World Music - 9/3/2025

Ghana: Ethnic groups, language, religion, and culture

  • Ethnic group discussed: Abe (Abe writer often says “Ave” in the transcript)

    • Location: Ghana, West Africa
    • Capital: Accra
    • Population: 35{,}000{,}000}
    • Language: The transcript notes they speak AAVE (African American Vernacular English) as the language name for the group; English is the common language in Ghana; 11 government-sponsored languages exist in the country.
    • Geography around Abe:
    • West border: Cote D'Ivoire (Ivory Coast)
    • North border: Burkina Faso
    • East border: Togo
    • Subgroups (informational, not testable): the Aeve (Abe) divide into subgroups (the speaker uses several names): Gadangma, Gurma, Guan, Grouse, Mandate, Songha. The speaker emphasizes this is a “big ball of wax” beyond Akan.
    • Notable notes: The speaker mentions a correction about neighboring borders learned previously.

  • Religion and social context

    • Primary religion: Christianity appears to be the main religion for about 70%70\% of the population; Muslims are roughly 17%−18%17\%-18\%; traditional beliefs persist alongside Christian and Muslim identities.
    • Geography of religious communities: Christians tend to live in the southern part; Muslims tend to live in the north near the Sahara desert influence.
    • Ancestor worship: A recurring conceptual thread; respect for ancestors and keeping memories alive is emphasized; ancestor worship influences music and performance traditions.
    • Pan-Africanism mentioned as a movement contributing to independence discussions and identity (reference to the broader historical context).

  • Major historical notes and context

    • Independence year for Ghana: 19571957; President mentioned (in the transcript) as “Obama in Kruma,” which appears to be a mispronunciation of Kwame Nkrumah. The intended historical point: independence leader/president was Kwame Nkrumah.
    • The Gambia: small country, discussed as a contrast to Ghana; independence year around 19651965 (Gambia became independent after Ghana).
    • Colonial background: 1894, Gambia became a British protectorate; the country is bordered by Senegal; the river system (Gambia River) is central to its geography and culture.
    • Timbuktu (spelling and geography): Mentioned as a historic library city further inland toward the Niger Delta; famous for ancient scholarship; connected to the broader West African trade and culture routes.

  • Griot tradition and Mandé lineage (Jali)

    • Core concept: griots are keepers of knowledge, historians, and composers who preserve history through song and performance.
    • Name terminology for griots in The Gambia: singular jolli; plural jallalu; the Mandé griot tradition traces back to the Empire of Mali in the 13th century (the transcript references “Sunyata Kita” and “Surya Nakita” as founder figures and terms associated with Mali).
    • The griot’s role historically involved royal sponsorship as entertainment and memory-keepers; post-colonial shifts emphasize preserving history for the common people while sustaining livelihoods.
    • Important family and lineage emphasis: many griots carry family and clan names (e.g., Kita, Diavate) that identify their lineages; the act of performing often ties to family memory and names, preserving lineage through song.
    • The jolly/jallalu terms reflect a formal self-identification within Mandé communities; tradition is connected to Islam in the region; griots see themselves as living libraries of history.
    • The cultural practice of naming, lineage, and memory: a griot’s performance links to a family’s honor, remembered heroes, and historical figures.

  • The Gambia geography and cultural context

    • The Gambia is a narrow country along the Gambia River; capital: Banjul; population around 2,800,0002{,}800{,}000; the Gambia River flows through the heart of the country and shapes settlement and culture.
    • The concept of syna-gambia (Synagambia) reflects the geographic and historical relationship between Senegal and The Gambia (Senegal surrounding the Gambia on most sides).
    • The speaker highlights the Gambia’s small size and savannah/woodland ecosystems, including significant marsh areas (one-fifth not one-third, corrected by the speaker).

  • The kora: instrument introduction and construction

    • Instrument name: Kora (k o r a) — a 21-string spike harp-lute played by the thumb and fingers.
    • Shape and materials:
    • Neck passes through the calabash (gourd) resonator.
    • Calabash is covered with cowhide; strings are nylon fishing line.
    • 21 strings arranged in two channels; base notes often on the higher-trequently braided strings (triple braided to give more bass).
    • The instrument is typically played seated or standing; a pickup/transducer may be used for amplification (electrified version shown).
    • Tuning and construction notes:
    • Leather tension around the neck is adjustable for tuning; tuning a traditional kora requires loosing and tightening leather pieces.
    • Decorative patterns on the back reflect family history and heritage; kora players often carry lineage-aware last names (e.g., Kita, Diavate).
    • Playing styles and modes:
    • Vamp (come bingo): a basic ostinato where the player holds a chord and waits for cues; used as a common opening – “vamping” until the cue.
    • Birimentingo: hot lick shreds; a term used to describe flashy passages.
    • Kung kung: sometimes players tap the shell (rare in modern practice).
    • Vocal interaction and song modes:
    • Don Hilo: when the singer is singing the tune.
    • Chorus: a relaxing, call-and-response chorus—typical of griot performances, with the lead singer and chorus responding.
    • Musical context and performance aesthetics:
    • Striking example of stratified rhythms: layering of different drums and bells (e.g., the double bell Gankogui and shaker Ahatchi) to create poly-rhythmic texture.
    • The role of the singer’s voice: chest voice with throaty qualities; sometimes prayerful or blessing-oriented, especially at the start of performances (blessings and introductions).
    • Important percussion instruments in the griot setting:
    • Gankogui (double bell): primary bell instrument with a distinctive two-tone pattern.
    • Ahatchi (shaker): adds rhythmic texture.
    • Notable technical or musical terms:
    • Vamp (Come bingo): sustained chord vamp.
    • Birimentingo: rapid, high-velocity lick passages.
    • Kung kung: percussion tapping on the shell edge.

  • Kente cloth, Batakari, and visual arts

    • Kente cloth: a prized woven textile from the region; shows geometric patterns similar to drum patterns; triple-woven fabric; a large piece cost around 100100 (in the speaker’s anecdote about buying a shirt).
    • Batakari (Batakari): a West African garment, indigo-dyed, often created on a loomed, breathable cotton weave; personal experience with dye issues when washed; historically dyed with indigo; care tips include heat-setting before washing.
    • Other textiles: Dutch wax cloth sometimes used in local clothing and embellishment (as mentioned via tashiki/Wax prints).
    • Jewelry and beads: antique glass beads with blue glass segments; cowrie shells used in jewelry; cowrie shells historically used as