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JAAC
Abstract
JOURNAL OF AFRICAN ARTS & CULTURE
Editors
Professor Mary Dzansi-McPalm, PhD
Professor C.W.K. Mireku, PhD
Professor Eric Akrofi, PhD
Patrique deGraft-Yankson, PhD
Ebenezer Acquah, PhD
https://jaac-sca.org ISSN 2637-3610
Volume 3 Issue 1 March 31, 2019
Indigenous Knowledge Systems In Traditional
Musical Instruments: The Sculptor’s Contribution
Traditional musical instruments have been handed down from generation
to generation although in most instances there has been a change in its
development and production. Sculptors, over the years have played a
very vital role in the making of such musical instruments. For someone
to be able to make a music instrument, the person needs to have an idea
about the material and its characteristics. This article establishes the link
between traditional musical instruments and the sculptor as a depository
of indigenous knowledge systems in music. Through qualitative research
approach, it employed descriptive research design and aesthetic analysis
as for the processes used in the making of some of the traditional musical
instruments; and the symbolic meaning of material content in describing
these music instruments for indigenous knowledge systems respectively. Data
were collected through face-to-face interview and observation. Sculptors,
Victor Kweku Bondzie Micah
Takoradi Technical University, Takoradi
victormicah@ymail.com
Citation: Micah, V. K. B. (2019). Indigenous knowledge systems in traditional musical
instruments: The sculptor’s contribution. Journal of African Arts & Culture, 3(1), 14-23.
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Keywords: indigenous knowledge systems, musical instrument, sculptor,
traditional
specifically carvers, in the production of traditional musical instruments and
music artiste from the music fraternity were purposively sampled. It was
observed that beliefs and practices of Africa were seen as richest cultural
systems, which were practised through the arts with traditional musical
instruments. It recommended that traditional musical instruments should be
seen as an important artifact. Particularly, its material compositions from an
artistic point of view, serve as an indigenous knowledge system by providing
artists and the users with mastery of cultural identity and edification.
Introduction
The production of traditional musical instruments as an art by sculptors have not be
given the needed research attention, perhaps, due to the fact that some musicians
produce their own preferred instrument for music making. Sculptors’ contribution in the
making and production of traditional musical instruments is an in-depth knowledge
and, therefore, serves as part of the depository of indigenous knowledge systems. This is
because indigenous societal knowledge in music has been imbedded in the traditional
practices as seen or embraced by all in the society. Traditional musical instruments have
been long established for the benefit of humanity but written documentation on its
production processes and the artistry of the sculptor has received little or no scholarly
attention. In the 17th century, sculptors used simple tools and techniques in producing
these instruments. In the 21st century of modern art, advanced technology has brought
new and less cumbersome processes of production. The traditional musical instruments
used in all over Africa have never been so distinct from each other. They are related to
each other in either shape or size, and the concept of making (Brandt, Gebrian, & Slevc,
2012).
In 1992, Bégin’s studies on Renaissance and Baroque musical instruments suggested
that luthiers of these periods were aware of the mathematical concept of the golden
mean. Its application to instrument making produced shapes, which were considered
aesthetically good and which, on closer study, revealed the geometry of the instrument.
This geometry provided the luthier with a simple method to achieve a harmonious
shape. She accentuated that:
During the Baroque period, this sober and somewhat abstract aestheticism
coexisted with a decorative style so exuberant that it sometimes overwhelmed
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the true function of musical instruments, which came to symbolize social
standing. Yet, the practice of decorating musical instruments is very old indeed.
Some decorated instruments date back to the Stone Age and the Bronze Age
in ancient Egypt and ancient Greece. In the Middle Ages, the decoration of
the psaltery led to the tradition of rose decorations found on later stringed
instruments. The organ, associated with religious music, was decorated with
sculptures that blended with the architecture of its site. In secular music,
some instruments began to be embellished; for example, the hurdy-gurdy
was given a sculpted head. This decorative practice continued in the centuries
that followed, reaching its peak in the baroque period. Decorative styles
subsequently became more subdued, confined to details such as roses on
soundboards, sculpted heads, and marquetry. With the advent of the industrial
era and mass production, instrumental decorations gradually disappeared.
