Об исполнителе (группе)
CENTRAL AFRICA
Gbaya Music • Songs For Reflection (2)
The Gbáyá 'Bodoé, whose sanza music is presented in this album, are an ethnic group of about 5.000 people belonging to the Gbáyá kárá and distributed among some forty villages located to the south-west of the city of Bouar in the Central African Republic . Their habitat is a green savannah watered by a maze of small rivers with forested banks. As hunters and gatherers, they live all year round off the natural resources of their environment, and also grow small crops of manioc, sesame and vegetables. Their technology encompasses pottery, basketry, wood carving, and forging of iron. In the past, they also used to extract iron.
The culture of the 'Bodoé is based on an oral tradition, but not hierarchically organised. Outside food-gathering, every individual is free to practice any activity of their choice -amongst them music. Thus, everybody may sing, dance or play a musical instrument. But as people devote themselves to these arts with different degrees of interest and taste, not everybody will attain the same results. Those who like music will practice it more often and regularly than others, and hence will develop better skills. But, although a musician's competence may reach real virtuosity and be appreciated by his community, it is never highlighted, and his skills do not brand him as a recognized specialist. Conversely, people never allow themselves to judge a singer's performance, even if he sings out of tune, considering that he has every right to sing if he feels like doing so.
Sanza Music
The sanza of the Gbáyá is composed of a fan-shaped set of nine to twelve strips of metal fixed to a metallic frame which is fitted to a small wooden soundbox. Each of these strips is encircled by small metal rings that vibrate when they are plucked. The role of these vibrators is to prolong the resonance and to adjust the pitch of the sounds. To play, the musician holds the sanza in front of him in both hands by the soundbox and plucks the metallic strips with the thumbs of his right and left hands alternatively.
The main feature that enables one to identify a given piece of music is its sanza accompan-iment. The melody played by the instrument "speaks" to people in different ways, thus feeding everyone's reflection, yet without any consensus. Each piece is given a title that, beyond its melodic identification, determines a theme for further reflection, which in turn will condition the lyrics that the singer will set to the music. The name "Songs For Reflection" gima ta mon therefore refers both to the repertoire of sanza music itself and to the repertoire of songs generated from it.
This repertoire is sung by male voices. The vocal and instrumental melodies that comprise the songs, although linked, are considered as distinct, because, as the Gbáyá say, it is the melody played on the sanza that prompts the melody that will be taken up by the voice. As for the lyrics, they are nothing but a bonus. This is particularly emphasised by the use of meaningless syllables, placed at the beginning or at the end of a sentence (yé-yéé-yé, héé-yé, yéé-yéé, hó-yéé, etc.), which play a purely melodic role. The relative importance of these strictly melodic elements differs greatly in the different types of repertoire, and as far as the "Songs For Reflection" are concerned, also vary from singer to singer. Yet, they are always present because their function is to "imprint a melody to the lyrics" dikisa gima, a necessary condition to "sing well".
The Recordings
This compact disc presents pieces from the specific sanza repertoire, the so-called "Songs For Reflection", interleaved with three vocal pieces that belong to other types of repertoire but that the Gbáyá have always liked to have accompanied with a sanza.
The repertoire of the "Songs For Reflection" is based on a polyphonic, instrumental melody played on one or two sanzas, with accompaniment of one or two rattles. This repertoire includes "walking songs" mango, "musical games" ngbaka, "dance sessions" naa-woro, and numerous sentimental songs illustrating two main themes: love and loneliness. These songs, which are sung by men, involve the active participation of usually no more than three or four people in the audience. Yet, the others may participate by calling out flattering comments to one of the instrumentalists or singers, and in addition, the women may let out some of their vocal trills. Such interventions stimulate the musicians and enhance their standing.
In the other songs, the instrumental pattern of the sanza is different. Both hands are playing in unison, rhythmically and melodically. The plucking occurs at the same time and the same notes are produced at the distance of an octave. Actually, the melody played on the instrument is the transposition of a song, of which often the choral response only is sung.
