• 17.  Naa Nyaɣsi's son, Bizuŋ, the grandfather of all Dagbamba drummers; Bizuŋ's sadness
• 18.  Alhaji Ibrahim's knowledge of these matters from Nanton Lun-Naa Iddrisu, Palo-Naa and Namo-Naa; Nanton Lun-Naa's seniority; one should learn from someone who has eldership
• 19.  Nanton Lun-Naa:  Naa Nyaɣsi the father of Bizuŋ from a Guruma woman who died; Bizuŋ learned drumming from his Guruma grandfather, who gave him a broken calabash to lessen his sadness
• 20.  Bizuŋ beat broken calabash to beg for food
• 21.  some of Bizuŋ's brothers and sisters insulted him and some were helping him; his Guruma grandfather made him a giŋgaɣinyɔɣu, a small drum like luŋa
• 22.  Naa Nyaɣsi gave Bizuŋ to Guruma man to train him in drumming; Bizuŋ said he did not want chieftaincy but would beat and repair family and friendship
• 23.  sense comes from worries

Origins of Namɔɣu:  Bizuŋ and Naa Zulandi

• 24.  Naa Nyaɣsi's son Naa Zulandi becomes Yaa-Naa; Bizuŋ's older brother eats Zugu; Zugulana Bim biɛ ka wuni gets praise as Dancing Chief (Waa-Naa)
• 25.  Naa Zulandi gives Namɔɣu to Bizuŋ (Namo-Naa); the meaning of Namɔɣu, sucking the breast of Yaa-Naa
• 26.  chieftaincy history as stories, proverbs, and names; basis of Samban' luŋa
• 27.  how Bizuŋ was given chieftaincy, resembling Yaa-Naa; why Zugulana wears alichɛbba and does not go to Yaa-Naa for cola
• 28.  Namɔɣu first location at Yɔɣu, near Diari
• 29.  Bizuŋ's popularity; wives and children; Bizuŋ teaches his children and grandchildren
• 30.  first-born of Bizuŋ is Lunʒɛɣu; meaning of Lunʒɛɣu; as “red drummer” elder drummers gave John the name
• 31.  Bizuŋ's children and line are the drummers of Dagbon; Namo-Naa called Bizuŋ zuu; Lelbaa, Banchiri, Ashaɣu; Ashaɣu's line the beginning of Palo in Savelugu: Dariʒɛɣu and Kosaɣim
• 32.  old drumming talks are in darkness; some drummers fear talking, and others say anything and lie; when such lies are written
• 33.  summary:  because of Naa Nyaɣsi and Bizuŋ, drummers and chiefs follow one another

Origins of drumming:  the tindanas; guŋgɔŋ and flute

• 34.  before Naa Nyaɣsi, no lunsi drums; drummers followed tindanas with guŋgɔŋ, yua, and luɣ' nyini
• 35.  Nanton Lun-Naa:  seniority of guŋgɔŋ and yua; Namo-Naa's version
• 36.  luɣ' nyini also called luɣ' yilgu; different from Kambonsi horn and Hausa alijɛɛta; origin of alijɛɛta in Karaga; luɣ' nyini at Gushegu
• 37.  yua:  typical flute of northern Ghana; still played by Baamaaya and groups, but in some places replaced by white man's flute
• 38.  guŋgɔŋ the oldest; bataandana the name of ancient guŋgɔŋ and its drummers; beat and followed tindanas
• 39.  Alhaji Ibrahim saw bataandana with Nanton Lun-Naa at Damba Festival in Savelugu
• 40.  description of bataandana guŋgɔŋ at Savelugu; how it was beaten
• 41.  modern guŋgɔŋ from Hausas and bataandana; bataandana at Yendi and Savelugu; now at Tolon only, maybe
• 42.  wooden luŋa and gourd drum compared
• 43.  origin of carved wooden drum from Gurumas and Hausas
• 44.  seniority of guŋgɔŋ yua, and luɣ' nyini; why luŋa is their elder
• 45.  tindanas and chiefs; guŋgɔŋ for tindanas; no talks between drummers and tindanas