By the turn of the century, hand-decorated instruments had all but vanished.
The practice was revived only later, with the renewed interest in early music
and instruments produced in the historically correct manner. Today, the
instruments played in symphony orchestras are quite sober. The focus is mainly
on the instrument’s tone, along with its harmonious shape, pleasing colour, fine
craftsmanship and, for the musician playing it, balance and personal suitability
(Para. 3-4). Although looking at the traditional musical instruments in Africa
from Western perspective, Northern and the Southern Africa, are a distinct
African society whose musical cultures do not just have its origin only in Africa
but a coalition of both foreign culture as part of its influence on musical culture.
Nketia (1988) made a case that these related musical traditions constitute a
family distinctively from those of the West or the Orient in their fields of
emphasis. This historical linkage of the African can be well reemphasised by
the artist. They may have some differences but the bond is greater. In all these
musical histories, the sculptor, the maker of these instruments has been left out
unmentioned.
Nketia continued to say that musical instruments may also be studied as material
objects in terms of their technology, with respect to their design and craftsmanship,
materials and construction and musical function.
All the attributes of these instruments, especially drums, have been made possible by
the sculptor who does a comprehensive study of a material to be used in making of the
instrument and design something out of it having in mind the construction and the
function of the intended instrument. In designing, the sculptor, as a fine artist believes
that the material has a great influence on the design. Therefore, in designing and the
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construction of any musical instrument, its usage is paramount and this brings about
the classification of the instruments. Nketia (1988) classified idiophones (self-sounding),
membranophones (drums with parchment heads), aerophones (wind instruments),
chordophones (string instruments) as the feats of the sculptor through a collective
intellectual safekeeping of cultural knowledge embodied in these musical instruments.
The rapport is drawn onto how the sculptor has contributed to the sustenance of these
instruments over the years. Flintoff (2004) added that while most instruments have
these obvious family origins, others are, however, created by a union of the families of
gods. Understanding these concepts help to give some insight into the values that are
placed on the instruments, the music and the materials they are created from. Flintoff
alluded that musical instruments are also vehicles of entertainment and communication.
However, these instruments is believed to convey a spiritual dimension that transcends
the sounds they create, which is an essential part of appreciating their value.
The thoughts of Bégin (1992), Nketia (1988) and Flintoff (2004) are based on the fact that
musical instruments are enigmatic and have over the years displayed mastery of family
traditions, served as vehicle for entertainment – paramount to communication, material
and spiritual dimensions. Musical instruments have been created by the sculptor and
used by musicians, historians and storytellers who memorised and communicated to
others through important events from the history of mankind. This goes to confirm
Hiroa’s (1944) assertion that the musical instruments, though few, played an important
role in social and religious life. The bamboo flute was the least important, but young men
were able to express love messages by means of its plaintive notes. This article, therefore,
establishes the contribution of the sculptor serving as a depository of indigenous
knowledge systems based on his feats of material manipulations in the invention of
musical instruments and the philosophical, aesthetical sensory of perceptions these
instruments invoked through his/her effort of creating these musical instruments.
Methods
Being a qualitative approach, the study employed descriptive research design and
aesthetic analysis. Face-to-face interview and observation were data collection
instruments used. Miles and Gilbert (2005) cited Elliott and Timulak (1999) who stated
that by distinguishing between measuring things with words and measuring them in
numbers, however, might not be a particularly useful way of characterising different
approaches to research. Instead, other distinctive features of qualitative research may
turn out to be of far great importance. Thus, the study examined the making of musical
instruments through descriptive inquiry and aesthetic analysis with symbolic meaning
of material content in describing these musical instruments for indigenous knowledge
systems.
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Purposive sampling was used to gather data from respondents (carvers and music
artistes) in Takoradi and Winneba respectively who were selected based on their
expertise. A sample size of 10 was selected for the study. This sampling was very useful
in situations when the study needed to reach a targeted sample quickly, and where
sampling for proportionality was not the main concern (Crossman, 2017).
