A Drummer's Testament:  chapter outlines and links

Volume I:  THE WORK OF DRUMMING

• Part 1:  ALHAJI IBRAHIM'S INTRODUCTION TO THE DAGBAMBA WAY OF LIVING
• Part 2:  DRUMMERS AND DRUMMING IN DAGBON
• Part 3:  MUSIC AND DANCING IN COMMUNITY LIFE
• Part 4:  LEARNING AND MATURITY

Chapter titles listed below 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 1:  Alhaji Ibrahim's Introduction to the Dagbamba Way of Living

• 1.    The Benefits of Friendship and Why We Should Do the Work as a Group
• 2.    The Dagbamba Way of Living in the Villages and in the Towns
• 3.    The Sense of Dagbamba and Their Living in the Olden Days
• 4.    Respect and the Dagbamba Way of Living Together
• 5.    The Way of a Stranger and How a Stranger Should Live in Dagbon
• 6.    Greetings and Respect in Dagbon
• 7.    How Dagbamba Send Messengers
• 8.    The Debt of the Stomach
• 9.    Patience, Truth, and How We Should Do the Talks

Chapter I-1:  The Benefits of Friendship and Why We Should Do the Work as a Group

A story to stand for the work; Dagbamba folk stories and proverbs on friendship and knowledge; the importance of good character

The story of the man and the dwarf

• 1.         introductory proverb
• 2-5.      the man and the dwarf meet in the bush
• 6-9.      their elders ask to meet the new friend
• 10-13.  they decide that the dwarf will go home with the man
• 14-16.  they discuss whether people will laugh at the dwarf
• 17.       a hunchback man laughs at the dwarf
• 18.       the dwarf treats the sickness of a blind man but adds to the sickness of the hunchback

Parallels to the friendship of John Chernoff and Alhaji Ibrahim

• 19.  the relation of the story and the project
• 20.  laughter and gossip about the friendship between John and the Dagbamba who work with him
• 21.  John in the position of the dwarf in the story
• 22.  how Dagbamba may be viewed by white people
• 23.  if the work fails, people will laugh at both friends

Intentions and foolishness

• 24.  what you wish shows your foolishness
• 25.  foolishness that has a purpose
• 26.  the importance of one's intentions
• 27.  John's intention to learn drumming; Alhaji Ibrahim's intention to teach him

The responsibility of those who teach John

• 28.  story of the thief and the basket; the thief's proverb
• 29.  explanation of the proverb with regard to the story
• 30.  explanation of the proverb with regard to how John's work will be understood
• 31.  explanation of the proverb with regard to those who teach John

Recollection of John's first training and Alhaji Ibrahim's advice

• 32.  John's frustration and Alhaji Ibrahim's advice about patience
• 33.  advice about the intentions in one's heart
• 34.  the heart knows whether the mouth is saying truth or lies
• 35.  Alhaji Ibrahim's advice that John should never be annoyed; Alhaji Ibrahim's awareness of John's seriousness about learning
• 36.  advice that John should make himself small and make himself a fool
• 37.  the friendship of the Dagbamba toward John is promised and steady

Namo-Naa's message and advice to John through Alhaji Ibrahim

• 38.  Namo-Naa's question about the two important meats: the heart and the tongue
• 39.  the heart and the tongue are the human being
• 40.  the heart and tongue let someone get something from another
• 41.  the heart is more important than the eyes
• 42.  the heart does everything

Drumming and living together will extend the friendship

• 43.  Alhaji Ibrahim could have refused John; but he gave John respect
• 44.  people know about the friendship of Alhaji Ibrahim and John; friendship should be based on truth in order to last
• 45.  future history:  John's children meet Alhaji Ibrahim's children; how friendship expands
• 46.  Alhaji Ibrahim and John should respect their friendship
• 47.  the friendship is known to people in Dagbon; John's lodging place
• 48.  many Dagbamba know about the friendship and are happy about how John is learning drumming
• 49.  Alhaji Ibrahim's wish that the work will go forward well
• 50.  Alhaji Ibrahim's happiness with the work and the extension of the work into these lectures
• 51.  the lectures will extend the drumming that is Alhaji Ibrahim's work

The seriousness of the lectures about drumming to Dagbamba

• 52.  John should help with the lectures to make sure the work will be good
• 53.  the work will require planning, togetherness, and patience
• 54.  drummers talk about tradition; serious; some parts are hidden
• 55.  chiefs give gifts to a drummer who sings about tradition; sometimes sacrifices necessary for some drumming talks
• 56.  drumming's importance to the respect of chieftaincy; drumming's relationship to chieftaincy from it's starting
• 57.  drumming adds respect to everyone in Dagbon and every type of activity
• 58.  some people believe that talk about Dagbamba custom should not be shared; they would blame Alhaji Ibrahim
• 59.  Alhaji Ibrahim remains focused on respect and friendship
• 60.  the talks will present challenges to the friendship

Proverbs about the work

• 61.  how Alhaji Ibrahim will plan to do the talks; has started well
• 62.  proverbs have an important roles in the talks
• 63.  proverb examples
• 64.  explanation of the relation of the proverbs to the work and the group

The importance of friendship

• 65.  proverbs about friendship
• 66.  friendship is senior to family
• 67.  if you die, your knowledge can pass from your friend to your child
• 68.  the strongest friendship: a husband and wife
• 69.  friendship is stronger than family in doing work

The importance of good intentions

• 70.  how good intentions will help the work
• 71.  John's patience shows good heart
• 72.  drumming has helped Alhaji Ibrahim; wives and friends
• 73.  drumming like a lion; hold onto it and see its benefits

The importance of learning in a group

• 74.  John should add people to himself in learning drumming
• 75.  easier to learn in a group; a group will remember things
• 76.  John should bring others; witchfire proverb
• 77.  followers will extend the work John has done
• 78.  drummers enter everywhere in Dagbon; people like drummers, especially women and children
• 79.  how the children in Dagbon know John
• 80.  John should learn in a group and share knowledge, not hide it
• 81.  do the work with happiness and laughter; be attractive to people
• 82.  a bad person who follows into the work will not spoil it

The importance of good character

• 83.  John has shown good character and patience in learning; does not get annoyed
• 84.  good character helps get what one wants
• 85.  good character is recognized by people; one's good reputation will spread to other places
• 86.  good character brings people into a group
• 87.  leave behind those who do not have good character

Conclusion: the fundamental proverbs of drumming

• 88.  the proverbs drummers first beat; Dakoli n-nyɛ bia
• 89.  conclusion:  the elders should be there for the children to learn from

Chapter I-2:  The Dagbamba Way of Living in the Villages and in the Towns

The attitude of modern children toward their tradition; how traditional values are taught in the villages; the character of villagers compared to town people

Wisdom:  asking and showing

• 1.    introduction; Tolon-Naa Yakubu's name:  “one person does not hold wisdom”
• 2.    the one who asks has more sense (wisdom:  yɛm) than the one who knows
• 3.    importance of showing sense to others
• 4.    holding sense without showing it is a fault to God

Education is not knowledge of tradition

• 5.    educated Dagbamba and teachers do not know the tradition well; limited in their knowledge and add mistakes
• 6.    benefits of writing down the tradition; importance of knowing one's tradition

Village evening discussions:  model for Alhaji Ibrahim's talks

• 7.    villagers hold on to the tradition more than townspeople
• 8.    evening discussions in the village are the same as how Alhaji Ibrahim is talking; older people gather outside house and talk

How village children learn customs

• 9.    village children respect old people; how a village child sits with his father and presses his legs while the father talks
• 10.  how the villagers gather and the old men talk
• 11.  examples of the types of topics; learn about customs; Alhaji Ibrahim grew up in a village, and even older people from the town ask him questions

Village children know Dagbani better than town children

• 12.  villagers speak Dagbani correctly; town children who don't know Dagbani words
• 13.  older people listen to town children and don't know if they are speaking Dagbani; village children pronounce words correctly
• 14.  town child who did not know numbers in Dagbani; used English
• 15.  Kissmal and Ben might not know Dagbani words used in idioms; example:  tafirli
• 16.  main lesson for village children is to respect old people; town children don't hold to that custom; villagers have sense and respect

Training of Alhaji Ibrahim and Alhaji Mumuni

• 17.  Alhaji Ibrahim born and raised in a village; trained by fathers the same way their fathers were trained; taught to fear
• 18.  how Alhaji Mumuni trains his children and talks to them

Differences between town children and village children

• 19.  town children don't sit with elders; roam and go to cinema, Simpa dancing; do not want to suffer like village children
• 20.  how village children do work farming and as messengers; town children are not as reliable

Comparing town life and village life

• 21.  comparing town life and village life; village children trained to suffer; limited food for children
• 22.  villages don't spend money much; don't dress up
• 23.  town person can cheat another; villagers are afraid to cheat
• 24.  villagers fear being taken to the chief; if village child does bad, the father will be taken to the chief
• 25.  Alhaji Ibrahim prefers town; maalams say towns are better; villagers have suffering and difficulties and fears, but they have sense
• 26.  villagers with large families are bolder, can even challenge the chief
• 27.  villagers don't travel, rarely come to town; old people just go to the farm and relax under a tree
• 28.  village children also don't come to town; follow fathers to farm; tend animals; village children don't trust town people

The character of villagers

• 29.  villagers avoid town because they don't want to be involved in trouble; some old people pride themselves on never going to town; difficulties of villagers to get good food
• 30.  villagers do not talk about their problems; keep secrets; avoid entanglements
• 31.  villagers don't like to borrow money; prefer gifts
• 32.  villagers freedom is different from town; free from troubles
• 33.  villagers are happy with village life; eat the food from the farm; don't use money; peace of mind
• 34.  peace of mind of the villagers; clarity; town people get farming land from villagers; good relations

Modern times have reduced differences

• 35.  modern times:  town people and villagers are the same; villages are absorbed into the towns; the differences Alhaji Ibrahim talked about were more in the past
• 36.  less fear of the chief; village chiefs more empowered
• 37.  town people go to villagers for help; not the same distrust as previously
• 38.  village children have similar life to town children; mosque, football, films
• 39.  the differences Alhaji Ibrahim showed are from the starting of Dagbon; villages are modernizing

Some differences remain

• 40.  but many villages still holding strongly to custom; village children still more knowledgeable than town children
• 41.  Tamale children don't know Dagbamba customs
• 42.  town children should learn their customs in addition to school education; the way Alhaji Ibrahim's generation was is no longer there

Chapter I-3:  The Sense of Dagbamba and Their Living in Olden Days

The importance of knowing how one's parents and grandparents lived; recollections of precolonial and colonial life; types of work and the sense of Dagbamba

Knowledge of the past

• 1.    Alhaji Ibrahim's age; he has seen many things he talks about from the olden days
• 2.    example:  when cowries were money
• 3.    knowledge of past also comes from asking older people
• 4.    example:  Alhaji Ibrahim's father told him about hunger and how people ate taaŋkoro

Big differences from Alhaji Ibrahim's childhood

• 5.    not everyone asks; those who don't ask may doubt stories about hunger
• 6.    Gurunsi people traded children for food
• 7.    animals used to catch people; children had to be careful outside house at night

Money and the cost of living

• 8.    Alahji Ibrahim used cowries to buy food
• 9.    introduction of coins; coin names from cowries:  laɣ'pia, kobo, pihinu, etc.
• 10.  the amount of food one pesewa could buy
• 11.  the costs of things for Alhaji Ibrahim as a young man; the prices for animals

Foods and animals

• 12.  where people sold food on roadsides; costs of living during colonial time
• 13.  how Gurunsis carried chickens to Dagbon
• 14.  the uses of guinea fowls were in Alhaji Ibrahim's early days
• 15.  the uses of goats for sacrifices to house shrines; compared to sheep
• 16.  the uses of sheep among Muslims
• 17.  how plentiful yams were
• 18.  how butchers slaughtered a cow and why they would give meat to children
• 19.  how butchers shared meat to the chief and elders

Benefits of knowing about one's tradition

• 20.  many changes in Dagbon; children should know how their forefathers lived; a time will come when they will need to use traditional ways of doing things; examples:  fertilizer, grinding stone
• 21.  Alhaji Ibrahim's generation was in between the white-man's time and their forefather's time; differences in the generations
• 22.  children should know about customs and about their forefathers' lives; current generation thinks it has more sense
• 23.  not knowing custom leaves a child standing alone in the world
• 24.  the talks:  what future generations should know to call themselves Dagbamba; the talks are for those who will want them

Sense work and family lines

• 25.  the sense Dagbamba have learned is more than other tribes in Ghana; drumming and calling of names
• 26.  Dagbamba sense-work moves inside families:  drummers, blacksmiths, barbers, butchers; also weavers, leather-workers

Blacksmiths

• 27.  blacksmiths:  people from outside the family sometimes can learn it
• 28.  the work of blacksmiths; tools for farming, shaving and cutting; bracelets like baŋa and baŋgari
• 29.  blacksmith's work for drummers and drum-makers:  adzes, knives, chaɣla, feeŋa, luŋ-bansi
• 30.  blacksmith's work for chiefs:  weapons
• 31.  blacksmiths have respect from everyone because of the sense they have to make things people use

