Subscribe To
This Site
Flutes from the Northern and Upper Regions of Ghana by Dzagbe CudjoeThis article first appeared in "National Museum of Ghana Occasional Papers 1-5 The Ghana National Museum possesses an assorted collection of flutes from the Northern and Upper Regions of Ghana. These instruments are to be classified as'notched flutes' i.e. the breath is directed against a 'U' or 'V' shaped notch cut in the upper rim of the instrument. (Baines, 1961: 48). In many cases the tribe of origin has unfortunately not been recorded. However, the museum collection includes examples of flutes and signal whistles from the Isala,Builsa,Gurunsi,Dagari, Dagomba, Kusasi and Wala areas. The forms which these musical instruments take are by no means typical only of Northern Ghana and occur over a very much wider area.[1]Flutes enjoy more popularity as musical instruments in the Northern and Upper Regions of Ghana than anywhere else in this country. (Nketia: 1962a: 94). They are most commonly constructed out of bamboo or reeds,or are carved out of a solid block of wood. Professor Nketia has pointed out a tendency to use certain instruments (including flutes) in what he describes as 'homogenous ensembles' or in 'limited combinations' in which one form of instrument predominates. They may also be employed to produce 'noises-off'. The range of these flutes is not likely to exceed an octave in practice and some instruments can only produce from two to four notes. (Nketia:I962b: 44). Flutes and whistles are frequently mentioned in the older literature on this area but almost always without any nearer definition as to the type of flute or the occasion of its use. But questions such as whether the instrument was used on secular and/or ceremonial occasions, whether it was played by both sexes or was the prerogative of only one sex and whether there is any mythology surrounding the instruments are questions of great importance. (Hornborstel: 1933: 277). Although musical instruments from the Northern and Upper Regions of Ghana are now receiving the attention of musicologists they have seldom been described in their sociological or historical context. One is perhaps apt to overlook the fact that all musical instruments belong to the sphere of both material and mental culture. Flutes are used for both personal as well as community music-making and are played either as solo instruments or as an accompaniment to the voice and/or dancing. The Builsa are known to employ ensembles of six or seven flutes and drums in certain of their dances. (Nketia: 1962b: 48). Professor Nketia mentions that the Frafra (more accurately known as the Nankanse) and the Kassena play pipes for their own personal enjoyment, (Nketia: 1962a: 6) and Klages (1953) describes the young boys in the area around Navrongo as riding on the backs of their cattle and playing upon self-constructed bamboo flutes. Flutes in this part of Ghana are not solely employed in music-making but are also used as a means of signaling among the Nankanse, Kassena and Builsa. Among the west Dagbamba (popularly known as Dagomba) signal whistles are called "wihe" whilst among the east Dagbamba they are known as "yu he". (Benzing: 1969: 39).The Kassena and Builsa can whistle by pipe as well as by mouth and are able to convey such messages as 'I am going to market', 'bring me my pipe' and '1 have lost my white cow'. (Cardinall,p. II7) Rattray (1932: 173) mentions that among the Gurensi (often referred to as Nankanni or Nankanse) whistle-blowers sound the praises of a successful hunter which is considered to be a great honour. (I)' I am grateful to Professor Kwabena Nketia of the Institute of African Studies. Legon for identifyingthese instruments as notched flutes.