Results and Discussion
The processes used in the making of some of the traditional musical
instruments
Based on the data collected, respondents confirmed their views on the production
processes used in making of some traditional musical instruments from technical
point of view. It was expressed that the linkage between the sculptor and the musical
instruments (Drums) was based on the merit of functionality. Musical instrument
design has evolved over time, and that is part of the problem individuals now faces
(Manchester, 2006). Modernism and man’s quest for money has really redirected the
focus of drumming and its construction (Chernoff, 1979). This passion is what was
moving the sculptor to design and construct these music instruments as the indigenous
sculptor was aspiring for a good name in the society as the adage goes “good name is
better than riches”. In modern times, it is not passion but money. This goes to confirm
Ravasio (2016) that value theory on mass-production of musical instruments has high
monetary value, which could be the contributory factor for man’s quest for money,
which has really, redirected the focus of drumming and its construction.
In making of these musical instruments, the sculptor goes through techniques and
processes with beliefs and practices associated with the traditional musical instruments.
In every facet of the life of Africans, there are beliefs and practices associated with them.
Music pounds deep in the heart of every African; it was considered to be of the purest
spiritual essence – a part of a person’s social and spiritual being; a vehicle for healing
mind, body and spirit, and inseparable from life experience (Primos, 2001). Because the
process of making this instrument was considered sacred and observed as such. The
beliefs were not just for nothing but had proven its worth over the years. The African
believes there are spirits in every object both animate and inanimate. Due to this,
special prayers are made for the sculptor (carver) before departure into the forest to cut
the log to be used in making the drums. This is to prevent or neutralise the doings of any
malevolent spirit on his way to the forest.
Based on his carving skills, (P. Ward, personal communication, November 24, 2010)
shared that for a sculptor to effectively produce a piece whether commissioned, for
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exhibition, or for sale one should make the work his or her own or put his or herself
into the work as that draws passion for the work and merge one’s spirit with the work.
As clearly stated by Ward, the sculptor not necessarily being a musician, is able to know
the kind of wood and the sound that will come out of the instrument. In the indigenous
music knowledge systems, it is believed that the carver has a divine insight in making
these traditional music instruments. However, if there is no linkage between the carver
and the instruments then this is yet to be told of any society in Africa that had its
musicians produce their own drums or instrument for play. In some few instances, it is
the carver, who could really create such music instruments for play.
From the Ward’s (2010) context, it is an established fact that there is a link between
the sculptor and the musical instruments that are used by the musician on one hand
and the sculptor and the indigenous knowledge systems in music on another hand. As
it is a common knowledge that the carver needs to have some knowledge about the
instruments before he can fully produce them for use by the music maker. The bond
between the sculptor and the instrument, in my view, has been what has kept the
indigenous music instruments knowledge systems of Africa still alive.
The process of cutting the tree also demand making of libation to pacify the spirit
believed to domicile in the tree so as not to cause any harm to the sculptor (carver) in
the process of cutting down the tree. In other instances, the spirits in the log is called out
before cutting. These beliefs had been long established with the people of Africa even
after the coming of Christianity and was still being practised by the sculptors (carver).
Upon reaching home to construct the instrument, the sculptor then pours a final libation
to prevent getting hurt in the process of carving out or constructing the instrument. As
part of the sculptor’s belief, if these rituals are not done, the spirit can cause the tool
to endanger his life. If it happens that the tool hurts the sculptor (carver), he has to
stop working with the tool until the sore of wound is fully healed. On the contrary, if he
refuses to adhere then the sore would worsen as the tool is being used. Although these
beliefs had not been fully documented in the written form it had been passed on by oral
documentation and still upheld and practised by the traditional carvers of Africa.
The cutting up process of the drum came with a limited skill as the digging out of the
center portion of the log was done meticulously as the slightest mistake is believed to
affect the sound of the drum. Various kinds of drums were made specifically to have
a standard thickness, which affected the sound that came out of it. Some had various
design engraved on them with metal bowls and others with rings on them all of which
affected the sound that came out of the instrument. Due to the spiritual attachment
linked to the drums, women of all class could not even play some drums, and a woman
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having menstrual period could not play others. With the “Asafo” drums for example one
needed to be purified as rituals needed to be performed on the drummer before s/he
could play the drum. This is to help the drummer to withstand all spiritual and physical
attacks that might come his way in the line of duty.