Weavers and other work

• 32.  weavers have sense; types of baskets and storage:  gamli, pɔŋ, kpanjɔɣu, pibirgu; puɣnai, zana mats
• 33.  sense of making different types of pots:  luŋli, kɔbaŋa, duɣu, yuli, kɔduɣu
• 34.  sense to make tandi for building blocks; putting roofs on rooms; weaving grasses onto roofs

Reflection on the work so far

• 35.  sequencing and pacing the talks; how Alhaji Ibrahim prepares for the talks
• 36.  transition to next talk:  the importance and strength of giving respect to others as part of custom

Chapter I-4:  Respect and the Dagbamba Way of Living Together

Respect and how Dagbamba show respect on the part of: those who live in the same area, their families, their in-laws; examples:  patience, temperance, not “showing oneself,” gathering and eating with others, respect for strangers

Introduction

• 1.    Dagbamba character and way of living; complement to drumming talks; importance of respect in Dagbon

Respect

• 2.    relation of respect to continuity of custom
• 3.    give respect to people with position, older people; give respect to outside same as to your family
• 4.    respect to in-laws; both husband and wife
• 5.    essence of respect based on women; must give respect to get a wife and get children
• 6.    respect starts from respect to get a woman; true for all cultures; respect of women is inside all types of respect, including respect for strangers

Respect for people you live with

• 7.    story about family, friendship, and mingling; seniority or eldership of friendship to family and of mingling to friendship
• 8.    giving respect and living together with people:  bitter and sweet, quarreling and talking together again; importance of old people to show patience
• 9.    friendship can spoil and end; Dagbamba don't let quarrels go far
• 10.  Dagbamba share the problems of people they stay together with in an area, whoever they are
• 11.  the strength of living together in an area; sitting together can bring family

Respect and eating together

• 12.  how Dagbamba gather and eat; blame a person who eats alone as someone who doesn't want to share
• 13.  gathering and eating is strong in Dagbamba custom; how people group themselves to eat in a house or in within a nearby area
• 14.  gathering and eating together creates trust among people
• 15.  kpatabɔ; how children go from house to house to eat; how their fathers would gather outside the eldest's house
• 16.  if someone has no friends to eat with, he will call a grandchildren or even a small child to eat with him; doesn't want to eat alone
• 17.  women in the house also divide themselves into groups and eat together
• 18.  how a chief eats; eats alone but only eats a little then shares with those who are with him
• 19.  how someone eating medicine will gather and eat with others but will separate the food with the medicine

Respect and bluffing, or “showing oneself“

• 20.  Dagbamba do not like people who bluff others; princes who show too much price don't get chieftaincy
• 21.  people who show themselves often from families of slaves
• 22.  drummers use drums to show people's family standing
• 23.  respect to learning; Dagbamba don't bluff about having or seeking knowledge

Respect for strangers and visitors

• 24.  giving respect to all types of strangers
• 25.  how Dagbamba receive a stranger
• 26.  the happiness of receiving a stranger
• 27.  Dagbamba are distinguished among tribes of Ghana for the extent they respect strangers
• 28.  comparison of Dagbon and the South
• 29.  trying to get whatever the stranger wants
• 30.  finding out what the stranger wants; taking the stranger to those who will help
• 31.  differences of a stranger you don't know

How villagers receive strangers

• 32.  villagers keep fowls to feed a stranger
• 33.  if stranger will not stay in the village, the villager will give the fowl to the stranger to take away
• 34.  how the village children catch the guinea fowls from the napɔɣu
• 35.  how the villager gives the guinea fowl to the stranger
• 36.  how the women in the house and how the neighbors will share part of the stranger's food
• 37.  importance of sharing the meat properly
• 38.  takubsi:  a gift to the child who takes the food to the stranger; its blessings
• 39.  greeting the stranger with water; how Dagbamba without fowls keep dried fish in case a stranger comes

The blessings of strangers

• 40.  strangers bring good luck; money or wife
• 41.  special blessings if a birth in the house when a stranger visits; a baby girl may be promised to the stranger or stranger's child
• 42.  why people pray to receive strangers; stranger will speak well of them when he goes home; stranger will also receive them well
• 43.  how the blessings will extend to one's children if they travel
• 44.  relation of talk of strangers to talk of mingling and living together; both good and bad

Transition to further talk of strangers

• 45.  transition to talk of how a stranger should behave in Dagbon

Chapter I-5:  The Way of a Stranger and How a Stranger Should Live in Dagbon

How Dagbamba behave toward strangerrs; being a stranger and traveling; the benefits of traveling; bad things that can happen to strangers; how a stranger should behave with the people

Introduction

• 1.    Benefits of traveling:  experience
• 2.    traveling is good; traveler gains experience and knowledge, knows more than someone who hasn’t traveled
• 3.    traveling shows you your standard

Traveling and death; traveling and life

• 4.    traveling compared to death
• 5.    explanation of the comparison
• 6.    a traveler has no identity; a traveler can die
• 7.    living and dying compared to traveling in the world
• 8.    the good traveling is to where you know people; not like death
• 9.    newborn babies have the name “stranger”; everyone is a stranger or traveler in the world

How being a stranger is bad

• 10.  traveler should not have expectations
• 11.  traveler can unknowingly stay in a house with bad people
• 12.  strangers are warned about dangerous places or things in a town, but not about which people are bad
• 13.  strangers and townspeople do not talk about other people to one another
• 14.  a stranger and townspeople will be watching one another
• 15.  stranger will learn about a town before leaning about the house where he stays
• 16.  a stranger does not know the town he visits
• 17.  a stranger can lose his wife to a townsperson
• 18.  a stranger can stay in a bad person’s house
• 19.  a stranger should watch his householder’s character or will face difficulties
• 20.  a good stranger can defend a bad householder
• 21.  a bad stranger’s acts can cause a problem for a householder
• 22.  a stranger needs to be watchful; importance of luck

How strangers are good

• 23.  it is good to stay some days in a town; the townspeople will not know him
• 24.  if stay some days, stranger will get to know the town
• 25.  a person cannot hide his character
• 26.  townspeople who see that a stranger is good can give a wife
• 27.  a good stranger receives unexpected gifts and benefits
• 28.  a stranger can get respect he does not get in his home
• 29.  a learned stranger can give benefits to a town
• 30.  a stranger can come to know more about a town
• 31.  how John has come to Dagbon to learn

How a stranger should live with the townspeople

• 32.  how a stranger should try to fit in with the ways of a town
• 33.  the stranger should eat the local food
• 34.  the stranger should know that people will be studying him
• 35.  a stranger should not be proud; should have patience and respect
• 36.  a stranger should greet people
• 37.  if a stranger does not greet people, people will not look after him
• 38.  if a stranger greets the townspeople, they will help him
• 39.  a stranger should accompany the townspeople, but should not enter their quarrels
• 40.  a stranger should bring gifts and greet
• 41.  how John gives gifts to old people
• 42.  give gifts to children, or food
• 43.  a good  stranger will get benefit in return

Conclusion

• 44.  end of talk on strangers

Chapter I-6:  Greetings and Respect in Dagbon

Greetings and festivals; the importance of greetings; how Dagbamba greet; greetings and respect; greetings to different types of people: chiefs, rich people, maalams; gifts and gift-giving; messengers and greeting; greetings in the household; greetings to in-laws; greetings during the festival months; how Dagbamba greet their friends in different villages; how Dagbamba receive one another in greetings

Importance of greetings in Dagbon

• 1.    talk of greetings fits into many different talks
• 2.    greetings express good intentions and respect

Morning greetings in the house and neighborhood

• 3.    morning greetings between husbands and wives
• 4.    morning greetings to mother and wives
• 5.    wives greet one another and elders; kneel to greet senior person; give respect
• 6.    children in their own houses will come and greet their parents
• 7.    lengthy greetings with senior people in the area:  are we sleeping?
• 8.    if sickness or a problem, the area people will also come and greet; send messengers if serious

Festival day greetings

• 9.    happiness and good wishes; people go around and greet
• 10.  send children to greet people in other towns; greet people you don't usually greet
• 11.  giving gifts on festival day
• 12.  eating better food and being satisfied also part of the festival day
• 13.  send children to greet at all your in-laws' houses, with gifts
• 14.  send children because the householder should remain to look after the house

Eldership and greetings

• 15.  later, those you have greeted will also return greetings to you
• 16.  greeting example:  “leave you in front”; Alhaji Ibrahim's eldership from sharing drumming money
• 17.  send the messenger back with a gift
• 18.  as people go to live in different towns, send greetings to their elders in other towns

Greetings to friends

• 19.  take a gift that the friend likes; the whole house will respond
• 20.  the friend will take you to greet the people in his town; old people will bless the friendship
• 21.  the people in your friend's house will be happy with your gifts
• 22.  the townspeople you greeted will return the greetings with food
• 23.  you will get gifts when you leave for home; greetings show that one lives with people
• 24.  good to take someone along when going to greet; will see your respect
• 25.  greetings are friendship; be careful about greeting someone who cannot receive you well
• 26.  should greet the person who greets you; he will receive you well
• 27.  how Alhaji Ibrahim gives and receives gifts like that when visits friends in other towns
• 28.  good to visit and greet so that people meet and see the friendship

Greetings and respect

• 29.  greetings show character; someone who does not greet is seen as selfish
• 30.  should even greet people who do not greet you
• 31.  watch greetings and see people; different intentions
• 32.  greetings show respect; different greetings to chiefs, elders, money person

Greetings to money person

• 33.  money man and the chief greet and respect one another
• 34.  poor person who greets a money man shows happiness
• 35.  people greet the money person because of his money
• 36.  sometimes money person has more respect from friends than from family; shows how he treat them

Greetings to an old person

• 37.  everybody respects an old person because of the blessing of long life
• 38.  can greet any old person because of old age; squat when greetings
• 39.  respect an old person you do not know; gifts

Greetings to maalams

• 40.  every kinds of person respects maalams and Liman
• 41.  typical Dagbamba who are not Muslims greet Liman for medicine and prayers for farming
• 42.  money person also greets Liman for prayers and help
• 43.  Kamo-Naa also greets Liman for medicine and talismans
• 44.  the chiefs respects the Limam; helps the town to be cool

Respect to chief of drummers

• 45.  Namo-Naa or Lun-Naa; commoners, princes, and chiefs all need drummers

Conclusion

• 46.  people get respect because of what people want; different from greetings to family, friends, and festival greetings

Chapter I-7:  How Dagbamba Send Messengers

How Dagbamba send messengers to greet others; types of people who are messengers; how a messenger uses sense

Relevance of the talk of messengers

• 1.    sending people is important part of custom; an aspect of the talk of respect
• 2.    relation to Dagbamba way of living and identity of Dagbamba

Example:  getting a wife

• 3.    when asking to marry, send a messenger instead of going oneself
• 4.    send a friend to get “our” wife; get advice from an elder
• 5.    a messenger should have sense; know how to talk
• 6.    after the wife is promised, the messenger continues to represent the husband
• 7.    the messenger and other messenger will represent the husband at the wedding
• 8.    messengers give respect to both the receiver and the sender; don't approach others directly

Example:  chiefs

• 9.    commoners do not go directly to the chief's house; only certain elders do that, like drummers
• 10.  one does not address the chief directly; speak to an elder who talks
• 11.  one explains one's purpose to the elder first; helps exchange ideas; adds to respect of chief

Example:  princes

• 12.  a prince sees elders before greeting his own father
• 13.  how princes send messengers to the chief who controls a chieftaincy they are looking for

The respect of a messenger

• 14.  sending a chief or a chief's elder; high respect
• 15.  why a messenger gives respect to the sender
• 16.  messenger a witness to one's way of living; someone who lives with people
• 17.  messenger a witness to gifts and transactions
• 18.  how messengers add other messengers to themselves
• 19.  a respected or older messenger more likely to succeed

Examples:  how Alhaji Ibrahim is sent as a messenger

• 20.  example:  Alhaji Ibrahim as messenger or intermediary between child and parent
• 21.  Alhaji Ibrahim as intermediary between husband and wife
• 22.  how a husband's messengers will beg for an offended wife
• 23.  messengers help people talk to one another; how friends exchange services as messengers

Example:  sending your wife to a funeral houses

• 24.  the respect of sending your wife to a funeral
• 25.  the work and behavior of the wife at the funeral house

Some vicissitudes of sending different people

• 26.  the problem of not having a good messenger
• 27.  how a messenger shows whether he is sensible or foolish
• 28.  sending sisters or wives; sending parents

Funeral houses

• 29.  the strongest messengers are for funerals; sometimes necessary to protect oneself from danger at the funeral house
• 30.  why a funeral house can be dangerous
• 31.  example:  jealousy against Alhaji Ibrahim's sister's at a funeral house
• 32.  Alhaji Ibrahim's sister's madness

How messengers can bring information back to the sender

• 33.  messenger can hear about and prevent a plot
• 34.  how messengers can bring luck or good news

Trading and borrowing

• 35.  messengers role in trading
• 36.  example:  what John would do for a messenger who came from Dagbon to his town
• 37.  importance of trust in the messenger, especially when borrowing
• 38.  sending your wife to borrow money

The importance of messengers in Dagbon

• 39.  sending of people as messengers is prevalent in Dagbamba society
• 40.  how a stranger gets a messenger
• 41.  necessity to get a messenger from the town itself to see a town's tindana
• 42.  messengers important to everything one wants or does in Dagbon
  

