by Berimbau » Tue Dec 06, 2005 8:13 pm
Wazzup, Charangaman?
Actually the name Udu is derived from a small Nigerian town where women potters are known for their fine ceramic skills in producing these plosive aerophones. Abeng is another African term for this clay vessel drum, although that term also refers to animal horn trumpets in certain areas. As always, African nomenclature can be quite deceptive given the 2,000 some odd languages spoken on that continent.
In some West African culture areas, the instrument is percussed with a palm frond, in others, with the bare hands. The tonal difference between the low "whomp" obtained by striking the open hole or that from a sharp blow on the ceramic side makes for some pleasing music. After initially striking the palm against the side hole, try leaving it against it for a second to get a fully rich tone. Sharp finger strokes can be used to get tak sounds like a Middle Eastern darbuka. It is quite a unique axe!
Now there are a variety of sizes and shapes, and since the 1970s, many U.S. and international makers. I've made a few myself from large, dense, thin shelled Mexican pottery. Using a door lock bit in my drill with mucho aqua to soften the clay, I have actually successfully "drilled" a few Udus. However, much patience is required! I made yet another one from a bottle gourd that's also quite nice, and one from a huge Indian pot which somehow survived Katrina. Miracles abound when one works WITH the earth instead of AGAINST it!
FYI there are two great articles on these ceramic drums in the journal African Arts, both dating from the 1970's, I think. One is by Keith Nicklin the other by Janet MacGaffey. As I have little library left after Katrina, I don't have the exact citation and must leave the interested to do their own digging.
The Indian clay drum is called ghattam, and is associated most closely with the South Indian Carnatic rhythmic cycle known as the tala vadya kacheri. Despite some shared basic organological traits, the playing techniques and traditions of the Indian ghattam differ greatly from that of the Nigerian Udu.
An old friend of mine, U.S. percussionist N. Scott Robinson, is well known for his "unified technique" approach to Global musical styles. In a recent video release, Scott has created an interesting musical vocabulary for the Udu, fusing various Indian, African, and Middle Eastern hand drum techniques to create a panolopy of percussive colors from this seemingly simple instrument. In his most capable hands, it is a shear joy to hear. For the trully interested Google up his site and check out his chops!!
Saludos,
Berimbau
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