Traditionally crafted djembe drums are carved
in one single piece from hollowed-out
hardwood trees. Specific types of wood depend upon the
forests accessible to the drum makers. Some West African
hardwoods used for musician quality instruments (carved in
Guinea, Senegal, Mali, and Ivory Coast) include dimba
(bush mango), lenge, bois rouge, acajou,
iroko, hare or khadi, and dugura.
A variety of djembe styles and sizes is pictured above including one (2nd from right) adorned with cowry shells
and another (far right) with ksink-ksink, an accessory that adds body and accents to the music (more information below).
Djembe
Pronunciation:
GEM-bay
Also known/spelled as:
Djimbe, Jembe, Yembe
Origin and Spiritual Connection:
The djembe is a goblet-shaped Manding drum that has its origin in the empire of Mali, which was founded by the Malinke (or Manding) people around the 13th century. It was situated in parts of the present-day countries of Mali, Guinea, Burkina Faso, Ivory Coast, Sierra Leone, Liberia, Gambia and Senegal.
The djembe is said to contain three spirits: the spirit of the tree, the spirit of the animal of which the drum head is made, and the spirit of the instrument maker. Properly crafted djembe drums are carved in one single piece from hollowed out trees. Drums made from slats or segments of wood glued together are considered by traditionalists to have no soul of the tree. Properly made drums are not smooth on the interior but have a series of teardrop shaped divots inside that enhances its tonal qualities. The drumheads are typically made from goat skin but more rarely can be antelope, zebra, deer or calf. In all cases the female is preferred, and an adult cow is never used. In earlier times, and still in some rural areas, djembes were used to send messages over long distances.
In its traditional context, the djembe was and still is used for ceremonies including marriage, baptism, circumcision, birth, full moon, harvest, and many festivals throughout the year. Whenever an event takes place in the village, the djembe is there. Beginning in the late 20th century, the djembe became very popular in drum circles around the world. In proper form, however, it is played in ensemble (such as is done by Kawambe-Omowale) with the djun-djun drum group (dundoumba, sangban, kenkeni) and bells with individuals playing different parts that lace together intricately to weave a delicate rhythmic tapestry.
Construction
Djembe were cut by members of the blacksmith caste, who had an important role in social life, since they also manufactured tools, knives and masks. The djembe has taken its shape from mortars used to pound millet. Each instrument was especially manufactured for one particular drummer. A tree was chosen, and the spirit of the tree was offered colanuts to apologize for the cutting. A complicated lacing system is used to tension the goatskin which covers the top playing surface. The djembe is played with both hands and has a wide variety of sounds and dynamics. The primary notes are generally referred to as bass, tone and slap, though a variety of other tones can be produced by advanced players. The slap has a high, sharp sound; the tone, more “round” and full. The bass is the lowest. The djembe can be used both as an accompanying instrument and as a solo instrument.
Design and Accessories
Djembes are often decorated with intricate carvings and other materials that have particular meaning or purpose for its owner or creator. Djembes can also be accessorized with items that affect the sound produced by the drum. The most common accessory is ksink-ksink (sink-sink; see photo above right), also known as se-se, sege sege, or ksing-ksing, which are resonators placed around the head of the djembe. Ksink-ksink come in many sizes and designs, can be made of tin, sheet metal, or old soup or coffee cans, and represent the shields worn by the drummer in war. When the djembe is played the ksink-ksink create a sympathetic metallic rattling, adding body and accents to the music. They are sometimes called the “djembe snare.” They can be slipped through the crown loops, woven through the verticals, or secured with a rubber strip tied around the belly.
The Djembe in Village Life
There are no hereditary restrictions on becoming a djembefola or “one who gives the djembe voice.” Being a djembefola was not even considered to be a profession. Typically, the village drummer, even if he was a real master, earned his living with another job.
Traditionally, djembe music is played at different festivals or rituals, like baptisms and weddings. It is always combined with singing and dancing. There are also no real 'spectators' – everyone who is present participates in some way.
The drummers often start playing in order to announce the start of the festivities and gather the guests. Then, a griot (keeper of history and records or storyteller) starts to sing a song to which everyone answers in chorus (this is referred to as “call and response”). By this time, the musicians have recognized the song and have started to play the corresponding rhythm, not too loud. The dancers start to dance the basic steps of the rhythm in a circle. When the griot stops singing or the master drummer feels there has been enough singing, the musicians increase the volume and pace of the music. Taking turns, solo dancers (mainly women) emerge from the crowd and come and dance in front of the djembefola. The djembefola follows their steps and variations on the djembe, and depending on how well they dance and how many variations the dancer knows, sooner or later the drummer ends with a chauffement (break). Each solo dance takes no longer than about half a minute. The pace of the rhythm decreases again while waiting of the next dancer. Only when everyone is satisfied with dancing this rhythm (which can take a long time), the music stops and the griot starts to sing another song. This process of singing, playing and dancing can lasts anywhere from two to four to six hours or more!
Each rhythm consists of two or three djun-djun parts, two or more djembe accompaniments and some traditional variations for the solo djembe. Each rhythm also has its own dance and song that are an integral part of that rhythm; and its own time, place and purpose to be played.
The Modern-Day Djembe on Stage
After the independence of the current west-African countries, national “ballets” were formed, which were meant to showcase the cultural legacy of the country all over the world. During this process, a new genre of performing was created to adapt traditional West African drumming/dancing events to the Western-style stage. Rhythms from regions far apart were played in quick succession; musical instruments were combined that were not played together before; and rhythms traditionally played on other instruments were adapted for the djembe. The dance circle of the village was broken and spread out in a line, so that a seated, non-participating audience could see. The musicians often played behind the scene, leaving it open to the dancers, who danced to complex choreographies with many dancers moving in unison, depicting scenes of traditional village life.
In a later phase, another new genre emerged, where the musicians are the main attraction. Emphasis is on the arrangements and on the elaborate solos of the soloists, while only a couple of dancers remain in the background.
Sources: Kawambe-Omowale archives and Wikipeda.org® the free encyclopedia.