Chapter I-8:  The Debt of the Stomach

Problems of working together as a team; practical problems of poverty and their relationship to commitment to long-term collaborative projects; issues of sharing potential benefits and maintaining continuity of the team

Introduction:  three things to pray for

• 1.    good health is more than wealth; the foundation of everything; householder needs health
• 2.    need health to travel
• 3.    first prayer:  to do the work, pray for health
• 4.    death is second:  need to pray for life
• 5.    third prayer is protection from Satan, or gossiping

Protecting the friendships in the team from gossip

• 6.    John should stand in front to protect the group from gossiping and those who would spoil the group
• 7.    Alhaji Ibrahim classifies the relationships within the team:  Kissmal (the duiker), Ben, Mustapha (the mouth)
• 8.    the team should encourage each other's friendship, greeting one another and not talking about the others
• 9.    how a bad person can tell lies and separate the friends
• 10.  holding truth will keep everyone cool; the group is good; Alhaji Ibrahim like a plant and the others are branches

Questions about the benefits of the work

• 11.  this topic has a twisted way; story of how mouth is sick, and the parts of the body refuse to treat it, except stomach
• 12.  Alhaji Ibrahim the mouth, and John and the others are the stomach
• 13.  John's reasons for coming to Ghana and Dagbon, and whether he has benefited
• 14.  everyone does work to get some benefit, or what he wants
• 15.  some people in Dagbon blame Alhaji Ibrahim for working with John; others advise him to charge John heavily; people believe that John is doing important work
• 16.  example of trader who talked to Alhaji Ibrahim about John
• 17  even people in Alhaji Ibrahim's house criticize him for working with John, but Alhaji Ibrahim values the friendship with John

Friendship and money

• 18  Dagbamba don't value money over friendship; some people refuse to let their daughters marry rich person
• 19  but money is important; one needs money for everything; can even mean life if a person is sick and needs treatment
• 20  money has good and bad influence; the friendship between Alhaji Ibrahim and John has not been spoiled by money matters
• 21  a person uses money to get what he wants
• 22  Dagbamba value friendship over money; should do work well without thinking about money, and will benefit

Patience and the benefits of one's work

• 23  one shouldn't be impatient for the benefit; example of stirring porridge water
• 24  the benefit of good work may extend to others even if John and Alhaji Ibrahim are dead
• 25  when doing work one should not look for quick benefits, only pray for benefit; drumming like that:  work done with truth will last
• 26  benefit can be in the form of a good name; one should start work without big ideas

Money and the work of custom

• 27  we don't know how we will benefit from this work; if it becomes a book, only some people will be interested; it's not for the market
• 28  work about custom is not for selling, but everywhere people look for it; John should not worry about the benefits of the work
• 29  Alhaji Ibrahim is happy with the work; John can swear on Alhaji Ibrahim that the work passed from him; John should not worry
• 30  people trying to spoil the friendship between Alhaji Ibrahim and John will talk about money

Friendship and debt

• 31  friendship is like a debt that cannot be paid; the name of Savelugu-Naa Puusamli
• 32  we should pray for protection against selfishness
• 33  one should not ask too much from a friend; one can only give to one's extent
• 34  you should only do for your friend what you have the means to do
• 35  friendship doesn't have accounting; example of John breaking a drum Alhaji Ibrahim lent him
• 36  the exception is medicine; medicine requires gift or payment even from friends or relatives
• 37  Alhaji Ibrahim is not charging John; Alhaji Ibrahim's name:  Money finishes, but wisdom does not finish.
• 38  to stay in friendship, one should not try to do what the friend wants; one should not do what the friend doesn't want

The friendship between Alhaji Ibrahim and John

• 39  the friendship within the team has reached true trust
• 40  many people are happy with the friendship and are praying for John
• 41  John has come alone, but America is getting respect; John should be taking the good name of Dagbon to America

Giving gifts

• 42  Ghana is in difficulties; when giving, one should try to gather something substantial and give it at once, not bit by bit
• 43  Catholic fathers in Africa are rumored to leave large gifts in the bush
• 44  giving gifts:  it is good to give something that people can see, something to stand for the friendship
• 45  the person who gives gifts is someone who can afford to give
• 46  one who gives gifts does it for himself; the benefit of a gift extends; example:  praying mat or ablution kettle
• 47  gifts are more than alms; how they extend and add to friendship
• 48  giving shows that a person has got something before deciding to give; giving is good for the one who gives, the one who received, and to God
• 49  proverbs about this talk; it relates to Dagbamba way of living and to the way of drumming
  

Chapter I-9:  Patience, Truth, and How We Should Do the Talks

The nature of long talks; different types of lies; how to listen to the talks; patience and asking questions; instructions to John about “repairing” the talks

Starting the work

• 1.    importance of truth; must talk what Alhaji Ibrahim knows
• 2.    John will need patience
• 3.    the talks are gradual; John is not broadcasting them prematurely

How the idea of the talks has evolved from the friendship of John and Alhaji Ibrahim

• 4.    Alhaji Ibrahim has been reluctant; sacrifices needed; the friendship has reached trust
• 5.    proverb about who will watch a groundnut farm
• 6.    an old person is someone who holds words, has wisdom
• 7.    wisdom requires sense and discretion; Alhaji Ibrahim and John are old men because of knowledge
• 8.    Alhaji Ibrahim wants the talk of drumming to join to the Dagbamba way of living; there should be no mistakes
• 9.    Alhaji Ibrahim will talk what he knows, and he will consult elders to continue; will talk into details with truth

Issues of mistakes and lies in talks about Dagbon

• 10.  types of lies:  adding talks beyond the extent of knowledge; talking without full understanding; trusting too much in what one hears
• 11.  the book John showed him had lies; the informant was not knowledgeable
• 12.  someone might lie to maintain his position as an informant or assistance
• 13.  someone might lie by choice, distorting talks that are supposed to be secrets or need sacrifices
• 14.  drummers are not supposed to talk openly about some things; forbidden; also receive blame
• 15.  some drummers will refuse to talk forbidden topics
• 16.  fear goes far into the past; Alhaji Ibrahim feels that wisdom should be shared if it can help people

Resistance to talking about Dagbon and opposition to Alahji Ibrahim's work with John

• 17.  John will meet refusal, lies, and truth
• 18.  the knowledge in drumming is different from other types of knowledge, like farming; some Dagbamba think it should not be shared to outsiders
• 19.  some drummers and other people have been talking against John learning; jealousy
• 20.  some whites have advised Alhaji Ibrahim to charge John heavily
• 21.  others judge and assume things about Alhaji Ibrahim because of his friendship with John
• 22.  Alhaji Ibrahim doesn't pay attention; learning drumming should have no charge
• 23.  Alhaji Ibrahim considered only considered the respect John gave; all the elders encouraged him
• 24.  the reasons people have against teaching outsiders are nothing
• 25.  when some gets something good, others will demean it so that the person will discard it; then they will take it
• 26.  others like Ibrahim Mahama have encouraged Alhaji Ibrahim to show John well and make Dagbon known
• 27.  formerly Dagbamba did not like white people
• 28.  times have changed; people do not fear one another as before

Alhaji Ibrahim's knowledge as his heritage to be passed on with truth

• 29.  in Alhaji Ibrahim's family, they don't like liars; modern times has more liars
• 30.  the early white people got mixed up talks; their informants did not talk correctly
• 31.  Alhaji Ibrahim will talk what he learned from his elders; happy to do so because of friendship
• 32.  the person who learns your work is your child; John is always in touch with them
• 33.  Alhaji Ibrahim has taken John as his child in drumming; continue the knowledge
• 34.  Alhaji Ibrahim's knowledge from his elders and his experience; truth endures
• 35.  people remember truth, not lies
• 36.  lies are like urine, do not go far

Trust and learning

• 37.  truth stands on solid ground; someone; John has a reputation for truth, people trust him
• 38.  some people may not trust this work, but will find it difficult to challenge
• 39.  some people just argue without having knowledge; others can compare John's work to others
• 40.  people can argue from different understanding, but these talks are reliable; family talks their fathers
• 41.  differences in drumming talks from the extent; some have more details
• 42.  differences in learning can bring arguments, but drummers do not bluff those who are more learned
• 43.  what you hear might be wrong, so you should show the person who showed it to you
• 44.  some who tells truth will not suspect a liar
• 45.  patience helps; the talks will go far, like truth; liars have no patience for truth
• 46.  truth and lies contrasted; truth has strength to build something on
• 47.  liars find difficulties:  getting wife, borrowing money, being in a group

Separating a few types of lies that have benefit

• 48.  lying to prevent a quarrel; messenger repairs a talk
• 49.  separate the exceptions of lies that can be good
• 50.  repairing a relationship
• 51.  the reconciliation
• 52.  the lies have repaired the relationship
• 53.  lies to save a marriage; go between a separated couple
• 54.  adding people to help intercede
• 55.  the reconciliation of the married couple
• 56.  the blessings of repairing a marriage
• 57.  lies to prevent a fight between towns

The importance of seeking truth

• 58.  all other lies lead to trouble
• 59.  truth moves everything forward
• 60.  a human being should search for truth; use patience and truth to live with others

How the team should work together

• 61.  to work together, one should not see or hear too much; not be annoyed
• 62.  the team should maintain unity
• 63.  communicate so that no one is disappointed
• 64.  Alhaji Ibrahim wants to do the work
• 65.  John should help Alhaji Ibrahim plan the arrangement of the talks
• 66.  John should keep track of the talks and ask for necessary clarifications
• 67.  John should stay focused on the talks
• 68.  John should record the talks and keep good records
• 69.  John should keep track of the translations for errors
• 70.  John should add his own sense to make the talks nice
• 71.  John should not add to good talks, but the talks should go into details
• 72.  John should remind Alhaji Ibrahim of issues; they should go over the talks to check for mistakes
• 73.  John should ask question for verification so that the talks will not have mistakes
• 74.  John should hold questions and not interrupt too much, be patient to see where the talk is going
• 75.  questions are like junctions and can divert a talk into another direction; difficult to get back on track
• 76.  proverb about chief's housechild will not struggle to hear Ʒɛm
• 77.  explanation:  be patient and the talks will eventually come to answer the questions
• 78.  we have to follow the talks to see where they will go; take time with them
• 79.  we should take the talks step by step

Conclusion

• 80.  transition to the talks of drumming

Volume I 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 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

Volume I Part 3:  Music and Dancing in Community Life

• 15.  Proverbs and Praise-Names
• 16.  The Praise-Name Dances and the Benefits of Music
• 17.  How a Person Should Dance
• 18.  Baamaaya, Jera, Yori, Bila, and Other Dances of Dagbon
• 19.  Takai and Tora;
• 20.  Funerals
• 21.  Muslims' Funerals and Chiefs' Funerals

Chapter I-15:  Proverbs and Praise-Names

Why Dagbamba like proverbs; what proverbs add to living; how to understand proverbs; how people use proverbs as names; proverbial names and “praising”; introduction to the family; how drummers beat praise-names on their drums; where and how drumers use praise-names; the role of praising at community gathering; introduction to praise-names and dance beats

Introduction

• 1.  drummers use sense to use proverbs for praise names and dances

Proverbs

• 2.  their characteristics and types
• 3.  meaning is not clear; doing its work involves interpreting it

Examples of proverbs and their meanings

• 4.  example:  “if a river is dry”:  interpreting the proverb; thinking and asking
• 5.  further explanation of the proverb; extended to someone with knowledge
• 6.  in custom, when give a proverb, do not show its meaning; person has to interpret
• 7.  why give proverbs; proverbs are two talks, different possible meanings
• 8.  example:  “people are talking”; two talks or meanings; good and bad
• 9.  further explanation:  John's reputation in Dagbon

Proverbs as indirect talk

• 10.  proverbs are not straightforward; need for patience to understand the reference
• 11.  indirect reference:  “bury a dead goat”
• 12.  “how is the market is not friendship” refers to greeting
• 13.  “stealing somebody's back” reference to gossiping
• 14.  “gather to bury shea nuts”
• 15.  proverb has many talks inside it; don't want to say something directly
• 16.  indirect talk for something you are shy to say

Proverbs make talk sweet

• 17.  proverb adds to talks
• 18.  proverbs give long thoughts; people like long thoughts
• 19.  proverbs show people sense
• 20.  the sense of proverbs can give a warning or advice; help people live correctly
• 21.  proverbs are for people with sense; have to hold the meaning

Drummers and proverbs

• 22.  drummers have proverbs; their sense started from worries and sadness as orphans
• 23.  drummers use proverbs to praise people, as a name to fit the person
• 24.  the name helps people know more about a person

Examples of praise names

• 25.  example:  how a proverb might apply to someone
• 26.  Nama-Naa Issahaku's name
• 27.  Alhaji Ibrahim's names

How praise names are beaten

• 28.  name can be spoken, sung, or beaten on drum; the drum can imitate the language
• 29.  many people can recognize their names when beaten on a drum
• 30.  drummers learn praising; different ways to beat names; singing while beating is difficult
• 31.  in addition to language, drumming has meaning in the reason why it is beaten