Music of the tindanas and chiefs:  Ʒɛm

• 46.  Ʒɛm the drumming for tindanas; guŋgɔŋ and yua; Tamale a tindana town
• 47.  Ʒɛm the first dance of Dagbamba dances; chiefs collected Ʒɛm from tindanas
• 48.  Ʒɛm beaten for installation of Yaa-Naa; also any chief's installation or death
• 49.  how Alhaji Ibrahim learned about Ʒɛm and Baŋgumaŋa from Namo-Naa; the process of greeting and learning
• 50.  the drum language of Ʒɛm; the dancing of Ʒɛm
• 51.  guŋgɔŋ and yua in time of tindanas; no drumming names for tindanas or early chiefs
• 52.  the talks of Ʒɛm and Baŋgumaŋa are important and guarded; Alhaji Ibrahim could be blamed for showing it
• 53.  drummers in the time of Naa Nyaɣsi and Bizuŋ; at Kambaŋ' Dunoli near Diari and Yiwɔɣu

Relations of respect between drummers and chiefs

• 54.  Naa Nyaɣsi the grandfather of both chiefs and drummers; chiefs call drummers “my grandfather”; chiefs and drummers are one
• 55.  a drummer as an old person; an old person does not die; knowledge moves from old person to child
• 56.  unity of chiefs and drummers
• 57.  a quarrel between Yaa-Naa and Namo-Naa is a big thing
• 58.  how Yaa-Naa will beg Namo-Naa if they quarrel
• 59.  the strength of drummers and the house of Namɔɣu; drummers start beating with “Namɔɣ' yili mal' kpiɔŋ kpam!”
• 60.  formerly drummers did not farm; chiefs gave drummers food
• 61.  drummers were not sold as slaves
• 62.  drummers enter a chief's needing an elder to accompany them; even princes do not do that
• 63.  respect of drumming; drummers enter everywhere; no chieftaincy without drummers
• 64.  drummers and respect: give respect or reduce someone's respect; chiefs and princes have to be on good terms with drummers
• 65.  the strength of chiefs comes from drummers

The respect of drummers in Dagbon

• 66.  drummers are respected along with chiefs; everywhere people like drummers, even white people
• 67.  John has respect in Dagbon because of drumming
• 68.  respect is an exchange; a person gets respect who respects himself and gives respect to others; drumming is about giving respect

Respect and learning drumming

• 69.  need for respect to learn drumming and gets respect from it; Alhaji Ibrahim “Mba Luŋa”
• 70.  people want drummers to see them and praise them; drummers show their respect
• 71.  importance of learning from someone who respects drumming; need for patience when learning
• 72.  drumming was by grandfathers for future generations; drumming a type of work that does not die; a learned person does not die
• 73.  at Samban' luŋa, start drumming by praising God and beating proverbs; drummers thank God for old people

Chapter I-12:  Drummers and Other Musicians of Dagbon

The strength of drummers with chiefs; Punyiɣsili:  waking the chief; names people call drummers; drummers as women; begging the chief; if Namo-Naa and Yaa-Naa quarrel; the seniority of drummers to other musicians:  the origins of Akarima and the timpana; dalgu; names in Dagbon; the origins of fiddles (goonji), solo string instruments (mɔɣlo and jɛnjili)

Introduction

• 1.    other musicians of Dagbon; Baaŋa:  anyone who beats
• 2.    everyone has his or her own position or work in Dagbon

The names of drummers

• 3.    “noise-makers”:  baaŋa; Monday and Friday:  Punyiɣsili, Biɛɣunaayo, Naa-Nyɛbu
• 4.    Punyiɣsili:  young drummers overcome shyness and learn singing
• 5.    Monday and Friday greetings to the chief
• 6.    Friday (Zumma) dancing at some chiefs' houses
• 7.    “people who cause quarrels”; can abuse chief
• 8.    example:  war; drummer will insult chief or provoke war

Drummers as women

• 9.    “women”:  follow a chief from town to town
• 10.  “chief's wives”:  call chief “my husband”; chief calls “my wife”
• 11.  Namo-Naa and Yaa-Naa quarrel:  like husband and wife
• 12.  how Namo-Naa begs Yaa-Naa, accompanied by the chief's wives
• 13.  kneel and beat Tiŋ' kurli
• 14.  chief's gifts to Namo-Naa
• 15.  “Nabalima”:  beg the chief; drummers are forgiven for every offense

