The historic Ashanti occupied an area of about 24,379 square miles, about 9,700
of which are in the contemporary Ashanti Region of the Republic of Ghana (the former
Gold Coast).
The Ashanti created an independent kingdom which flourished from the 17th century until their conflict with the British at the end of the 19th century.
Through the use of arms and diplomacy, they extended their territory and created an influential social unit which was rarely defeated until a series of Anglo-Ashanti wars in the 19th century culminated in their defeat (1896) and annexation (1901) to the British settlements on the coast of Ghana.
They were, undoubtedly, one of the most successful of the late kingdoms of pre-colonial Africa.
Evidence in Ashanti oral traditions indicates that music played a major role in their socio-economic and political behavior. It is known that many Ashanti kings were Patrons of music who encouraged the creation or adoption of new royal orchestras.
The creation of NKOFE horn ensemble, for example, is attributed to King Osei Kwadwo, while as a vital component of Ashanti social behavior is as old as the kingdom itself.
NTAHERA horn ensemble and KETE drum music are associated with Osei Tutu, the founder of the Ashanti Kingdom.
King Opoku Ware, who succeeded Osei Tutu, is also remembered in Ashanti music tradition for using MPEBI and NKRAWIRI drums.
There is also evidence that the expansion of the Kingdom often led to the enlargement of music organization in the court of the Ashantihene (King of Ashanti).
New musical types and instruments were adapted to Ashanti musical traditions as Ashanti came into contact with other states.
The presence of APIREDE, and the use of DONNO and MPINTINTOA –
both of which are drums of Northern Ghana origin in certain Ashanti musical performances, are examples of the borrowing and adaptation that took place during the course of the expansion of the Ashanti territory.
All these pieces of evidence emphasize the integration of music and social life among the Ashanti.
From this evidence it is possible to assume that the role of music Since most of the pieces are drum music it is necessary to warn against the conclusion that all Ashanti music is for percussion instruments.
The use of percussion is certainly emphasized among the Ashanti as is the practice with many African societies.
However, it is also true that other instruments are used.
African music does not aim at regularity in pulse as does most western music.
In African music there is an horizontal or linear principle by which successive durational values are grouped into sections of varying lengths which may coincide with the growth Pulses, or beats.
Types of Drums and Their Dance
KETE is a drum ensemble found at the courts of chiefs.
It has always been the
favorite ensemble of Ashanti kings.
The ensemble is played at royal funerals, although with permission of the Chief it may be played at other funerals as well.
The accompanying dance which the Ashanti describe as “pleasant and charming” is noted for its courtliness as well as its marked distinction between the graceful bodily movements of women and the
strutting display of masculinity of male dancers.
A full kete orchestra consists of three parts: the drum ensemble, a section of
“pipers” who provide interludes and free accompaniment, and a vocal counterpart of the pipers.
Because of lack of knowledge and pipers, the pipe and vocal sections are dropped
in most performances today, as is the case with this recording.
In the Ashantihene’s court, however, the traditional three sections are maintained and the drum ensemble is relatively larger to reflect the ruler’s power.
There are at least eight different pieces which might be played by a kete ensemble.
Each of these is identified by its particular rhythmic organization and each piece has a meaning associated with a person, some action or an event.
The Kyenkyehene rhythm refers to a mighty chief by the same name.
Sometimes all of the kete pieces are played one after the other without any extra musical connotations, but only for the
enjoyment of musicians and dancers.
This selection may be played to accompany a procession
of chiefs on ceremonial occasions.
NNWOMKORO:
These songs are performed exclusively by adult women who may be in some kind
of associative relationship.
These songs are sung purely for entertainment and members
join the group only for the love of making music.
The group may perform at wake-keeping in honor and memoyr of a deceased member or one who may have been known for his interest in the group.
On such occasions the performance is considered a tribute to the deceased
and the bereaved.
Accompaniment of the songs is usually handclapping.
However, the use of a few
idiophones and one or two drums can be noted in performances by some of the well established performance groups.
The nnwomkoro songs in this selection are accompanied by handclapping,
castanets, a bell (dawuro), double bell (nnawuta) and a Prenpansua ( an idiophone of the Mbira or Sanza type) with three tones.