Learning to hear drum language

• 32.  people can ask to know the meaning of the drumming
• 33.  people learn to hear drumming talks to different extents; some chiefs learn it gradually; chiefs like Tolon-Naa Yakubu and Nanton-Naa Alaasani hear well because are close to drummers
• 34.  chiefs can learn it as princes; befriend and sit with drummers
• 35.  how a prince befriends a drummer to learn more
• 36.  the prince meets the drummer quietly in the night; doesn't talk about what he learns
• 37.  a prince does not show his knowledge in public
• 38.  if such a prince becomes a chief, might even correct a drummer
• 39.  differences among chiefs; many do not know much; elders sit near and help them
• 40.  Alhaji Ibrahim wants John to learn to beat proverbs and to write down the drumming

Drumming in Hausa and Dagbani

• 41.  many proverbs are beaten as names; Hausa (Taachi) and Dagbani
• 42.  examples:  Hausa and Dagbani versions of the same proverbs
• 43.  Dagbamba proverbs that are beaten on a drum
• 44.  Hausa proverbs that are beaten on a drum

The benefits of praise names

• 45.  proverbial names enhance a person and also enhance the culture
• 46.  a name can hold a person back; drummers will correct it
• 47.  drummers praise a person with the grandfather's name; enlightening

Praise names and family

• 48.  proverbs are old talks; proverbs are with everybody
• 49.  drummers keep alive the names of dead people within a family
• 50.  drummers know people's families; family compared to a tree

Praise names and chieftaincy

• 51.  every Dagbana has a relationship to a line of chieftaincy
• 52.  a commoner comes from a chieftaincy line that has separated
• 53.  all Dagbamba have some relation to Yaa-Naa; even typical Dagbamba from Naa Niŋmitooni
• 54.  the “children” of Naa Nyaɣsi were not all his actual children
• 55.  if a prince marries a commoner, the child can become a chief
• 56.  chieftaincy lines mix and separate; many ways; can go to far ancestor, like drummers to Naa Nyaɣsi
• 57.  Alhaji's mother's side is Naa Siɣli; no longer a door to Yendi
• 58.  everyone is a chief's grandchild; examples:  Naa Zoli, Savelugu-Naa Mahami

How drummers praise within a family

• 59.  when drummers praise people, they start with grandfather's name; show person's family line
• 60.  praise a commoner with praise-name of a chief; all the chiefs have lines; people know to varying extents
• 61.  drummers' work:  praising and showing the family; makes people happy; get money as gift
• 62.  family can be traced to different origins; example:  Alhaji Ibrahim from Savelugu and Voggo

Praise names and knowledge of a family

• 63.  drummers know a person's family to varying extents; compared to levels of schooling
• 64.  people learn about their family lines from praising
• 65.  praising and drumming always related to chieftaincy; chiefs and drummers are one
• 66.  the old talks (history) are behind both the chieftaincy and the drumming; not written

Praising at gatherings

• 67.  example:  praising at a funeral house
• 68.  how drummers praise people with proverbial names; excites people
• 69.  example:  man who killed his horse when praised
• 70.  at gatherings, drummers use praise to invite people to dance; dancers receive money from friends and relatives; drummers collect it
• 71.  gatherings are ways to help one another; go to funerals to support people; money makes support visible
• 72.  the giving of money, from talking truths about gathers and grandfathers
• 73.  people are happy at gatherings; hearing the good names of their forefathers
• 74.  when drummers don't recognize someone; example:  Nyohinilana Pakpɔŋ pointed out to drummers, who then praised her
• 75.  people show themselves to the drummers
• 76.  other people will tell the drummers about a person; this showing oneself is not like bluffing
• 77.  gathering place:  people get to know one another and their families
• 78.  drummers also show the lower status of some people
• 79.  drummers can show the high standing of a quiet or shy person
• 80.  drummers show family relationships by using the same praises for different people
• 81.  sometimes relatives didn't know their relationship unless drummers show them

Praising and sense

• 82.  drummers find appropriate names for people
• 83.  drummers use their knowledge to turn praise-drumming to dance beats
• 84.  Naa Mahamadu's names
• 85.  using a name for dancing; can dance to a forefather's name
• 86.  drummers have a lot of sense

Chapter I-16:  The Praise-Name Dances and the Benefits of Music

The origins of dances in chieftaincy and the drum history; examples of dances based on praise-names of former chiefs; overview:  how music helps in weddings, funerals, namings, festivals; happiness and music; happiness and dancing; music as something to give to the children

Introduction

• 1.    continuation of the talk about praise names
• 2.    drummers use sense to turn a name to a dance

Old dances in Dagbon

• 3.    Taachi:  original names, without dances; from Hausa
• 4.    praise-name dances are not old
• 5.    dances:  Zuu-waa (Tonglana Yamusah), Lua, Damba, Dikala (blacksmiths), Nakohi-waa (butchers), Gbɔŋ-waa (barbers), Baŋgumaŋa, Ʒɛm

Taachi and other dancing at former gatherings

• 6.    drummers beat Taachi at gathering when Alhaji Ibrahim was young; Hausa and Dagbani names; Taachi dances now part of repertoire
• 7.    formerly at funeral house:  Tɔra for women, Taachi for men; children and friends arrange for the dances
• 8.    women arrange for Tɔra; individual dance circle for the men, but women would also dance Kondalia and Zamanduniya
• 9.    Kondalia and Zamanduniya from Hausas
• 10.  some Taachi dances also from Kotokolis; guŋgɔŋ beating; drummers learned their dances
• 11.  many Kotokolis lived in Tamale formerly before government made them leave
• 12.  formerly only Tɔra and Taachi for funerals; Takai more for festivals; organized by Nachin-Naa
• 13.  formerly Baamaaya (Tuubaaŋkpilli) not beaten at funeral houses
• 14.  Jɛra only in certain towns; only at funerals of Jɛra families, or by invitation
• 15.  Taachi praising like at current gatherings, but different dances; no praise-name dances

Praise names formerly were not danced

• 16.  formerly the names were there but not the dances; started gradually during Naa Abudu's time
• 17.  Nantoo Nimdi not danced during Naa Yakuba's times

Examples of praise names that are not danced

• 18.  Naa Kulunku:  Kulunku laɣim kɔbga
• 19.  Naa Andani Jɛŋgbarga:  Yuɣimpini
• 20.  Naa Ziblim Bandamda:  Kuɣa mini kasalli
• 21.  some names good for beating and singing but not good for dancing; examples:  Kuɣa mini kasalli
• 22.  some names are beaten for horse-riding

Learning praise-name drumming

• 23.  drummers learn to their extent; should not add to what they were taught
• 24.  the many dances in Dagbon are because of drummers; people also have many oreferences in dancing
• 25.  people tell drummers which dance they want; also, drummers adjust beating to fit the dancer
• 26.  drummers usually know a dancer's preference; often follows the family
• 27.  some people can dance many dances; drummers try to limit the number; after second dance, no money
• 28.  some dancers change dances quickly; not a problem
• 29.  differences in learnedness; a lot to learn to know details of chieftaincy and history
• 30.  the dances show the history; adds to way of living
• 31.  the many dances in Dagbon also come from the dancers and what they want
• 32.  drummers also sing praises when beating for dancers
• 33.  only some dances have singing; Damba songs not danced; sometimes songs, sometimes praise singing

Example:  Naɣbiɛɣu

• 34.  Naa Abilaai Naɣbiɛɣu's fighting with Bassari people
• 35.  how the drummers describe such events; not always clear
• 36.  Naa Abilaai killed the Bassari chief, Naɣbiɛɣu, and took his name
• 37.  different ways of the story, whether Naa Abilaai or his soldiers killed Naɣbiɛɣu; no real difference
• 38.  the Naɣbiɛɣu drum language and response; variations
• 39.  how the Dagbani is adapted to drum language
• 40.  the singing that accompanies Naɣbiɛɣu
• 41.  explanation of the singing
• 42.  further explanation of the metaphors in the singing
• 43.  drummer will add the singing of other praise-names of Naa Abilaai
• 44.  how the singing fits with the drumming and responses
• 45.  the singing is not one way; many differences depending on the drummer
• 46.  the dancer changes with the singing and beatingh; singing changes depending on the family of the dancer

Example:  Nantoo Nimdi

• 47.  Naa Yakuba's name; poisoned meat
• 48.  explanation of the name
• 49.  singing the different praise-names of Naa Yakuba

Example:  Naanigoo

• 50.  Naa Andani's name; how he called his name in the Zambarima war
• 51.  the singing inside Naanigoo
• 52.  explanation of the name
• 53.  further explanation of the name

Example:  Ʒim Taai Kurugu

• 54.  Naa Alaasani; the meaning of the name
• 55.  additional language inside the drumming
• 56.  the origin of the name in Naa Alaasani becoming Yaa-Naa

Example:  Naa Abudu

• 57.  how he was made Yaa-Naa by the British
• 58.  Setaŋ' kuɣli; explanation of the proverb; same name as Naa Zanjina
• 59.  danced by horses in procession; wɔrbar' sochɛndi
• 60.  no songs; sing the praise-names of Naa Abudu

Other chiefs' names and dances

• 61.  Naa Mahama Kpɛma:  Bɛ yoli yɛlgu refers to how he became chief
• 62.  Naa Mahamam Bila:  Ʒiri laɣim kɔbga beaten for procession, not danced at gatherings
• 63.  Naa Abilabila Saŋmari gɔŋ explanation; other praise names
• 64.  Naa Mahamadu:  Kulnoli is danced; other names
• 65.  the names' uses vary:  dancing, praise-singing, processional walking or riding

Other dances from praise-names

• 66.  Dam' duu:  Tali-Naa Alhassan; meaning of the name
• 67.  explanation and story in the name Dam' duu; Tolon-Naa Yakubu's names
• 68.  Savelugu-Naa Mahami:  Ŋum Biɛ N-kpaŋ
• 69.  Kari-Naa Abukari:  Zambalana Tɔŋ; the history behind the name
• 70.  Diarilana Mahama:  Nayiɣ' Naa Zan Bundan' Bini
• 71.  commoners also have names that are danced:  Salinsaa Bili Kɔbga
• 72.  Ninsala M-Biɛ also a commoner's name
• 73.  people who are not Dagbamba, such as Bimbila chief

Dances at the Damba Festival

• 74.  at Damba Festival, many dances are on display
• 75.  the sequence of the Damba Festival
• 76.  eighteenth day is final day; greetings and gatherings
• 77.  the eighteenth day is wonderful to see
• 78.  Dagbamba come from far away to celebrate Damba
• 79.  Damba is celebrated at chiefs' houses
• 80.  Damba Festival focuses on chieftaincy
• 81.  people dance any dance they want at the gatherings
• 82.  they dance all the dances mentioned in the chapter
• 83.  also Gbunbil' Lɛri:  Tugulana Iddi's name
• 84.  also Jɛrgu Dari Salima:  Gushe-Naa Bukari's name
• 85.  also Dɔɣim Malbu:  Savelugu-Naa Abukari Kantampara
• 86.  also Tibaŋ Taba:  Savelugu-Naa Mahami
• 87.  also Baŋ Nira Yɛlgu:  Kari-Naa Alhassan
• 88.  also Naawun' Bɔr Duniya Malgu:  Nanton-Naa Sule
• 89.  also Ŋun Ka Yiŋa:  Vo-Naa Imoro
• 90.  also Zamba Kɔŋ Yani:  Gushe-Naa Bawa
• 91.  also Malimi So:  Nanton-Naa Alaasani
• 92.  also Kurugu Kpaa:  Dakpɛma Suŋna
• 93.  also Ninsal' Ka Yɛda:  Savelugu-Naa Bukari
• 94.  also Kookali:  Banvimlana Mahama
• 95.  also Pɔhim Ʒɛri:  Savelugu-Naa Ziblim

Dances from other tribes

• 96.    also many other dances; all these dances can be danced any time if someone wants
• 97.    Dagbamba dance dances from other tribes:  Yoruba, Kotokoli, Mamprusi, Gonja, and others
• 98.    why Dagbamba do not dance Wangara or Mossi dances
• 99.    drummers learn the dances because of mingling, especially in Tamale
• 100.  how Alhaji Ibrahim learned a Kotokoli dance at a gathering

The benefits of many dances

• 101.  dancing helps people become happy when there is sorrow or problems
• 102.  people with worries will find their worries reduced
• 103.  example:  a maalam dancing at his brother's funeral
• 104.  dancing and drumming keep people's names alive in memory

Chapter I-17:  How a Person Should Dance

The relationship of dancing and drumming; differences in styles of dancing; differences between men's and women's dancing; how people learn dancing; aesthetics of good dancing

Introduction

• 1.    overview:  the starting of different dances
• 2.    dances are not grouped, such as for women or men; drummers beat all dances
• 3.    there is dancing at many occasions

Benefits of dancing

• 4.    dancing shows happiness; even at final funerals; drumming but no dancing during burial time
• 5.    some burials have no drumming; Kulunsi after return to house; praising; dancing at final funeral; exceptions
• 6.    dancing especially for old person's funeral; happiness for long life
• 7.    dancing and happiness go together
• 8.    dancing makes a town good; increases a town's name

Dancing styles and projection of character

• 9.    different styles of dancing add to the dance; make it nice, reflect happiness and cool heart
• 10.  the dance shows the heart of the person
• 11.  dancing with respect; patience and coolness
• 12.  different types of dancing reflect different types of human personalities
• 13.  showing oneself; project coolness, happiness, and self-respect
• 14.  dancing is a choice; what the heart wants
• 15.  example:  at market show part and hide part of what you sell; or who you are; preserves respect