Transition

• 16.  Baaŋa a general name for those who beat and sing

Timpana, Akarima, and dalgu

• 17.  Akarima and timpana; origin from Ashantis and Naa Ziblim Bandamda; not in all towns
• 18.  drumming story:  origin of Akarima from Naa Bimbiɛɣu
• 19.  how old talks are; anachronisms in historical stories; example:  Akarima in Naa Luro's talks
• 20.  dalgu drum, dal' ŋmɛra:  Naa Daaturli, also called Naa Dalgu
• 21.  confusion in drumming talks:  anachronistic use of names and joining of names
• 22.  joining names is the way drumming is done; not a mistake or fault
• 23.  Akarima and Naa Luro; comparison of positions of Akarima and dal' ŋmɛra
• 24.  use the name of Akarima to describe dalgu

Names in Dagbon

• 25.  the difficulty of drumming talks; how talks change; new things used to talk about old things
• 26.  summary of discussion of names
• 27.  confusion from names:  Naa Dalgu and Naa Daturli are same person
• 28.  types of Dagbamba names:  Muslim and non-Muslim
• 29.  proverbs as names, signs as names:  Naa Nyaɣsi's name
• 30.  examples of names with meaning:  Bizuŋ, Lelbaa, Naa Tutuɣri, Naa Zokuli, Naa Zaɣli
• 31.  have to ask to know the reason or meaning of someone's name; different from proverbs
• 32.  Naa Niŋmitooni:  story of Naa Zɔlgu, Naapaɣ' Gaasinaba, and Naa Niŋmitooni
• 33.  Naa Siɣli's name:  story of Naa Zaɣli and Naapaɣ' Golgulana Ziŋnaa
• 34.  Naa Siɣli's story:  Golgulana gives birth
• 35.  Naa Siɣli's story:  Naa Zaɣli gives him the name “siɣli”; also Andani:  Andaan' Siɣli
• 36.  summary of dalgu:  dal' nyaŋ and dal' laa

Goonji

• 37.  goonji:  fiddle; how it is made; recent popularity; cannot be compared to traditional work from family
• 38.  goonji started from Naa Ziblim Kulunku; drummers have more respect
• 39.  comparison of drummers and goonjis
• 40.  goonji playing not from family; no family door; anyone can become a goonji; zaabia rattle
• 41.  origin of goonji as strangers from Guruma to Mamprusi to Dagbon during Naa Kulunku's time
• 42.  example of drummers' seniority:  how drummers and goonjis play at chief's house

Jɛnjili

• 43.  jɛnjili:  not inside custom; the trees used to make it
• 44.  jɛnjili played in the house
• 45.  comparing the position of jɛnjili in recent times and in tradition
• 46.  jɛnjili in recent times:  Ramadan and harvesting
• 47.  jɛnjili not included in talks of custom; examples
• 48.  jɛnjili songs; compared to drumming work

Mɔɣlo and kuntunji

• 49.  mɔɣlo and kuntunji:  description of how they are made
• 50.  Alhaji Mumuni played kuntunji, mɔɣlo, and jɛnjili when young
• 51.  mɔɣlo:  an instrument for princes
• 52.  a drummer who plays mɔɣlo:  Nyolugu Lun-Naa Issahaku
• 53.  mɔɣlo:  also included in talks of custom

The greater respect and importance of drumming

• 54.  Alhaji Ibrahim's happiness about being a drummer
• 55.  the respect and work of Dagbamba drummers cannot be compared to other musicians
• 56.  Dagbamba drummers for Ashanti chief at Adae festivals:  Gingaani, Bandamda; praise from Asantehene
• 57.  drumming is more important and more respected than other music
• 58.  drumming is about strength and respect
• 59.  transition:  next talk about how drums are made

Chapter I-13:  How We Make Our Drums and Gungons

Craft aspects of drumming; how drums are carved; ritual obligations of drum-makers; how drums are sewn; types of skins used; varying quality of drums and skins; how drum-sticks are made; how guŋgɔŋs are made and sewn