On this disc, four pieces are presented, illustrating the feeling of love: Naa-koro [3], Kenge [9], Sore-ga-mon [13] and Ba-di-heim-ha-naa-dai [14]; three pieces illustrating the feeling of loneliness: Dai-tè [4 and 12] and Ndio [6]; three walking songs: Garafi [1] and Mbodomon [7 and 8]; a dance session: Naa-woro [11] and three songs belonging to other types of repertoire: Naa-zambara [2], Yaa-kuri [5] and Gima-biro [10].
1 • Garafi
Sanza -players: Etienne Ngbozo and Joseph Samba. Recorded in the village of Ndongué (June 9, 1979).
This is a purely instrumental "Walking Song" mango, in which the rhythm played on the sanza is intended to sustain the walker's pace.
2 • Naa-zambara
Sanza -players: Etienne Doko and David Waï', percussions sticks: Pascal Minang, rattle: Raymond Doko, vocals: E. Doko, R. Doko, D. Waï, P. Minang and Martine Senwane. Record-ed in the village of Galo (February 20, 1977).
The title is a name that is called out by the soloist and comes back regularly all through the song, as is customary in pieces belonging to a different repertoire to that of the "Songs For Reflection".
3 • Naa-koro
Sanza-players: Daniel Ngadikè, Etienne Ngbozo, rattle: Arone Singa, vocals: D. Ngadikè, E. Ngbozo and A. Singa. Recorded in the village of Ndongué (April 13, 1977).
The title of this song, a girl's name, symbolizes the beloved woman. The song thus gives any young man the opportunity to express his feelings towards his chosen one. The piece is rhythmically punctuated by the verse: "I'll climb the tree (a kapok tree) with you".
4 • Dai-tè (1st version)
Sanza-players: Etienne Ngbozo and Joseph Samba. Recorded in the village of Ndongué (June 12, 1979).
This strictly instrumental piece develops the theme of loneliness (cf. track 12).
5 • Yaa-kuri
Sanza-players: Etienne Ngbozo and Joseph Samba, rattle: Naa-buka, vocals: E. Ngbozo and Sofine Zangué. Recorded in the village of Ndongué (June 10, 1979).
As is often done in these songs, Etienne Ngbozo here introduces his companions to the audience.
"I live in the village of Ndongué-zu-Kombo; I'm now going to play Yaa-kuri with Samba Joseph. We'll sing, Naa-buka will shake the rattle [at this point, another member of the group, who had been forgotten mentions her own name], as for me, I am Sofine Zangué [he actually takes part in the choral responses]". Then the sanza casts out and picks up the melody of the song, whose lyrics are but a repetition of a name, "Yaa-kuri".
6 • Ndio
Sanza-players: Etienne Ngbozo and Raymond Doko, rattle: Tarapaï, percussion sticks: Maurice Gbia, vocal: Daniel Ngadikè. Recorded in the village of Ndongué (March 17, 1977).
"Ndio" means "The Eagle" -the bird that in fairy tales rescues the hero who had called on him for help. Here, a man adrift in anguish that seems as endless as an eagle's long hovering flight, whishes for the final dive that will free him from his plight. This piece illustrates well how the song is "melodised" by help of a range of syllables devoid of any real meaning.
7 • Mbodomon (1st version)
Sanza and vocal: Etienne Ngbozo. Recorded in the town of Bangui (August 29, 1977).
This is a Walking Song. Etienne Ngbozo, who had just spent a "long" week in Bangui on a recording session with Vincent Dehoux, was longing to return as soon as possible to his village, Ndongué. First, the song describes his situation:
Poor me! I have walked on the road with you
I have come here with you to work
I have come to do painful work
I have gone into the forest with you
I have enough of sleeping there
I have enough of suffering
How could I sleep along the road? I'm too bored!
Then he thinks of the return journey, planned for the next day:
I'll go back with you now
I'll climb the tree with you
How could I suffer any longer?
I'll leave for far-away Ndongué
He even anticipates his arrival in the village, where he will again meet his wife, Marta:
Tomorrow, we '11 arrive at Ndongué
Tomorrow, I'll see Marta again
And I'll hear her voice
At, the gruel of the elders!(1)
Death doesn't know what's good
Until he is again overwhelmed by his anguish and worry:
But how can I return?
How can I sleep alone?
Hey, Marta! I sleep alone!
Hey, Marta! Things are real bad
How can I sleep? How is Marta?