Dancing movements

• 16.  dancing:  good to dance coolly, with respect and patience; not roughly
• 17.  no particular meaning to movements; try to follow traditional precedents; acknowledge elders
• 18.  respect tradition with dress
• 19.  good dancers dress dance appropriately to the drumming and the dance itself; don't mix styles
• 20.  older people know tradition; dance better than young people
• 21.  older people have more knowledge of traditional significance
• 22.  experience and knowledge make the dancing nice

Dancers and drummers

• 23.  experience:  it is good to know the dance and learn it well
• 24.  the dancer can follow the beating of the guŋgɔŋ
• 25.  dancer can also engage the drummer; drummer can help the dancer
• 26.  Nakɔhi-waa originally had movement from drummer; now some other dances

Learning dancing

• 27.  can learn dancing from watching and not from asking
• 28.  try to dance to resemble an admired dancer one has watched
• 29.  when people are dancing, people look at them
• 30.  can learn dancing by watching and listening
• 31.  styles of movement from the type of dance; some dancers don't have many styles

Dancing of chiefs and commoners

• 32.  Damba does not have many styles; movements reflect chieftaincy
• 33.  formerly the commoners did not have dance circles as at today's gatherings
• 34.  formerly an offense for commoner to dress or dance like a chief
• 35.  modern days, the chiefs and commoners are closer
• 36.  modern times are good for drummers because life is easier
• 37.  people know one another's standing at the gathering place
• 38.  when a person dances, drummers show the family; the dance should reflect relationship to ancestors

Dancing of princes

• 39.  showing oneself in dancing is not bluffing; but princes don't show themselves
• 40.  princes put limits on dances and styles
• 41.  different dancing styles for a prince who gets chieftaincy; will not hide
• 42.  differences in dancing of chief, commoner, prince

Dancing and styles

• 43.  the beating shows which dances have styles, but styles are not as important as dancer's projections
• 44.  cool dancing is interesting, but should follow the drums; make the dance look nice
• 45.  dancer follows the beating; follows the guŋgɔŋ and all drums together
• 46.  drummers can show dancer how to move; makes the dance nicer for everyone
• 47.  change dances when drumming changes; different tribes dance with different parts of body
• 48.  dancing mainly in the legs; use of arms in Nakɔhi-waa
• 49.  Nakɔhi-waa is difficult; sometimes Nakɔhi-waa dancer's arms are just adding movement; Naanigoo is nice without many styles
• 50.  drummers adjust beating to individual dancer's movement

Men's and women's dancing

• 51.  women also dance in Dagbon
• 52.  differences in men's and women's dancing from the body; women more discreet
• 53.  woman's body is loose, can move faster; man has more strength
• 54.  man dances, turns, and shows smock; women show beauty
• 55.  women dance with more shyness; feet in and out; Zamanduniya good for women
• 56.  women's arm movements in Damba, Naɣbiɛɣu, Naanigoo; foot movements in Nakɔhi-waa

Dancing and tribal styles

• 57.  Damba movements
• 58.  Mamprusi dance movements

Conclusion

• 59.  dances are different; people call both drummers and goonji groups
• 60.  transition to group dances

Chapter I-18:  Baamaaya, Jɛra, Yori, Bila and Other Dances of Dagbon

Baamaaya; Jɛra; Yori; Bila; Nyindɔɣu and Dimbu; Gingaani; dances of the craft-guilds and other tribes; group dances compared to individual dances

Ways to classify Dagbamba dances

• 1.    group dances different from individual dances; older; for particular occasions
• 2.    Takai, Tɔra, Baamaaya, and Damba are the best-known Dagbamba dances
• 3.    Jɛra:  only in some towns; for certain types of funerals
• 4.    different ways to classify the importance of dances
• 5.    importance of Gingaani to chieftaincy; when a chief comes outside his compound
• 6.    the important dances are Takai, Damba, Tɔra, Baamaaya, Jɛra; the old dances are Jɛra, Yori, Bila, Nyindɔɣu, and Jinwarba dance
• 7.    importance from drumming perspective:  Damba, Gingaani, Samban’ luŋa
• 8.    everyone knows Takai, Tɔra, Baamaaya; children play them
• 9.    children learn Takai, Tɔra, and Baamaaya at an early age

Baamaaya

• 10.  nowadays for funerals and festivals; formerly recreational music danced in the night
• 11.  danced to escape mosquitoes at night
• 12.  original meaning was Daamaaya:  the market is cool
• 13.  dancing was different; Baamaayaa was Tuubaaŋkpili; current Baamaaya dancers do not know their origins
• 14.  this information from old people who were there
• 15.  Daamaaya not common; replaced by Tuubaaŋkpilli
• 16.  how Daamaaya was danced; in a line with scarves; women also danced it
• 17.  Daamaaya dress was jɛnjɛmi, not skirt; women would give the scarves
• 18.  Tuubaaŋkpilli dress was piɛto or kpalannyirichoo; replaced by mukuru; Gbinfini-waa (naked dance); use of chaɣlaa
• 19.  Daamaaya and Tuubaŋkpilli compared; different dancing and dress
• 20.  Daamaaya songs; proverb about fisherman explained
• 21.  Daamaaya songs; gossip and abuse; like Atikatika; many chiefs did not like it and forbade it
• 22.  Tuubaŋkpilli has become Baamaaya; its songs; other dance beats added like Nyaɣboli
• 23.  current Baamaaya dancers do not know the original beating; drummers know it better
• 24.  many people do not know this talk about Baamaaya

Jɛra

• 25.  old dance; danced at certain funerals:  chiefs, old person, relative of Jɛra dancer
• 26.  in only a few towns, not everywhere; Changnayili, Jimli are two examples
• 27.  Jɛra danced with medicine; need protection; moves inside families
• 28.  use of kabrɛ medicine in Jɛra dancing
• 29.  dangerous to touch a dancer’s leg; the dance shows strength
• 30.  use small guŋgɔŋs and one luŋa; use shakers, saaŋsaaŋ and feeŋa
• 31.  Jɛra songs are proverbs; different types

Yori

• 32.  for women chieftaincies; danced by Gundo-Naa and Yendi princesses; hold clubs; no singing
• 33.  the dance is not common; the beating is the same as when shaving funeral children
• 33.  Yori is restricted; not beaten outside its traditional role

Bila

• 33.  rare; not in every town; only for some chiefs; examples:  Yendi, Yendi Gukpeogu, Tuuteliyili, Karaga, Gushegu, Mion
• 34.  use only guŋgɔŋs, but sometimes add drummers
• 35.  many medicines used in Bila; dancers show powers and perform wonders
• 36.  the wonders:  Alhaji Ibrahim has not seen but has heard from others
• 37.  knocking a Bila dancer’s leg is forbidden; dangerous; from typical Dagbamba

Other dances

• 38.  Bila and Nyindɔɣu not popular for beating; children do not know them
• 39.  Nyindɔgu and Dimbu are like Bila; at Yendi Gukpeogu and Gushegu; Nyindɔgu no drums, only songs and hoes; many forbidden things
• 40.  Gbɔŋ-waa:  barbers’ dance; not beaten by drummers; only on certain occasions
• 41.  Gbɔn-waa for funeral of an old barber; sung in the house

Comparing the dances

• 42.  these dances are different from Takai, not part of community gatherings; Takai for any occasion;
• 43.  dances of eastern Dagbon, many tribes have mixed there; Baamaaya and Jɛra more for western Dagbon
• 44.  Yendi side and Savelugu side were separated until Naa Alaasani’s time; dances were also localized

Drummers' knowledge of dances

• 45.  drumming talks are many; one can only know one’s extent
• 46.  Dagbamba drummers beat dances of other tribes; no tribe can beat Dagbamba drumming
• 47.  Dagbamba drummers learn other tribes’ beating to beat for that tribe’s person to dance
• 48.  learning is from the heart; Dagbamba have a lot of sense; but not white men’s or soldiers’ beating

Conclusion

• 49.  transition to talk of Takai and Tɔra

Chapter I-19:  Takai and Tɔra

The Takai and Tɔra dances; their importance in community events

Introduction

• 1.  leading Dagbamba dances; old; a pair; dancing must be learned
• 2.  basic description of the two dances
• 3.  similar beating; Nyaɣboli, Ŋun Da' Nyuli; some songs the same

Tɔra

• 4.  the movements are nice; out and back to knock buttocks
• 5.  difficult to dance; needs strength; can get hurt
• 6.  need to learn Tɔra; young girls learn it in play
• 7.  very traditional dance; only women dance it
• 8.  women can dance men's dances, but men don't dance Tɔra
• 9.  Tɔra widely known among women

Tɔra performance

• 10.  Takai and Tɔra danced for occasions; for funerals, or called for a gathering
• 11.  Tɔra similar to Takai; funerals, weddings
• 12.  Tɔra especially for when shaving the heads of the funeral children, or funeral prayers; beaten at night for four or seven days
• 13.  cola and money to call Tɔra as an invitation; what the Tɔra dancers do for drummers; gifts and food

Tɔra's origins

• 14.  Tɔra's starting in Samban' luŋa:  Naa Yenzoo's wives and elders jealous of his friendship with Jɛŋkuno
• 15.  chief's wives lied to accuse Jɛŋkuno of having sex with them
• 16.  Jɛŋkuno ran away; Gbanzaliŋ and the chief's wives danced Tɔra

Tɔra's beating

• 17.  three dances inside Tɔra:  Tɔra Yiɣra, Kawaan Dibli, Nyaɣboli; their songs
• 18.  Ŋun Da' Nyuli added; its songs
• 19.  Tɔra songs; singing stops as dance heats up
• 20.  start beating with Tɔra Maŋa; differences from Hausa Tɔra
• 21.  comparing Dagbamba Tɔra and Hausa Tɔra; popularity of Tɔra Yiɣra
• 22.  mixed cultural aspects with Hausas; Lua
• 23.  Dagbamba are closer to Hausas than to Ashantis

Takai

• 24.  danced by Dandawas and Mossis
• 25.  Takai not as strong in villages; not mentioned in Samban' luŋa
• 26.  old dance, for everyone; Alhaji Ibrahim has not heard any talk about its starting

Takai's importance

• 27.  Alhaji Ibrahim telling the truth about Takai; others might tell lies
• 28.  example:  story about using swords; Alhaji Ibrahim hasn't seen or heard it
• 29.  Alhaji Ibrahim is Takai leader; people don't ask how it started; not part of chieftaincy talks
• 30.  important but not because of any talk
• 31.  continually changes with the generations
• 32.  Takai has no talks of its starting; it evolves

Takai drumming styles, drum language, and false meanings

• 33.  formerly not many styles of beating the dances
• 34.  drummers' styles can be their own idea; no meaning for the dance
• 35.  many styles have no language
• 36.  compare:  drum language important in dances like Baŋgumaŋa and Ʒɛm; more serious than Takai
• 37.  no meaning:  the beating may reflect or resemble language, but it is not significant
• 38.  some styles are talking; some not; “your wrist is sweet”
• 39.  some beating styles from the movement of the wrist; fit the beating
• 40.  some styles have no intention behind them
• 41.  Takai styles are like joking; people can compare to talk
• 42.  Takai:  important that the dancers knock their sticks on the beating
• 43.  Takai song:  “knock a person on the head” the main style of Takai
• 44.  knocking the head is joking; this style has been there a long time
• 45.  guŋgɔŋ follows the dancers; drummers, too; not taught meanings
• 46.  Takai's meaning is in its use at gatherings
• 47.   how Alhassan taught John false meanings, but Alhaji Ibrahim himself created those styles without language
• 48.  anybody can easily compare drumming to language; example:  false meanings in Baŋgumaŋa
• 49.  example:  lumbobli drum language about drink is false; many people talk without knowledge
• 50.  no evidence for lumbobli langauge about drink
• 51.  need to use eyes and sense to evaluate what people say
• 52.  don't follow the talk of people who do not know
• 53.  Takai styles are joking; example:  Nyaɣboli language
• 54.  example:  Kondalia language
• 55.  example:  Kondalia language
• 56.  styles come from both language and wrist; anything to energize the dancers
• 57.  Takai's meaning is general, from the performance, not the drumming

How Takai evolved to include different dances

• 58.  Alhaji Ibrahim met Takai with four dance beats:  Takai, Nyaɣboli, Kondalia, Dibs' ata
• 59.  dance added to Takai:  Ŋun Da' Nyuli
• 60.  dance added:  Damduu
• 61.  dance added:  Ŋum Mali Kpiɔŋ
• 62.  the process for adding a dance; discuss whether the beating will fit; borrowing dance beats; comparing Takai and Baamaaya
• 63.  Alhaji Ibrahim's group added Ŋun Da' Nyuli; not beaten when Alhaji Adam was leading Takai
• 64.  how the drummers met and practiced adding Ŋun Da' Nyuli; dancers worked on their own
• 65.  the additional dances make Takai more interesting

Beating and dancing Takai

• 66.  differences among the Takai dances; the difficulty of the beating
• 67.  Takai more strenuous than Baamaaya; danced one to two hours compared to all night
• 68.  Takai drummers also use energy to move with the dancers; difficulty of dancing
• 69.  Nyaɣboli and Kondalia are difficult; many styles, fast moving
• 70.  Takai:  more styles in towns than villages; more experience beating it
• 71.  not all drummers learn Takai; special groups