Introduction

• 1.    hard work to make luŋa and guŋgɔŋ

Luŋa in Dagbon and Asante

• 2.    Dagbamba drum superior in quality to Ashanti drum (donno)
• 3.    formerly Ashantis got lunsi from Yaa-Naa; also binda (Mossi calabash drum) and dalgu; gyamadudu, donno
• 4.    Asantehene gave cola to Yaa-Naa for the drums; no charge
• 5.    in olden days, no charge; you would go to drum carver and farm for him while he made the drum
• 6.    after Asantehene’s drums were carved, Yaa-Naa would get skins from chief of butchers and send to Namo-Naa to sew the drums
• 7.    how Yaa-Naa’s prince would accompany drums to Asantehene; thirty to forty days walk; how Asantehene would receive the drums and give cola
• 8.    in modern times, Asantehene buys drums; how Alhaji Ibrahim’s brother Sumaani made drums for Asantehene
• 9.    Alhaji Ibrahim the one selling drums in Dagbon; Ashantis and others from South come to Tamale to buy drums from him. 

Dangers of carving drums

• 10.  few people carve drums because cutting trees can make people sick; example of Tampion drum carver who became mad
• 11.  different types of bad trees in Dagbon
• 12.  karga medicine to protect someone who cuts trees; obtained from kasiɣirba, people who bathe dead bodies; other uses of karga
• 13.  people who carve drums do not prosper

Cutting trees and carving drums

• 14.  three trees:  taaŋa (shea), sacrifice of milk; kpalga (violet tree), sacrifice of cowries; siɣirli (cedar mahogany), sacrifice of hen and then carve the wood in bush
• 15.  nowadays no sacrifices; reason behind the problems
• 16.  drum from a bad tree can kill a drummer who uses it; drum makers don’t live long; only three in Dagbon, at Tampion
• 17.  siɣirli the best, very hard, not common; siɣirli drums last long; John’s small drum more than hundred years old
• 18.  drum-making is hard work; four tools:  axe to cut tree, adze to make hole, cutlass to trim, korgu (curved knife) to carve and scrape; two days to make

Preparing the wood

• 19.  knife to scrape and smooth the outside and stone to smooth the  mouth
• 20.  repair holes in wood; formerly used bee’s wax, now use glue and wood dust; shea butter on the wood

Preparing the skin

• 21.  buy skins from butcher; goat skin is better than sheep; female goat has lighter skin, better sound
• 22.  skins sometimes difficult to get
• 23.  use water to soften skins, inside pot until early evening
• 24.  use korgu to scrape and clean skin, removing any meat; put back into water
• 25.  soften the skin with ashes and seeds from type of melon (yɔɣli) inside pot until next day; remove skin from pot and remove hair and wash any scent away

Sewing the skin

• 26.  split and trim reeds from mat; get type of long grass (kpari), in market and also in Dagbon near rivers
• 27.  make lun’ kuɣra, a ring to seat the head on the drum, by wrapping kpari around the cut reeds
• 28.  fit skin to ring; lundi’ sherga, the sewing string, how it is made; how the skin is sown; final cleaning

Lacing the heads

• 29.  the lundihi, the strings that hold the heads; use skin of calf, also bush antelopes (gbɛɣu, walga, kparbua, bambua, saŋkpaliŋ, kɔɣu); some are harder than others
• 30.  strings from bush animal last long; can use tanned goat skins (red) but are not strong, will dry out and break, not preferred
• 31.  making the strings:  clean and remove hair, dry, cut thin strip,  soak and roll it; dry it and soften it by rubbing on stone or ceramic; not necessary for goat skin, already soft
• 32.  finishing the drum:  smooth the mouth, fit the heads, and lace with the strings; tie with leather to seat the heads well; dry overnight

Variations among drums

• 33.  different skins affect the sound of different drums; from the tree and the wood, also from the carving; male or female, white or black; drum maker has to observe to know which type of skin for any individual drum; sometimes need to search for appropriate skin
• 34.  differences also from length of drum, length or width of neck between the two bowls, from carving, from the bowl; head is more important; some drums do not sound well
• 35.  differences from skins; light and thin usually better, but break easily; during dry season, skins become thin and break often; drums sound different in South because the air is not as dry
• 36.  lundihi affect the drum; spacing of the strings; also can dry out, cannot squeeze the drum; also affected by cold; different sound in different places
• 37.  olden days drums better craftsmanship than modern drums; drummers prefer older drums; the neck and inside are smoother and wider; sound better
• 38.  new drums change as wood dries; weak wood warps; if tree is mature, the wood will not shrink; main factor in the sound
• 39.  skins affect the sound; when drum is beaten for some time, the sound changes; drummer may not hear the sound well; spectator will hear it differently