The themes of the songs are generally centered around loved ones and prominent members of the community.
Even though these songs are generally described as songs of ‘pleasure’, the verbal contents do not always reflect a happy mood.
Songs which allude to yearnings in the heart for an absent friend or lover, and songs that reflect hope or disappointment, bitterness or resignation, insult or satire can be heard at most nnwomkoro performances.
The songs in this selection have texts that are meant to praise the Ashanti Kings.
Nnwomkoro songs are a means of entertainment as well as a vehicle of communication – a medium of expressing personal and social experiences.
MPRE
This is a light form of adowa music.
Adowa is music of a popular band which is
especially created for funerals and has borrowed alot of its elements from other musical
types, especially from Kete (refer to band 1.) Mpre is performed at wake-keeping and at
funeral ceremonies.
It is characterized by a relatively gentle pace.
The master drum of the full adowa ensemble, Atumpan, is not used in the performance of mpre.
Here the donno is used instead.
Since it is funeral music, most of the themes of the songs are based on death and the havoc it brings to individuals and the community.
SIKYI
Sikyi is a form of drumming and dancing which came into vogue not only with
the Ashanti, but also in the whole Akan area of Ghana in the 1920’s.
It is characterized by dance postures and movements which simulate the dynamics of courtship through con- trasting demonstrations of strutting and bobbing, theatrical elegance, pastoral innocence, and abandonment.
OANSUOM
This musical type is performed mostly by women.
A latitudinally halfed, dry gourd is put into a basin of water with the open side in the water.
The side that protrudes from the water is beaten with sticks.
It is this position of calabash in water which gives the music its name: OANSUOM – lying in water.
A combination of “dansuom”, which is sometimes known as water drum, with a “Oonno”, hour-glass drum, and an Apentima.
NTAN is a form of drumming and dancing which was at one time popular throughout the Akan area, including Ashanti.
Like Sikyi, it is light in character.
It may be performed at funerals, during the last phase of the odwira festival, and on other social occasions.
The drums found in a Ntan ensemble have always been considered art objects because they are decorated with very elaborate relief carvings each of which is symbolic as well.
For example, the master drum is usually mounted on a tiger; the tiger in this context denotes the power of the drum in controlling the affairs of the occasions.
According to Nketia (1963), there are three fundamental modes of drumming among the Ashanti: signal mode, speech mode, and dance mode.
Although the purpose of the dance mode of drumming is mostly recreational, the signal and speech modes are played strictly for communication.
Unlike typical drumming in Western cultures, Ashanti drumming is often used as a means of communication.
The idea of using drums to communicate is best exemplified by the atumpan – the Ashanti “talking” drums. Atumpan come in pairs – one drum with a high tone and the other with a low tone.
These two drums are played with “a steady flow of beats, often lacking in regularity or phrasing” (Nketia 1963, 28) to mimic the highs and lows of the local Twi language, which is a tonal language.
Although many people of the younger generation can’t understand the words being played on the atumpan, much of the older generation can understand the drums as well as they can understand someone speaking to them.
Atumpan are used for communication in various social situations among the Ashanti, from conveying a message to a dancer in the middle of a dancing ring to calling the school children back to class after their break (Hood 1964).
FONTOMFROM
Fontomfrom is a Bono type of hourglass-shaped drum mostly used by an ensemble of Bono people to communicate Bono monarchy royal messages in a Bono people ethnic group setting.
The Fontomfrom ensemble provides music for ceremonies honoring Bono chiefs and Bono monarchy royal processions.
The Fontomfrom is also used to recite proverbs or replicate patterns of speech at most Bono monarchy royal gatherings or a Bono monarchy royal durbar.
The Fontomfrom evolved from the popular hourglass-shaped drum (talking drum) of the 7th century.
Shortly after the evolution, a few more non-hourglass shapes such as the Dunan, Sangban, Kenkeni and Ngoma drums were produced.
Prior to the Fontomfrom becoming the ensemble that it is today, it was first introduced into Bonoman by Bonohene Akumfi Ameyaw I and Bonohemaa Owusuaa Abrafi circa 1320s, from North Africa.
As they love dancing and music, they introduced this drum to entertain themselves.
Since its procurement, the single, large Fontomfrom drum has grown to become an ensemble of several drums.