Calling Takai

• 72.  Takai performance is called; beaten by arrangement
• 73.  calling process:  send cola and deposit to Takai leader, who calls the group; payment after the dance
• 74.  sometimes follow Takai with general dancing; all the money later shared among drummers and dancers
• 75.  Takai also for when shaving the funeral children
• 76.  not for all funerals or weddings, unless called
• 77.  to call Takai needs an event and also a patron

Takai performance

• 78.  young drummers beat at venue about 4:00 or 4:30; dance can start if about ten dancers arrive
• 79.  fifteen to twenty dancers is optimal, with two guŋgɔŋs and six or seven drummers
• 80.  drummers follow the dancers inside their circle
• 81.  dancing ends around 6:00; sunset, evening prayers
• 82.  for government gatherings, change dances quickly; every five or ten minutes
• 83.  slow performance is better; more interesting; fast performance has few dances and changes quickly
• 84.  older dancers are better; dance coolly, without confusion

Conclusion

• 85.  transition to drumming and dancing at gatherings, especially funerals

Chapter I-20:  Funerals

Funerals as an example of the role of music in community events; the elder of the funeral house; how a dead body is bathed and buried; the stages of a funeral:  three days, seven days, shaving the funeral children, “showing the riches,” sharing property; why Dagbamba like funerals; the importance of funerals; music and funerals

Introduction:  funerals

• 1.  importance of funerals; many dances; Dagbamba and Muslim funerals are different
• 2.  funerals and death:  fearful talk
• 3.  parts of funeral:  preparing the body; the burial; the small funeral:  three days and seven days; the final funeral:  shaving the funeral children and showing the riches
• 4.  other aspects:  leader of the funeral takes people through the steps; this talk with regard to an older person who had children
• 5.  funerals reflect families:  the mother's side and the father's side
• 6.  the strength of the mother's house; connection to a child
• 7.  the strength of the father's house; father's house performs the funeral before mother's house

Kuyili kpɛma:  the leader of the funeral

• 8.  “elder of the funeral house”; head of the family; receives all strangers and makes decisions
• 9.  must be there before burial; gets the white cloth (kparbu) to wrap the body
• 10.  will look at the dead body; inquire about the death
• 11.  buy sheep for soli saɣim to feed strangers who gather, sit and sleep outside the house for one week

The Small Funeral

Drumming for the dead person

• 12.  drummers beat outside the room where the dead body is; for some people only
• 13.  Bɛ kumdi la kuli:  “crying the funeral”; taboos:  only at funeral house, cannot make a mistake

Bathing the dead body

• 14.  two sheep for Limam:  one for prayers, one for bathing the dead body
• 15.  bathing money; everything in fours for women, threes for men
• 16.  burial:  four days or three days; guns shoot three or four times
• 17.  with inflation, still use numbers that show three and four
• 18.  bathing the dead body:  tie grass, heat water, everything in threes and fours
• 19.  wash with special sponge from tanyibga tree roots; use local soap
• 20.  this type of bathing generally not done in modern days
• 21.  Muslims says one should use light touch on dead body
• 22.  the talk of sponges and soap is from the olden days
• 23.  modern people don't even know about it
• 24.  Muslim way:  Yɛri-Naa, elder who bathes dead bodies; only uses water and hands
• 25.  use part of the cloth to make trousers and jumper, hat; wrap the dead body so face is exposed; put in box and bring outside

Settling of debts

• 26.  settling debts; funeral elder asks to settle any debts
• 27.  someone may have information about debt; will stand and testify
• 28.  some debts settled in private

Burial of the dead person

• 29.  take body to cemetery; drummers beat Kulunsi
• 30.  the kasiɣirba:  grave diggers put dead body into grave
• 31.  how the kasiɣirba place the body in the grave; uncover face; children must look at parent in the grave
• 32.  maalams say looking at sick people makes a person look at himself differently
• 33.  therefore others also look at dead people in the grave
• 34.  formerly children were forced to look; helps people live better lives
• 35.  only those at the burial look; no delay for the burial
• 36.  burial generally the same day a person dies, or the next day
• 37.  people rush to funeral house; nobody waits or delays
• 38.  even the funeral elder does not delay; if delayed, an elder from the area will fill in
• 39.  townspeople use cemeteries; in villages the grave is inside the compound, marked with cowries
• 40.  chiefs are buried in their room, which is then closed off
• 41.  some people buried in compound, some in room; sometimes funeral elder will stay and live in the house
• 42.  if person buried in bush, will mark the grave; then return to funeral house
• 43.  return to house for prayers; pass woven pan (pɔÅ‹) for burial money
• 44.  burial money is any amount people give to help with expenses

Prayers and sacrifice:  the “three days” and the “seven days”

• 45.  alms of small foods like maha given to children
• 46.  people stay at funeral house for one week to console family
• 47.  bɔɣli lɔɣbu:  covering the hole;  the three days and the seven days
• 48.  slaughter a sheep:  shared to kasiɣirba, drummers, Limam
• 49.  prayers and alms on the pɔŋ; repeated on the seventh day

Kubihi pinibu:  shaving the funeral children

• 50.  shaving the funeral children; usually only for chief's children at the small funeral
• 51.  shaving is for all the family
• 52.  shaving is optional, but most do it to show relationship
• 53.  “buying your hair”:  pay the barber but don't shave
• 54.  how the relatives sit to be shaved; drummers beat same beating as Yori; not grandchildren

The grandchildren's role

• 55.  beating ground with sticks; collecting money; the bereaved playmates
• 56.  grandchildren sometimes dance Dikala; drummers also praise people

Conclusion of the small funeral

• 57.  on the seventh day, the elder of the funeral sets date for the final funeral; some months later
• 58.  after small funeral, then the mother's house funeral
• 59.  elder of the funeral leaves, but will help provide for widows and children

The final funeral:  kubihi pinibu, buni wuhibu, and sara tarbu

• 60.  final funeral:  shaving the funeral children; kill cow; bathe the eldest son and eldest daughter
• 61.  one week later:  showing the riches and giving the sacrifice; Thursday and Friday are strong; people gather at funeral house
• 62.  showing the riches:  in-laws; husbands of the dead person's daughter; gifts of cloth, scarf, waistband, cola, and sacrifices
• 63.  public presentations by the in-laws; the role of Zoɣyuri-Naa
• 64.  in-laws bring drummers and dance groups
• 65.  dancing in the night; happiness
• 66.  recapitulation:  the work of drummers at the small funeral
• 67.  the drumming and dancing at the final funeral
• 68.  adua and sara tarbu:  prayers and sacrifice the next day to finish the funeral; then share the property

Funerals before Islam

• 69.  funerals before Naa Zanjina:  buli chɛbu; burial and then sacrifice a goat; “knocking out”
• 70.  Naa Zanjina brought maalams to show how to bath and bury a dead person

Benefits of funerals:  knowing the family and the friends

• 71.  help to make the family well; get to know one another
• 72.  get to know your mother's side
• 73.  when take friends and family to wife's parent's funeral, gives great respect
• 74.  learn about relationships you might not know about
• 75.  if the family is small, some will attend funeral with many friends
• 76.  how your friends will support you, including even their friends who don't know you
• 77.  how funerals become large; example of someone with many children and grandchildren
• 78.  benefits of funerals:  know the family and know the friends
• 79.  problem of funerals:  when food is not enough, some only so the small funeral
• 80.  somebody may profit from funeral from gifts of food
• 81.  Dagbamba reciprocate with regard to funerals

Drummers' work at funerals

• 82.  show the family to one another; spending on drummers adds respect
• 83.  the in-laws bring different dances to the funeral house; dance group members support one another and their friends
• 84.  drummers also have several dance circles
• 85.  friendship the basis for all the help with dances; go and return home; Simpa and Baamaaya all night
• 86.  the dance groups are not paid; only come to help their friends
• 87.  like paying a debt of friendship; reciprocate and help one another; Dagbamba way of living
• 88.  resembles talk of respect:  how Dagbamba help one another; how drumming talks enter Dagbamba way of living

Why attending funerals is important for the family

• 89.  a father tells daughters' husbands that they should perform his funeral well; adds respect to wife
• 90.  if many friends attend a funeral, the family may give one of them a wife; friendship brings family
• 91.  a well-attended funeral adds to a family's respect
• 92.  sometimes people attend funerals because of the dead person who has attended funerals; Alhaji Ibrahim like that
• 93.  people do not attend funeral of someone who did not attend funerals; taboos
• 94.  not attending funeral or sending a messenger is like removing oneself from the family
• 95.  important funeral for someone without children; fear and respect; taboo
• 96.  funerals have not changed; deeply linked to family life and family strength
• 97.  great respect if Yaa-Naa sends a messenger to a funeral

Conclusion

• 98.  transition to talk of chiefs' funerals and maalams' funerals

Chapter I-21:  Muslims' Funerals and Chiefs' Funerals

How Muslims are buried; stages of a Muslim funeral; sharing property; how chiefs die; how chiefs are buried; the installation of the Regent; chiefs funerals and the work of drummers; example:  Savelugu; the Gbɔŋlana and the Pakpɔŋ; seating the Gbɔŋlana; the Kambonsi; Mba Naa and showing the riches; selection of a new chief

Introduction

• 1.    differences of Muslim funerals; drummers do not beat
• 2.    differences among Muslims: those who only pray and those who are more deeply inside

Muslim funerals

• 3.    three days and seven days; can extend time for strangers; finish with the forty days; no showing the riches
• 4.    prayers of the dead body in the house and at burial
• 5.    gather in evenings for prayers and preaching, throughout
• 6.    for maalam or important Muslim, many maalams will come and preach
• 7.    final day preaching until daybreak; contributing money and alms; money for maalams; greetings; same prayers at forty days

The forty days

• 8.    widows stay inside the house for the forty days
• 9.    bathing the widows; prayers and alms; return to family house; some may remain to care for children

Sharing the property among Muslims

• 10.  in Dagbamba funeral, can share after showing the riches, but often delay until later
• 11.  Muslims share property on the forty days gathering; a maalam shares according to Holy Qur'an; a woman gets one half of man's share
• 12.  how property is divided among the widows and children
• 13.  property given before death is not counted as a share
• 14.  while living, some people give property to brothers' children living with them; otherwise excluded when sharing property at funeral
• 15.  written wills can be challenged; people trust maalams; a child can only be excluded when person was alive, not after death
• 16.  sharing property is difficult; complexities of a large estate
• 17.  Holy Qur'an gives general guidelines for maalams to follow; no specific bequests

Sharing the property in Dagbamba villages for non-Muslims

• 18.  typical Dagbamba who are not Muslims; more differences
• 19.  in Dagbamba villages, the elder of the funeral takes the property of his brother; also takes care of the children
• 20.  in villages, the children will group and give seniority to the eldest brother
• 21.  how the house can break up; issues among children of different mothers
• 22.  sometimes the household will be unified

Sharing property in the towns

• 23.  dividing versus selling a house in the towns
• 24.  trouble common among the brothers' wives and children
• 25.  example:  Alhaji Ibrahim and his brother Sumaani and house in Tamale
• 26.  difficult for siblings from different mothers to stay together in a house

Transition

• 27.  conclusion of Muslim funerals; no drumming; chiefs' funerals have many talks
• 28.  different drumming for different types of people; chiefs are different

Chief's burial and small funeral

• 29.  drumming:  crying the funeral when dead body in the room; not taught
• 30.  chief “does not die“; dress the chief and walk him to the grave
• 31.  beating Gingaani for big chiefs; placing the body in the grave; drumming for three days and seven days to finish the small funeral
• 32.  deciding about the shaving day and seating the Gbɔŋlana

Example:  Savelugu chief's small funeral and seating of Gbɔŋlana

• 33.  this talk also about chieftaincy; Savelugu the main chief of western Dagbon (Toma)
• 34.  Nanton-Naa performs Savelugu-Naa's funeral
• 35.  Yaa-Naa's elders meet Nanton-Naa; Namo-Naa sends elders; Yendi Akarima
• 36.  seating Gbɔŋlana after the small funeral; shaving the funeral children
• 37.  drummers wake up the funeral on Friday; Kambonsi also come
• 38.  shave the Pakpɔŋ and Gbɔŋlana first
• 39.  then shave funeral children; drummers beat Yori
• 40.  slaughter cow; how it is shared; head to Namo-Naa's messenger; legs to Akarima
• 41.  Gbɔŋlana wears “red-day dress“; he and Pakpɔŋ wear hat called buɣu
• 42.  Namo-Naa's messager leads Gbɔŋlana outside with Gingaani
• 43.  message of the Gbɔŋlana; the chief has not died
• 44.  maalams say prayers; after, drummers beat Zuu-waa for the Gbɔŋlana and Pakpɔŋ
• 45.  Gbɔnlana will sit in place of chief until final funeral; acts in his place

Example:  Savelugu's chief's final funeral, waking up the funeral

• 46.  many chiefs come with drummers; bring food; drummers wake up the funeral; Kambonsi
• 47.  the Kambonsi:  not at every funeral; differences for women and men
• 48.  Kambonsi gather and go around the chief's house; dance Kambɔŋ-waa
• 49.  Kambonsi can attend a commoner's funeral for pay