The drumstick

• 40.  making lundoli, different trees:  puhiga (tamarind), dazuli (gardenia), kuliŋbinli, nim
• 41.  use short-handle axe (lehu) to carve sticks; make head first then carve neck
• 42.  to bend stick, put into boiling water; tie neck with rope and bend and tie
• 43.  untie rope the next day; carve handle; finish and smooth; make hole to tie leather string from neck to handle
• 44.  many sticks break when bending; younger trees are better for bending
• 45.  puhiga best; kuliŋbinli next, but too light; dazuli easy to bend, strong and heavy; nim tree frequently breaks

Sewing guŋgɔŋ

• 46.  introduction to making guŋgɔŋ; use trunk of tree
• 47.  needs somewhat thick skin:  male goat, saŋkpalin, gbɛɣu, bambua; kɔɣu too thick; use type of rope (gabga) to seat the skin
• 48.  two people to sew guŋgɔŋ; skin with hair outward over mouths; secure with rope
• 49.  guŋgɔŋ strings (gbandaa) made from bush animals or cows; thick
• 50.  turn skin over rope and use awl to punch holes; as sew the two mouths, you pull the gbandaa strings along rope to seat the skin; gbankuɣra or guŋgɔŋ kuɣra
• 51.  gbanchirga:  pieces of skin to close the sewing hole and prevent tearing
• 52.  second person on other side of guŋgɔŋ; sew from one side to another
• 53.  sew around guŋgɔŋ, then trim excess skin; make hole for string to secure cloth to hang guŋgɔŋ
• 54.  dry the guŋgɔŋ; scrape or shave the hair; tie chahirga, the small string across mouth that vibrates
• 55.  gbandarigara:  strips of leather to tie to gbandaa and tighten the mouths
• 56.  have to tighten guŋgɔŋ before beating it; if it loosens from beating, tighten it again
• 57.guŋgɔŋ voora:  pulling the guŋgɔŋ;  if the gbandaa stretch over time, have to go around the guŋgɔŋ and pull them to tighten the skin of the mouth again

Conclusion

• 58.  transition to how a drum is beaten

Chapter I-14:  How a Drum Is Beaten

Technique and style; innovation and tradition; the right wrist and quickness; the right hand and the left hand in beating; talking on a drum and using the left hand; beating coolly and beating with strength; changing styles and steadiness; examples

Basic techniques:  left and right hands

• 1.    drummers have different ways of holding a drum
• 2.    using the left arm on the strings
• 3.    right hand must be quick, but left hand also has to work; on guŋgɔŋ, the left hand must press lightly to work the chahara
• 4.    the left wrist talks for the heart
• 5.    the left hand:  differences among drummers in how clearly they can be understood; cool the heart and cool the arm
• 6.    right hand must be flexible; zambaŋa (cat) medicine
• 7.    beating too fast is not good; start slowly
• 8.    right hand (stick) should be a bit fast and left hand slow; help to change the sound

Training:  continuity from teacher to student

• 9.    drummers have different hands (ways of beating)
• 10.  someone's beating resembles the one who taught him
• 11.  need patience to progress far and correctly in drumming; contrast two guŋgɔŋ beaters:  Alhassan Ibrahim and Abdulai (Seidu) the Boxer
• 12.  need patience both to teach properly and to learn

Foundation:  take a gradual approach to teaching

• 13.  teaching should be gradual, step by step
• 14.  John's beating; John should use experience or learning to overcome lack of flexibility in his wrist
• 15.  John trying to learn many dances too quickly; Alhaji Ibrahim would have wanted to teach only three dances as a foundation
• 16.  drumming compared to reading; use the basic foundation to learn other dances quickly
• 17.  after learning, the increase in styles (variations) comes from experience

Adding to experience by listening and watching

• 18.  learning drumming comes with time, if the drummer wants to learn
• 19.  learn, listen to others, learn their style
• 20.  to learn, join lumbɔbli (supporting drums) and listen to the lead drum or the guŋgɔŋ
• 21.  cannot join other drummers if don't know what to beat
• 22.  therefore, join the lumbɔbli and listen to hear styles
• 23.  when you start learning, your drumming seems weak because you don't know much; need to add knowledge; John should continue his practices