I have mentioned the various uses of'flutes','pipes'and'whistles' (terms which are often used interchangeably) to show some of the various contexts in which these instruments are played. Whistles can also be assigned an important role in religious life among the Nankanse. It is believed that before birth every man and woman has an audience with God at which he or she is allowed to choose his or her own fate. After the person is born into this world the decisions taken at that meeting are revealed by a diviner. It is then important to try and gain control over the divine spirit which is in a way the persons destiny. To achieve this end shrines known simply as yini(god) are erected. They are extremely common and almost everyone erects one.A yini shrine can be almost anything: a tree, a stone, a pot, a wild animal, a fish or even interestingly enough a wooden whistle. (Rattray: 1932: 288). For the sake of convenience I have divided the Ghana National Museum's collection of notched flutes from the Northern and Upper Regions of Ghana into the following categories: 1. notched flutes without decoration of any kind. 2. notched flutes decorated with 'burnt-in' patterns. 3. notched flutes decorated with carved patterns. 4. drumstick-whistles and reed flutes. 1. notched flutes without decoration of any kind. (Plate I) (a) acces. No. 1773. Tumu-Isala, Upper Region. Length 12.4cm approx. 5 inches (b) acces. no. 62.1497. Northern Region. Length 17.2cm. 6 ins.(c) acces. no. 54.357. Wa, Upper Region. Length 20.3 cm. approx. 8 ins.(d) acces. no. 54.1548. Upper Region. Length 24.1 cm. approx. 9 ins.(e) acces. no. 62. 1277a. Paga, Upper Region. Around the middle of the instrument is a band of woven strips of hide to which is attached a loop made out of the same material A removable bunch of bird's feathers has been inserted into the mouth of the instrument to prevent the entrance of dust and dirt. The feather brush is also used for cleaning purposes. Except for the mouth-piece the instrument has no other opening. Length 32 cm.approx. 12 ins. 2. Notched flutes decorated with 'burnt-in' patterns. (Plate II). (a) acces. no. 1713. of unknown origin, possibly Kusasi. This flute is said to be used for producing dance music. Length 25.2cm. approx. 10 ins.(b) acces. No. 177;. Gurensi. Length 21.0 cm. approx. 8 ins.(c) acces. No. 1772. Builsa. Length 16 cm. approx. 61 ins.(d)acces. No. 62.1414a. Bolgatanga, Upper Region. Length 15.6 cm.approx.,6 ins.(e) acces. No. 64.1216. Tamale, Northern Region. Length 16.6cm;approx 6.5ins.(f) acces. No. 1712. area of origin unknown. Length 14.2 cm. approx. 5.5ins.(g) acces. No. 66.1039. Tamale, Northern Region. According to catalogue information this flute is played for dancing at festivals. It is known as Yua. Does Yua= Yuwa? in which case it was also probably used as a signal flute. (Benzmg: 1969: 39). Length 13.9 cm. Approx. 5.5 ins. (h) acces. No. 54.404. Burufu, Upper Region. This instrument is used for signaling particularly when hunting. Length 10.3 cm. approx. 4 ins.10 .
(a) acces.No. 62.1330b·No details as to the origin of this instrument. The decoration is very simple and consists of carved lines more or less emphasizing the shape of the instrument. The lower edges are slightly notched. Length 17.3 cm. Approx. 7 ins.(b) acces. No. 54.205. No information as to the flute's origin. Donated by the Bawku Naba. This flute is decorated on the upper portion by carved geometric patterns to which no application of a red-hot instrument has been made. The loop is of locally woven cotton material. Length 21.6 cm. approx. 8.5 ins. 4. Drumstick-whistles and reed flutes. (Plate IV) (a) acces. No. 1776. Builsa.Length 36.5 cm. approx.I4.5ins.(b) acces..No. 1787a.Builsa. Length 35cm. approx. I4 ins. These instruments are both drumsticks and notched flutes. The flat knob-like end is used to beat the drum. At the opposite end is the mouthpiece of the flute. The drummer uses the instrument as a drumstick occasionally blowing into it to produce a few notes of flute music. This is thus a 'dual-purpose'instrument. They are both decorated with geometric designs which have been blackened by the application of a hot instrument.(c) acces. No. 1777. Upper Region. Length 34 cm. approx. 14 ins. The flute is made from a section of guinea corn stalk. A semi-circle has been cut out of the upper end. On the lower front of the instrument are three finger holes. According to catalogue information both ends are blocked with soap (this has since disappeared) but it was apparently more usual toemploy guinea-corn or millet flour paste for this purpose. It is to be hoped that in the future more attention will be paid by musicologists to the criteria employed by the people themselves in judging what constitutes 'good'playing and composition when employing flutes or any other instruments for that matter. It is only when such criteria are known and understood that one will be able to successfully incorporate these instruments in new types of music whichwill be truly Ghanaian in essence. BIBLIOGRAPHY Benzing, Brigitta., 1969: Bemerkungen zu den Sprechpfeifen aus der VoltaRegion. Tribus. P. 35-48. Cardinall, A. W., The natives of the Northern Territories of the Gold Coast. Hornborstel, Erich, M.V., 1933: Ethnology of African sound instruments. Africa,Vol. 6, No. 2, P. 129-157 and No. 3, P277-3II. Klages, Jurgen, 1953: Navrongo. Nketia, Kwabena., 1962a: African music in Ghana.ibid., 1962 The Hocket-Technique in African music, International Folk Music Journal. Vol. XIV, P. 44-52. Rattray, T. S. 1932, The Tribes of the Ashanti Hinterland. Wachsmann, Klaus, P. 1961 The primitive musical instrument in Musical Instruments through the ages, Ed. Anthony Baines. |