Example:  Savelugu chief's funeral, showing the riches

• 50.  Mba Naa kills the chief's horse and dog
• 51.  elders eat blood-soaked cola; meat thrown into wells
• 52.  chiefs and Gbɔŋlana ride horses; daughters wear kpari; Pakpɔŋ carries calabash around her neck
• 53.  drummers beat; procession around the chief's house three times
• 54.  Gbɔŋlana and Pakpɔŋ gather with Nanton-Naa outside the house
• 55.  cows and cloths from Gbɔŋlana's mother's house and husbands of Pakpɔŋ and other daughters
• 56.  many animals at Savelugu chief's funeral
• 57.  not all the cows are slaughtered at chief's house; many used for food for visitors
• 58.  dancing in night; next day prayers and alms; funeral children to Nanton and then to Yendi

Choosing a new Savelugu-Naa

• 59.  Nanton-Naa sends messenger with Gbɔŋlana to greet Yaa-Naa that funeral is finished; Yaa-Naa will choose new chief
• 60.  many chiefs want Savelugu, along with Gbɔŋlana and other princes
• 61.  other who claim Savelugu to interfere
• 62.  Yaa-Naa informs Namo-Naa of his choice; the drummers gather at Yaa-Naa's house
• 63.  Namo-Naa sings praise-names for the chiefs
• 64.  Mba Duɣu announces the selection
• 65.  putting the gown on the new chief; Namo-Naa beats Ʒɛm; sharing cola
• 66.  as the candidates leave Yendi, they greet Yaa-Naa in case of another chieftaincy
• 67.  if Gbɔŋlana does not get Savelugu, will be given another chieftaincy
• 68.  Gbɔŋlana and funeral children greet Yaa-Naa; follow new chief back to Savelugu
• 69.  conclusion of the talk

Volume I Part 4:  Learning and Maturity

• 22.  How Children are Trained in Drumming and Singing
• 23.  Traveling and Learning the Dances of Other Tribes
• 24.  Drum Chieftaincies
• 25.  How Drummers Share Money

Chapter I-22:  How Children Are Trained in Drumming and Singing

Types of toy drums for children; first proverbs; how a child is taught to sing; discipline; children who are “born” with the drum; a child who was trained by dwarves; learning the chiefs; learning to sing; performing; how young drummers respect their teachers; obligations to teachers; teaching and learning

Introduction

• 1.    transition to other talks of drumming

Drumming and family

• 2.    drumming moves through family
• 3.    a drummer's son not forced to drum, but one son of a daughter must drum

Training a young child

• 4.    how a drummer beats his drum when his wife brings forth
• 5.    at three or four years old, child gets giŋgaɣinyɔɣu, a small drum, to play; no training
• 6.    by six to eight, gets lunnyiriŋga, smaller than lumbila; begins to learn
• 7.    accompanies drummers; carries drums; picks up money given to drummers and dancers
• 8.    begin teaching with Dakɔli n-nyɛ bia and Namɔɣ' yil' mal' k-piɔŋ
• 9.    by twelve or thirteen, has used sense to learn what the drummers beat and sing
• 10.  the child learns his own family line and praises
• 11.  from the child's grandfathers to father; will learn in six months to a year
• 12.  young drummer goes in night to other drummers to learn more; praise songs; presses his teacher's legs
• 13.  some children do not need much teaching
• 14.  some children do not learn well; knocked with drum stick
• 15.  formerly, more forcing to learn; more serious; now people less willing to suffer
• 16.  Alhaji Ibrahim trained by Lun-Naa Iddrisu and Mba Sheni; how Sheni talked to him

Training by dwarves

• 17.  child can be trained by dwarves; example:  Namɔɣu-Wulana Zakari
• 18.  how Zakari was lost in the farm
• 19.  the search for Zakari; the soothsayer's advice; the funeral of Zakari
• 20.  Zakari found eight months later in the farm; would not speak
• 21.  medicine man treated Zakari; Zakari singing; he said he was kept by dwarves in a hole
• 22.  Zakari a great drummer and singer; never tired; different from other drummers

Teaching young drummers

• 23.  at fourteen to sixteen, get lundaa; begin learning Jɛŋgbari bɔbgu
• 24.  the meaning of Jɛŋgbari bɔbgu
• 25.  the proverbial names of the Yendi chiefs
• 26.  next learn the chiefs of other towns like Savelugu, Mion, and so on
• 27.  how the young drummers demonstrate the extent of their knowledge
• 28.  should learn both to sing and to beat the drum
• 29.  from sixteen to eighteen is when he can learn and retain knowledge

Singing

• 30.  young child must continue to sing through puberty or his voice will reduce
• 31.  singing voices are different; voice should be clear that people hear and understand
• 32.  how drummers work to improve singing; also use medicine
• 33.  not all drummers know singing or people's lines; but must know beating

Learning comes from the heart

• 34.  someone who has no interest doesn't learn well
• 35.  some drummers cannot beat on their own; need others to beat
• 36.  need patience and interest to learn; learning is in the heart
• 37.  must hear the sound of the drum; think about how the sound is coming

Traveling to towns to learn from other drummers

• 38.  by twenty-one or twenty-two, learn to the extent of beating Samban' luŋa; may or may not perform
• 39.  go around to towns to learn from different drummers; differences in knowledge
• 40.  stay in drummer's house; farm and work for him; learn in the night
• 41.  to learn about some chiefs or some talks requires animal sacrifices
• 42.  when go to another drummer, act as if do not know; only add his knowledge
• 43.  some drummers only teach; some use lundaa to teach

The importance of being taught

• 44.  some drummers do not go around to learn; only use their sense; comparison to Baamaaya drummers
• 45.  someone who was taught is better than someone using sense to beat (self-taught)
• 46.  beating with sense cannot go far; but someone who was taught can add sense
• 47.  the one who was taught knows the ways of drumming; limitations of the one beating with sense

Beating the different sizes of drums

• 48.  drummers can only learn their extent; compared to their progression among different drums
• 49.  comparing the different drums for praising
• 50.  drummers choose and get used to the drum they like to beat
• 51.  someone who beats lundɔɣu cannot beat lundaa the same way; lundɔɣu seems heavy to a lundaa drummer; lundaa and lumbila need more energy

Developing into maturity

• 52.  can learn singing; personal styles of the voice comparable to styles of drumming
• 53.  people show different sides of themselves when drumming or singing
• 54.  no charge when going around to learn; give gift when finished; share the benefits
• 55.  need patience to learn; don't hurry; learn drumming well to receive the benefits of drumming
• 56.  the responsibilities of teaching; need to continue learning

Chapter I-23:  Traveling and Learning the Dances of Other Tribes

Why Dagbamba learn other tribes' drumming; the difficulty of learning the Dagbani language; the drumming styles and dancing of:  Mossis, Kotokolis and Hausas (Jɛbo, Gaabitɛ Zamanduniya, Mazadaji, Adamboli), Bassaris and Chembas and Chilinsis, Dandawas, Wangaras, Gurumas, Konkombas, Frafras, Ashantis, Yorubas; differences in the drummers from different towns

How Alhaji Ibrahim traveled to learn more

• 1.    dances of the tribes:  learning from experience and not from training
• 2.    Alhaji Ibrahim has learned many dances
• 3.    should beat without changing; otherwise make mistakes
• 4.    Alhaji Ibrahim trained in Dagbon and traveled to the South; some dances only beaten in South; guŋgɔŋ has different ways

Dagbamba drummers' knowledge compared to other tribes

• 5.    Dagbamba beat the dances of other tribes; other tribes cannot beat Dagbamba dances
• 6.    Dagbamba drumming difficult for others; examples
• 7.    this ability makes others wonder; another example
• 8.    speculate that drumming is difficult because Dagbani is difficult
• 9.    comes from intelligence and experience; differences among Dagbamba drummers; example:  Dakpɛma's drummers don't travel
• 10.  comes from being trained as a foundation before experience

Mossi dance and guŋgɔŋ beating

• 11.  example:  Mossi dance; Alhaji Ibrahim watched and learned the different drum parts; important to notice differences; Mossis and Yarisis
• 12.  example:  Alhaji Ibrahim can beat Mossi language clearly without understanding it
• 13.  have to adjust beating to the other tribe; example:  beating guŋgɔŋ to resemble Mossi drumming
• 14.  Alhaji Ibrahim's learning is different from many other Dagbamba drummers; knows the differences
• 15.  different ways to hold guŋgɔŋ; the sound is important for correct beating
• 16.  example:  compare Jɛblin beating Gbada with a drummer who added Dagbamba styles; fit the sound but were not correct
• 17.  importance of learning work well; example:  how Alhaji Ibrahim beats Kotokoli dances

Jebo

• 18.  example:  in South, beating Jebo for a Kotokoli princess
• 19.  Alhaji Ibrahim accurately beat Jebo drum language styles; people questioned him
• 20.  how the Kotokoli drummer asked Alhaji Ibrahim where he learned Kotokoli beating

Zamanduniya

• 21.  beaten differently for Dagbamba and Kotokolis (Gaabiti), because of language
• 22.  Hausa form of Zamanduniya is different:  Hankuri Zamanduniya
• 23.  Dagbamba form is Ayiko; only some drummers know the differences in all three
• 24.  Zamanduniya brought to Dagbon by Alhaji Adam Mangulana; not an old dance
• 25.  Ayiko was there when Alhaji Ibrahim was a child; how Alhaji Mumuni and Sheni used to beat drums in the market
• 26.  the name of Ayiko has been absorbed into Zamanduniya; only old drummers know it
• 27.  many styles in Zamnaduniya; Alhaji Ibrahim knows the differences and can beat them clearly
• 28.  to beat it correctly, the drum and the guŋgɔŋ have to answer one another

Adamboli

• 29.  Dagbamba heard it from Hausas first; originally Kotokoli; Hausas beat it without guŋgɔŋ
• 30.  Alhaji Ibrahim's group beatsa it the same way ass the people whose dance it is
• 31.  Ŋun' da nyuli styles can fit well inside Adamboli, but a mistake that spoils Adamboli

Other tribes

• 32.  Bassaris are close to Kotokolis; have lunsi drummers; Alhaji Ibrahim learned in Accra; taught Tamale drummers to beat it
• 33.  Chilinsis use only guŋgoŋ; Alhaji heard it ansd taught Tamale drummers
• 34.  Zambarima dance:  Alhaji Ibrahim learned it in Kumasi and Accra; also for Dandawas, beat Gbada
• 35.  Wangaras and Ligbis:  Kurubi; Wangara dance at Kintampo during Ramadan for unmarried girls; young men hire drummers
• 36.  how the girls dress and dance; one has to travel to see it
• 37.  Gurunsi dance:  Alhaji Ibrahim learned it at Kumasi and Kintampo
• 38.  Konkomba dance:  Alhaji Ibrahim learned it in Yendi; description of the instruments and the scene
• 39.  how Alhaji Ibrahim brought the Konkomba dance to Tamale and showed how to beat it
• 40.  Frafra, Ashanti, Gurunsi dances:  watch them and learn how they beat
• 41.  no other tribe can beat Dagbamba dances, not even Mamprusis; Dagbamba beat their dance
• 42.  Kusasis don't use drums, so Dagbamba don't beat their dance, but beat Damba for them

Learning:  training and experience

• 43.  Alhaji Ibrahim's group always knows how to beat for any dancer; from traveling and learning
• 44.  learning the easy parts of drumming; learn the ways of different places, know how they change; follow the local styles
• 45.  once you learn something so that it is easy, it is not difficult to learn other ways of doing it; need to travel
• 46.  learn from somebody who knows it well, then travel and use sense to add
• 47.  John is learning drumming like that

Conclusion

• 48.  transition to talk of drumming eldership and chieftaincies

Chapter I-24:  Drum Chieftaincies

The origins of drum chieftaincies; drum chiefs and chieftaincy hierarchies; the different drum chieftaincies of the towns; how a chief drummer is buried; how a drummer gets chieftaincy; chieftaincy and leadership

Introduction

• 1.    introduction:  burial of a chief drummer; drum chiefs in Dagbon
• 2.    chieftaincy is leadership; increases respect in a group; drum chieftaincies began long ago

The origins of drumming and the chieftaincy of Namo-Naa

• 3.    Bizuŋ the son of Naa Nyaɣsi; Bizuŋ's children are the line of drummers; drummers' grandfathers are Naa Nyaɣsi, Bizuŋ, Ashaɣu, the line of Namɔɣu; Kosaɣim the line of Savelugu
• 4.    Namo-Naa the chief drummer of Dagbon

Hidden talks about chieftaincy descent

• 5.    a hidden talk:  people say Bizuŋ was Namo-Naa but the chieftaincy itself had not started
• 6.    chieftaincy talks:  people call all Yaa-Naas as fathers or children of Yaa-Naas
• 7.    Naa Nyaɣsi's “children” whom he made chiefs in tindana towns were not all his real children, but they are called his children; if a chief has no children, drummers call his sister's or brother's child the chief's son; even Yaa-Naas
• 8.    Namo-Naa the father of all drummers, and Namo-Naa is the line of Bizuŋ; but not all Namo-Naas are actual children of the line of Bizuŋ; Bizuŋ and other early drummers were not chiefs, but they are called Namo-Naa; one's child is the one who does one's work
• 9.    the difficulties of old or hidden talks, the secrets of drumming regarding the names and identities; people who have written about Dagbon do not know it
• 10.  early Namɔɣu chiefs were not drumming chiefs as they are today; chieftaincy has evolved
• 11.  example from Naa Luro's Samban' luŋa:  drummers did not go with Naa Luro to the war
• 12.  Bizuŋ and his children were there as drummers; gradually increased their presence