Using a good drum to learn

• 24.  one can know a good drummer from the sound of the drum
• 25.  use a good drum to teach; help in learning; if use a bad drum, one cannot hear the sound well

Variations and styles

• 26.  styles and ways of beating can make one dance seem to be different dances
• 27.  comparing Alhaji Ibrahim's beating to Adam Iddi (Adambila); Adam can beat fast to make the dance hot, but Alhaji is better
• 28.  Adam has not traveled or learned many styles; his drumming is one-sided
• 29.  if know many types of dance-drumming and praise-drumming, can change to play differently; Adam plays fast and hard, only good for some times

Training:  correcting a student

• 30.  one beats the way one has learned
• 31.  only a senior drummer will correct a drummer who makes mistakes
• 32.  some drummers accept correction; others do not

Training:  teacher needs respect

• 33.  one needs a good teacher; example:  Arts Council and schools don't pay well and cannot get good teachers
• 34.  the schools are not serious that the students learn properly

Comparing the drumming of young people and older people

• 35.  students beat and dance too fast and too roughly
• 36.  old people who know how to dance do it smoothly
• 37.  drummers beat and follow the feet of the dancer
• 38.  young people overdo the dance and rush

Drumming should follow the dance and the dancer

• 39.  drumming has different ways; have to follow the dancers
• 40.  different drumming styles come from different dancers; villagers, men, women; townspeople have more changes
• 41.  differences between townsperson and villager; village drummers beat better for village dancers
• 42.  town drummers are better because they beat more often; more events; helps for remembering
• 43.  at a gathering, everyone dances, even those who don't know how; one can see the ones who dance better

Changes in drumming to follow dancers:  coolness and “showing oneself”

• 44.  drumming styles:  some are talking and some are according to the specific dance; older drummers change styles slowly, "curve" the dance
• 45.  social gathering:  individual dances (like Naɣbiɛɣu or Naanigoo); drummers follow personal choices
• 46.  drummer should not change too much or mix dances; have to beat according to the dancer
• 47.  changing from one dance to another is different from changing styles in one dance
• 48.  dancers shouldn't dance too many dances
• 49.  different styles inside one dance; addition, or increase
• 50.  adding style by showing oneself; add personal expression; example:  Nantoo Nimdi
• 51.  sometimes need to beat hard to make the drumming strong for the dancers
• 52.  sometimes need to beat coolly
• 53.  whether cool or strong, drumming has to follow the dancing; beating with sense; older drummers are better because of experience
• 54.  differences:  villagers don't change much, students try to change too much; changes should be clear
• 55.  young drummers are not cool

Example:  Takai

• 56.  Takai should be danced coolly, slowly, and smoothly
• 57.  Takai:  play without changing until dancers make full circle and knock the iron rods
• 58.  drummers wait to change; follow the dancers' sticks
• 59.  the changes of styles have to follow one another and match the dancers' movements

Following the dancers

• 60.  drummers know individual dancers and can drum to fit his or her dance
• 61.  with new dancer, change drumming until find styles that fit; drumming compared to having sex

Changing styles:  listening, continuity and resemblance

• 62.  best drumming:  follows dancers and curves the beating; changes should follow clearly
• 63.  successive styles should resemble and follow one another
• 64.  advice to John:  to improve, listen to the current style to get ideas for changing
• 65.  how some styles from different dances resemble each other; have to know differences; example:  Takai and Kondalia
• 66.  adding proverbs or names to fit the beating of the dance; how to introduce the styles clearly
• 67.  respect the drumming; if a current style sounds nice, can continue to beat it

Knowledge and patience in drumming

• 68.  people respect John's drumming because he doesn't make mistakes
• 69.  experience:  clear sound, beat correctly, use patience with styles, avoid fatigue with knowledge
• 70.  changing:  don't think to choose from repertoire of knowledge instead should listen and find resemblance
• 71.  changing:  don't change too quickly
• 72.  drumming proverbs that serve as advice to John
• 73.  health and patience are key to anyone's achievements
• 74.  example:  cleaning the drum strings (lundihi); importance of patience
• 75.  better to travel and actually learn something
• 76.  Alhaji Ibrahim has seen John's patience