The musical instruments carved by sculptors (carvers) were also based on some
ideologies, which guided the procuring of materials to finishing stage of the musical
instruments as the results indicated. But, these ideologies are proven through aesthetic
theories guiding the production of these musical instruments. The article gives credence
to the value of theory by Ravasio (2016) that making of musical instruments possesses
theories that make these indigenous musical instruments knowledge systems worth
producing. He posited that in the value theory, instruments are valuable objects. They
might be handcrafted and, in this case, each of them is unique.
Symbolic meaning of material content on musical instruments in
indigenous knowledge systems
Again, data collected from respondents proved that the belief regarding symbolic
meaning of material content on musical instruments in indigenous knowledge systems
has become different from previously known. In this context, it can be seen that the
indigenous musical instruments knowledge systems have not changed in all dimensions
but as an institution, it has undergone transformation. In every bit much as the foreign
cultures have tried, it has endured the test of time and events and this has remained
greatly the same due to the mode of passage of these cultures from one generation to
the other.
Moreover, after the carving of the “Asafo Kyen (Asafo drum)”, the sculptor and the drum
would have to be cleansed to purify them from any contamination that might have
occurred in the process of making of the drum. This confirms Aggrey (1978) statement
that the “Asafo” company would have to buy a sheep, local gin, egg, kaolin, and other
things that were used in purification. They mixed the blood of the sheep with local gin,
egg, kaolin and smeared it on the drum to purge it of all contamination in the process of
carving it. A special time was set aside for bringing the drum home, which is welcomed
by a large crowd amidst drumming and gun shots. The drum and the drummer were
kept in a room for at least one week, at which the drummer and the drums would be
receiving various concoctions that were prepared for both of them to protect them and
the “Asafo” companies from any spiritual attack or to be able to go safely through war as
they lead the warriors.
Kojo Lawson (personal communication, November 30, 2010) espoused that the
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maintenance of cultures largely by the African, has been demonstrated in the fact
that the traditional musical instruments embodied indigenous knowledge systems
concerning the production and modification of these drums. On the other hand, some
have been modified in both make and outlook. A typical example is the “Fↄntofrↄm”
drum set. The carver (sculptor) has seen the need for larger sound impacts at bigger
and larger occasions that will attract large crowd and space. The design did not only
look at the size but the aesthetics of the whole drum set. Symbolism, one of Africa’s
richest indigenous knowledge systems, has not been left out in the production of the
drums. The sculptor has carefully incorporated these symbols as designs to bring out
the beauty of the drums and in the same vein communicate with those who matters.
This actually has added up a great twist to the “Fↄntofrↄm” drum sets. In other drum
sets, the make or outlook has not been modified but there have been inclusions in the
number of drums that are used. A typical example is the “Kpanlogo” drum set. This set
of drums now has “Gome” added to it. Lawson continued to share that this drum even
did not originally come from Ghana but has been carefully fused into this group due
to its strong bass like effect it brings to the instrumental play. There are hosts of other
drum set that have been modified slightly by including other drum set that have linkage
with it sound and beat. All these inclusions did not just happened, it is believed that
the sculptor has played a very vital role in this modification. If not absolutely, then in
connection with the musician, this has been so because of the fact that the indigenous
musical instruments knowledge systems of Africa have been well passed onto the
generations that followed. But, in spite of all these, the sculptor has contributed to the
sustenance of the instrument over the years and has tried not to alter the materials but
have been able to conserve and made it sacred.
Conclusions and Recommendations
The study, therefore, concludes that the beauty of a musical instrument apart from
its sound does not stem from a few aspects of its decoration, but from the balance of
its proportions. The sculptor’s contribution to the indigenous knowledge systems in
making of traditional musical instruments for music making cannot be overlooked.
Indeed, the sculptor has been a worthy ware house for indigenous knowledge systems
that need to be incorporated in the teaching of music in the tertiary levels.