The Lun-Zoo-Naa chieftaincy

• 13.  different from Namo-Naa; now only in Gukpeogu and Karaga
• 14.  relationship of Lun-Zoo-Naa to Bizuŋ; possible Guruma connection
• 15.  Lun-Zoo-Naa chieftaincy is older than Namo-Naa chieftaincy
• 16.  the seniority of Namo-Naa over Lun-Zoo-Naa; Namo-Naa from Yaa-Naa's line
• 17.  the relationship of Namo-Naa and Lun-Zoo-Naa
• 18.  drumming chieftaincies are old but not as old as Dagbon; drumming itself is older; many differences among the towns

Standard order of drumming chiefs

• 19.  most towns drumming chiefs:  Lun-Naa is first, then Sampahi-Naa and Taha-Naa; then differences among chiefs following:  Dolsi-Naa, Dobihi-Naa, Yiwɔɣu-Naa
• 20.  examples of different ordering of drum chiefs in chieftaincy hierarchies at Nanton (Maachɛndi, Lun-Naa, Sampahi-Naa, Yiwɔɣu-Naa, Dolsi-Naa, Dobihi-Naa, Maachɛndi Wulana), Savelugu (Palo-Naa, Lun-Naa, Sampahi-Naa, Dolsi-Naa, Taha-Naa, Yiwɔɣu-Naa, Dobihi-Naa, and Palo-Wulana)
• 21.  Lun-Naa not always senior; examples:  Kumbungu, Nanton, Gushegu, Karaga, Mion

The position of Namo-Naa

• 22.  Yendi has many drum chiefs because Yendi elders have drum chiefs; examples:  Mba Duɣu, Kuɣa-Naa, Balo-Naa, etc.; all follow Namo-Naa
• 23..the position of Namo-Naa and Yendi Sampahi-Naa; the respect of Namoɣu Wulana
• 24.  the relationship of Zɔhi Lun-Naa and Namo-Naa chieftaincies
• 25.  Namo-Naa only beats drum for something important involing Yaa-Naa; Namo-Naa has his house drummers to represent him or stand for him
• 26.  all drummers look at themselves as children of Namo-Naa; drummers have no set town; formerly would follow chief who gave a drum; if have own drum, can follow any chief; drumming and traveling

How drum chiefs move from town to town

• 27.  Drummers follow chiefs; a chief can call a drummer to follow him as he moves from town to town
• 28.  drummers don't have towns; example:  Karaga Lun-Naa Baakuri from Savelugu drum chiefs
• 29.  drumming chieftaincies follow two things:  family line and chiefs
• 30.  how drummers follow chiefs; example:  Tamale Dakpɛma Lun-Naa's line from Yendi; leaving other Dakpɛma Lun-Naas' family
• 31.  example:  Dakpɛma Taha-Naa from Karaga Lun-Naa Baakuri's line
• 32.  if a town's drummers challenge a drummer brought from another town, the drummer can show how all their families came from other towns; all are children of Namo-Naa, every town is their town

How drummers move into drumming chieftaincies:  olden days

• 33.  drummers can get a chieftaincy by following and greeting a chief
• 34.  some chieftaincies follow family door; if a drum chief dies, others will move up, and son will get a smaller chieftaincy
• 35.  if sitting drum chiefs quarrel over an open chieftaincy, chief can move the dead chief's son directly to the position
• 36.  drum chiefs are not removed; example:  only current Naa Yakubu has removed drum chiefs along with removing towns' chiefs; Dagbon chieftaincies are spoiled
• 37.  how Namo-Naa Issahaku was removed
• 38.  how a Namo-Naa must visit ancient Namɔɣu near Yaan' Dabari
• 39.  in olden days, a new drumming chief only is a chief drummer died; chiefs were not removed

How a Namo-Naa is buried and a new drumming chief installed

• 40.  two ways to drum chieftaincy by chief who wants a drummer or by family door; join talk to drum chief's death, burial, and succession
• 41.  a drummer is buried with a drum, broken stick, and skin; Namo-Naa buried with drum covered with leopard skin; burial dress and procedures resemble Yaa-Naa; Namo-Naa lies on skins of animals; the dead body is walked to the grave
• 42.  walking to the grave also for chief drummers of major towns; example:  also Savelugu, Gushegu, Karaga; Yelizoli
• 43.  after Namo-Naa's funeral, Namo-Naa's elders tell Yaa-Naa whom they want; if Yaa-Naa agrees, the new Namo-Naa is given chieftaincy in same room Yaa-Naa becomes a chief; walking stick, gown, timpana, guns

The installation of a Palo-Naa

• 44.  other towns' drummers follow family doors; example:  Savelugu Palo-Naa; the starting of two Palo lines
• 45.  usually they inherit according to family; Palo-Naa succeeded by the next chief from his line
• 46.  how Savelugu drummers will talk to the Savelugu chief; cola sent to the new chief
• 47.  the drummer's gather after the funeral; Palo-Naa Gbɔŋlana will sing resembling Samban' luŋa; walking on knees
• 48.  how Savelugu-Naa will greet the Gbɔŋlana and Pakpɔŋ; sharing cola
• 49.  giving gown to the new Palo-Naa; the advice the chief gives
• 50.  removing the buɣu from the Gbɔŋlana; Gbɔŋlana given a wife

How Alhaji Mumuni refused drum chieftaincy

• 51.  formerly, drummers were not buying chieftaincy; chiefs feared taking drummers money; chiefs called drummers for chieftaincy and gave drummer a house, horse, stableman, wife, and household support; but modern chiefs want money
• 52.  Alhaji Mumuni's refused chieftaincy because of his commitment to Muslim religion
• 53.  how Alhaji Mumuni refused chieftaincies in Voggo, Gushee, Lamashegu, Pigu, Savelugu
• 54.  example:  when Nanton-Naa Alaasambila was chief of Zugu, story of how Mumuni refused chieftaincy calls but had to visit Zugulana because of his wife was Zugulana's sister
• 55.  before the Friday gathering, Zugulana planned with Zugu-Lun-Naa to offer Mumuni a gown and an additional wife
• 56.  Mumuni did not know the plan; the chief's sitting hall filled with people; Zugulana said he had caught Mumuni for chieftaincy; Zugulana's proverb to Mumuni
• 57.  how the Zugulana spoke to Mumuni; how Mumuni refused in front of all the people; Zugu Lun-Naa confesses the plan to Mumuni
• 58.  how Mumuni told Alhaji Ibrahim the story
• 59.  Mumuni's story with Zugulana an example of how drum chieftaincies were formerly given; Zugulana continued to ask Mumuni even after he became Nanton-Naa

How drum chieftaincies are bought in modern times; rivalry over chieftaincy

• 60.  former chieftaincy customs compared to exchange of respect
• 61.  in drumming chieftaincy lines, people recognized seniority
• 62.  payment and bidding from additional competition within families; how princes buy chieftaincy
• 63.  modern drum chieftaincies are bought, the same as how princes buy chieftaincy
• 64.  some chiefs even announce the price for the drum chieftaincy that has fallen
• 65.  modern times, some drum chieftaincies are not bought, if a chief wants a certain drummer
• 66.  some drummers who pass over senior drummers to eat chieftaincy are attacked with medicines
• 67.  jealousy and rivalry; drummers pray to take a chief's position
• 68.  Alhaji Ibrahim does not want chieftaincy; he is qualified, but he doesn't want troubles

Drum chiefs' responsibilities and need for support

• 69.  not all drummers become chiefs; Alhaji Ibrahim has family door but does not want chieftaincy; chieftaincy has responsibilities; need the help of brothers and children; example:  Namo-Naa has many people to send in his place
• 70.  a drum chief has people behind him; some drum chiefs cannot drum well or sing well; some are aged; they have children or grandchildren who can do the work; example:  Nanton Lun-Naa Iddrisu is very knowledgeable but very old; Nanton Sampahi-Naa Alidu does the work of Lun-Naa and Maachɛndi
• 71.  Alhaji Ibrahim not a drum chief but has more respect than many chiefs; Alhaji Mumuni the same; Savelugu young men's drum chief (Nachimba Lun-Naa Issa Tailor) and the young drummers all follow Mumuni as their leader
• 72.  the same in Tamale with Alhaji Ibrahim; how Alhaji Ibrahim calls drummers from other towns for wedding and funeral gatherings
• 73.  why Tamale does not have Nachimba Lun-Naa; Tamale drumming leadership from Alhassan Lumbila, Mangulana, Sheni Alhassan, and Alhaji Ibrahim; based on respect and not chieftaincy
• 74.  how Alhaji Ibrahim leads:  the Tamale drummers gather at his house and follow Alhaji Ibrahim; he receives cola, assigns drummers to different houses, shares money; chieftaincy is in his bones
• 75.  Alhaji Ibrahim work as leader of Tamale drummers; because of his respect and knowledge; his position compares to chief of drummers

Chapter I-25:  How Drummers Share Money

How drummers earn money at gatherings; example of Namo-Naa and his messengers; sharing money to elders; “covering the anus of Bizuŋ”; how Alhaji Ibrahim divides drummers into groups and shares money; why drummers share money to old people and children; what drumming doesn't want; the need for “one mouth”

Introduction

• 1.    Introduction:  sharing of money based on seniority and chieftaincy

Example:  how Namo-Naa's messengers attend a Savelugu chief's funeral

• 2.    Namo-Naa sends messengers to Palo-Naa; drummers beat to start funeral; Palo-Naa separates Namo-Naa's share
• 3.    Thursday showing the riches; more drumming and money; Namo-Naa has a share
• 4.    Friday prayers; praise drumming; more money shared
• 5.    sharing the funeral cows:  some for Yendi people; some for feeding; some for visitors
• 6.    some cows for food; others are sold or taken home
• 7.    drummers beat when funeral cows are slaughtered at chief's house; drummers get the heads; Palo-Naa gives to Namo-Naa's messengers
• 8.    only the heads from the slaughtered cows; not the gift cows
• 9.    Namo-Naa's messengers give some of the heads back to Palo-Naa; return to Yendi with money and cowhead
• 10.  Namo-Naa will share everything with the drum chiefs of Yendi

What Namo-Naa gets

• 11.  money and meat from funerals or wherever drummers go; also from people looking for chieftaincy
• 12.  Namo-Naa's messengers at funeral, go around and greet chiefs, also receive greetings for Namo-Naa

Savelugu Palo-Naa

• 13.  Palo-Naa does not get the amount Namo-Naa gets
• 14.  Dolsi-Naa, Taha-Naa, and Dobihi-Naa a different door
• 15.  how Palo-Naa has to share with other drummers
• 16.  how Savelugu youngmen's drummers share with elders
• 17.  Namo-Naa gets more than Palo-Naa because of people greeting Yaa-Naa for chieftaincy

Example:  Nanton drummers at a village chief's funeral

• 18.  how Nanton drum chiefs attend the funeral of a village chief
• 19.  beating drums when shaving the heads
• 20.  barbers and drummers share the money
• 21.  seating the Gbɔŋlana
• 22.  dancing; summary of the money received
• 23.  sharing the money among the drum chiefs
• 24.  money reserved for sick or excused drummers
• 25.  money reserved for daughters of drummers
• 26.  the drum chiefs share the money
• 27.  how they share the cowheads and sheepheads
• 28.  why there are many animals at a village chief's funeral

Tamale:  Alhaji Ibrahim and the young men's drummers

• 29.  how Alhaji Ibrahim organizes drummers for different wedding houses; greeted with food
• 30.  how drummers earn money at wedding houses; more food before leaving
• 31.  differences when perform with dancers as a cultural group; dancers get their share
• 32.  normal way:  the groups bring their money from the different weddding houses
• 33.  sharing depends on work:  elders who identify people's praise-names, singer, lundaa, guŋgɔŋ
• 34.  elders, singer, lundaa get larger shares; others get less; share even to children who collect money
• 35.  shares for the old drummers who do not beat, whether or not they went to the wedding house
• 36.  add for a drummer who has a naming or a funeral to perform
• 37.  drummers share the money at home to sisters and elders; covering the anus of Bizuŋ
• 38.  sharing a little to children in the house

The ways of sharing

• 39.  accept even nothing, even from an empty hand; covering Bizuŋ's anus
• 40.  knowledge about sharing is from the elders; sharing has restrictions
• 41.  how drummers steal money; such a drummer will not advance
• 42.  drummers leave money in open; afraid to steal

How Alhaji Ibrahim became responsible for the Tamale drummers

• 43.  when Sheni was leading, he gave the sharing to another drummer who stole and became unable to sing
• 44.  how a voice can decrease:  by not singing through puberty or by stealing
• 45.  how Sheni gave the sharing to Alhaji Ibrahim; twenty-five years and no quarrels
• 46.  how Alhaji Mumuni told Alhaji Ibrahim not to share the money; what happpend
• 47.  how the drummers asked Alhaji Ibrahim to share the money; the lesson of Alhaji Mumuni

Conclusion

• 48.  the money from drumming is not consumed alone; shared among many people