Hey, I'm going to the manioc fields with you!
Then, the singer lets the sanza speak for him, with only one last intervention: "Well, we'll have to go now!" (owaa nè nèè non !)
(1) a nostalgic allusion to a favourite food
8 • Mbodomon (2th version)
Sanza and vocal: Martin Kayo. Recorded at the camp of Kpokorta (March 11, 1977).
In those few words, Martin Kayo summarizes his situation: "I'm on the road, thinking!"
Then, the music setting a pace for his walking, only a few more words are tossed up: "pain", "death is killing me", and "I'm thinking".
9 • Kenge
Sarcza-players: Etienne Ngbozo and Joseph Samba, rattle: Daniel Ngadikè, percussion sticks: Tarapaï, vocal: Daniel Ngadikè and chorus. Recorded in the village of Ndongué (February 15, 1977).
This piece belongs to the repertoire of "Sentimental Songs". Its title, which means "penis", has been borrowed from Sango language.
10 • Gima-biro
Sarcza-players: Etienne Ngbozo and Joseph Samba, rattle: Arone Singa, percussion sticks: Daniel Ngadikè, vocals: E. Ngbozo (solo), and chorus with Sofine Zangué. Recorded in the village of Ndongué (July 1st, 1979).
The appellation "War Songs" refers to vocal pieces performed during a funeral pageant, in which the virtues of the deceased as a warrior or as a hunter are celebrated. In this recording, Joseph Samba introduces the piece that he is singing as follows: "The song that we are going to sing here is not a song about nothing, it is not an ordinary song. It is a song about the young Naa-baa-ton, and it is a war chant from our elders."
The lyrics of the song, where the chorus repeats the name Naa-baa-ton are:
The testies are the husband
My testies are your husband -they are!
Chorus : yore, yore, Naa-baa-ton...
I'm killing my grand-mother
I'm killing your grand-father...
So, cut my testies!
Have I killed your grand-mother?
I ask you
Have I killed your grand-father?
I say, cut my testies
11 • Naa-woro
Sanza-players: Etienne Ngbozo and Joseph Samba. Recorded in the village of Ndongué
(June 9, 1979).
This instrumental piece was played during a dance session for young girls.
12 • Dai-tè (2th version)
Sanza-player: Etienne Doko, rattle: Pascal Minang, percussion sticks: Martine Senwane, vocals: E. Doko and Raymond Doko. Recorded in the village of Galo (February 20, 1977).
The name "Dai-tè", literally meaning "who raises himself, refers to an orphan, who for the Gbáyá embodies the greatest suffering that can be inflicted upon a human being. It is, therefore, a call for help and solidarity.
13 • Sore-ga-mon
Sanza-player: Etienne Ngbozo, rattle: Joseph Samba, vocals: E. Ngbozo and Raymond Doko.
Recorded in the village of Ndongué (March, 1st, 1977).
The name "Sore-ga-mon" (The olive tree of truce), symbolizes the ideal woman, she who brings happiness and peace -an abstraction that every man whishes could come true. The singer opens his song with "I'll marry you, Sore-ga-mon". He calls her "The shadow near which to rest", protests against the painful death and even proclaims: "Death has killed me". Then comes an enumeration of river names (gbanginda, maï", weï..), which are commonly used in songs to enhance the virtues of the young men from Ndongué.
14 • Ba-di-heim-ha-naa-dai
Sanza-player: Etienne Ngbozo, vocal: Etienne Ngbozo and Raymond Doko. Recorded in the village of Ndongué (Mars 21, 1977).
The song says "Take this beauty and bring her up for me", because she is still too young to get married. But the Gbáyá know from experience that this kind of arrangement is most of the time doomed to fail, for when the time comes to marry, the girl prefers to trust her own choice. It is therefore a rather nostalgic and sad song, which is well rendered by the low, murmuring voices of the singers.
Vincent Dehoux and Paulette Roulon-Doko
NB: The spelling of words in Gbáyá language has been simplified here for easier printing and reading.
These soundtracks have been recorded during missions organised by the Laboratory 3121 of the Centre National de la Recherche Scientifique (CNRS), Langues et civilisations á tradition orale (LACITO).