Beliefs and practices of Africa are seen as richest cultural systems, which are observed
or practised through the arts with musical instruments. Thus, these instruments should
be seen as an important artifact, especially, its material compositions from artistic point
of view, serve as indigenous knowledge system of providing artists and the users with
mastery of cultural identity and edification. Development of indigenous knowledge
systems in traditional musical instruments should not simply consider the musicians
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or the music fraternity, but also the sculptor as well as, since he has been a worthy
warehouse that underpins philosophical and aesthetical values which he can integrate
them in the teaching of music.
Teaching of the indigenous musical instruments knowledge systems of Africa should
include the designing and construction stage, because this can help musicians come
out with new designs that can improve upon the existing ones and further boost
the indigenous musical instruments knowledge systems of Africa, as change is very
important and necessary. Ergonomics in indigenous musical instruments knowledge
systems should be conducted as study to determine the applied science of equipment
design intended to maximise productivity by reducing operator fatigue and discomfort.
References
Aggrey, J.E.K. (1978). Asafo. Accra, Ghana: Ghana Publishing Corporation.
Bégin, C. (1992). Opus, the making of musical instruments in Canada. Retrieved from
http://www.historymuseum.ca/cmc/exhibitions/arts/opus/opusf01e.shtml on
February 2, 2018
Brandt, A., Gebrian, M., & Slevc, L. R. (2012). Music and early language acquisition.
Frontiers in Psychology, 3, 327. doi:10.3389/fpsyg.2012.00327
Chernoff, J. M. (1979). African rhythm and African sensibility. Chicago, IL: University of
Chicago Press.
Crossman, A. (2017, March 2). Understanding purposive sampling. Retrieved from
ThoughtCo: www.thoughtco.com/purposive-sampling-3026727. Accessed on
March 19, 2018
Flintoff, B. (2004). Taonga puoro singing treasures: The musical instruments of the Maori.
New Zealand: Craig Potton Publishing
Hiroa, T. G. (1944). Arts and crafts of the Cook Islands. Honolulu, Hawaii: Bernice P. Bishop
Museum.
Manchester, R.A. (2006). Musical instrument ergonomics. Retrieved from https://www.
sciandmed.com/mppa/journalviewer.
Miles, J. & Gilbert, P. (2005). A Handbook of research methods for clinical and health
psychology. Oxford, UK: Oxford University Press.
Nketia, J.H.K. (1988). The music of Africa. London, U.K: Victor Gollancz Ltd.
Primos, K. (2001). South Africa. In D.J. Hargreaves & A.C. North (Eds), Musical development
and learning: The international perspective (pp. 56-72). London, U.K: Continuum.
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Ravasio, M. (2016). On the destruction of musical instruments. Journal of Aesthetics &
Culture, 8(1), 32222, DOI: 10.3402/jac. v8.32222
About the Author
Victor Kweku Bondzie Micah is an Associate Professor and the Pro Vice-Chancellor
at Takoradi Technical University. He holds PhD in Arts & Culture from University of
Education, Winneba; MFA (Fine Art) and BFA (Fine Art) from Kwame Nkrumah University
of Science & Technology, Kumasi. Micah is a practising sculptor with fifteen years of
hands-on experience in the teaching of basic art courses at the tertiary level. He has
authored books, articles and participated in several art exhibitions in Ghana.
Editorial Board
JAAC have committed editorial team with expertise in the diverse fields in the African Arts and
Culture disciplines. They are well grounded and work together to maintain the reputation of
the journal in academism.
Chief Editor
Professor Mary Dzansi-McPalm, PhD
Co-Editors
Professor C.W.K. Mereku, PhD
Professor Eric Akrofi, PhD
Patrique deGraft-Yankson, PhD
Ebenezer Acquah, PhD
Osuanyi Quaicoo Essel, PhD
Managing Editor
Frimpong Kwaku Duku, PhD
Graphic Editors
Yaw Gyapong
Joseph Essuman, PhD
Distribution Editor
Ernest Kwesi Amponsah, PhD
Advisory Board
Kingsley Ampomah, PhD
Rev. Ohene-Okantah
Isaac Opoku-Mensah
Past Chief Editor
Prof Kojo Fosu
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