La Rumba in Africa - Some pics from drum ensembles in Africa
54 posts
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by pavloconga » Thu Jan 05, 2006 9:04 am
Greetings and thanks to all for your comments and reply.
I would like to clarify something - my point in putting up the pics and my comments was not about Cuban rumba having its direct origins in Ghana (even though I titled the post as La Rumba in Africa).
My point really, is to celebrate the fact that many, many groups of people in Africa continue to evolve, innovate, invent and maintain a vast rhythmic tradition. And secondly, that the incredible culture of the drum, rhythm, voice and dance is still going strong in sub Saharan Africa. A tradition that is every bit as amazing as the rhythms in Cuba (personal taste not withstanding of course).
The fact that in Cuba these rhythmic and spiritual traditions survived the perils of slavery and many other hardships and evolved into what they have now become, is a testament to the incredible strength, fortitude and spirit of the Afro-Cuban people. I saw those very same qualities in Africa.
best regards to all and peace
Pavlo
pic attached: The Future - Drumming prodigy. This boy at the age of 10 leads his group and is considered a master of his rhythmic traditions. The look in his eyes says it all.
Attachment: http://mycongaplace.com/forum/eng/uploa ... rumboy.jpg
I would like to clarify something - my point in putting up the pics and my comments was not about Cuban rumba having its direct origins in Ghana (even though I titled the post as La Rumba in Africa).
My point really, is to celebrate the fact that many, many groups of people in Africa continue to evolve, innovate, invent and maintain a vast rhythmic tradition. And secondly, that the incredible culture of the drum, rhythm, voice and dance is still going strong in sub Saharan Africa. A tradition that is every bit as amazing as the rhythms in Cuba (personal taste not withstanding of course).
The fact that in Cuba these rhythmic and spiritual traditions survived the perils of slavery and many other hardships and evolved into what they have now become, is a testament to the incredible strength, fortitude and spirit of the Afro-Cuban people. I saw those very same qualities in Africa.
best regards to all and peace
Pavlo
pic attached: The Future - Drumming prodigy. This boy at the age of 10 leads his group and is considered a master of his rhythmic traditions. The look in his eyes says it all.
Attachment: http://mycongaplace.com/forum/eng/uploa ... rumboy.jpg
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pavloconga - Posts: 546
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- Location: Australia
by Isaac » Thu Jan 05, 2006 1:31 pm
Beautiful drums. Nice Pics Pavlo. It must be
a great memory and experience.
There are several type of drum families from Ghana.
Besides the EWE (pronounced A-way)drums in the pic, there are the
Fanti Osode drums, Nafana Bain drums, Dagomba Drums(talking drums), the Ashanti Ntumpani drums, Ga drums like the Tamalis, and Gongs( iron double bells), and
the Kpanlogo drums. (used in early Highlife, which uses
the clave) The highlife was very much influenced by
early cuban recordings that made their way back to Africa.
The Djembe is not from that region, but has become popular everywhere.
Very little of these Ghana traditions survived in the new world. The Fanti and Ashanti were a large part of the slaves in Jamaica. But their drumming tradition was banned by the British. New ones had to be invented from any
remnant still remembered. (Nyabingi?) The ban of drumming was also in the USA, except on Sundays
in Congo Square in New Orleans.
The Ewe drumming was also tranplanted to Brasil and
became one of the african traditions that continued
to adapt and became a part of afro-brasilan traditions.
There are sporadic instances where some of these types
of drums survived in the Caribbean. In a museum in
Cuba, I saw an Akan drum and a Konfuiti ( a giant Cuica)
likely from the Gold Coast (Ghana). But nobody plays
them anymore.
I don't think any of these drums are the precursor
of the conga as we know it. All the drums above have
a different concept in terms of skin type and a different touch to get the sounds. They use soft skins - deer, calf or antelope.
The predominant groups in Cuba
of Bantu (Congo) origin already played conga like drums.
This is what was mostly replicated in Cuba out
of hollow logs until they switched to barrels. The skins were mule or cow.
~ ISAAC ~
(funkytradition@yahoo.com)
ps, I highly recommend hearing the CD
of Mustapha Tettey Addey, Master Drummer from Ghana
on the Lyrichord label
a great memory and experience.
There are several type of drum families from Ghana.
Besides the EWE (pronounced A-way)drums in the pic, there are the
Fanti Osode drums, Nafana Bain drums, Dagomba Drums(talking drums), the Ashanti Ntumpani drums, Ga drums like the Tamalis, and Gongs( iron double bells), and
the Kpanlogo drums. (used in early Highlife, which uses
the clave) The highlife was very much influenced by
early cuban recordings that made their way back to Africa.
The Djembe is not from that region, but has become popular everywhere.
Very little of these Ghana traditions survived in the new world. The Fanti and Ashanti were a large part of the slaves in Jamaica. But their drumming tradition was banned by the British. New ones had to be invented from any
remnant still remembered. (Nyabingi?) The ban of drumming was also in the USA, except on Sundays
in Congo Square in New Orleans.
The Ewe drumming was also tranplanted to Brasil and
became one of the african traditions that continued
to adapt and became a part of afro-brasilan traditions.
There are sporadic instances where some of these types
of drums survived in the Caribbean. In a museum in
Cuba, I saw an Akan drum and a Konfuiti ( a giant Cuica)
likely from the Gold Coast (Ghana). But nobody plays
them anymore.
I don't think any of these drums are the precursor
of the conga as we know it. All the drums above have
a different concept in terms of skin type and a different touch to get the sounds. They use soft skins - deer, calf or antelope.
The predominant groups in Cuba
of Bantu (Congo) origin already played conga like drums.
This is what was mostly replicated in Cuba out
of hollow logs until they switched to barrels. The skins were mule or cow.
~ ISAAC ~
(funkytradition@yahoo.com)
ps, I highly recommend hearing the CD
of Mustapha Tettey Addey, Master Drummer from Ghana
on the Lyrichord label
-
Isaac - Posts: 512
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- Location: Canada
by Isaac » Thu Jan 05, 2006 1:37 pm
Pavlo,
You asked me about our Cuban conga teacher,
that we both had in common - Guillermo Lopez.
Your last post reminded me of a comment he made to me.
I thought it was a very odd/funny remark at the time.
Guillermo and I were walking back to his locker at the
Folklorico, and he asked "Why do you want to come to
Cuba to study rhythms? You should be going to
Africa, the source...we're just the tip of the iceberg"
I thought at the time this was just his frustration
for not being able to travel himself. He said if he could,
that's where he would go.
~ ISAAC ~
You asked me about our Cuban conga teacher,
that we both had in common - Guillermo Lopez.
Your last post reminded me of a comment he made to me.
I thought it was a very odd/funny remark at the time.
Guillermo and I were walking back to his locker at the
Folklorico, and he asked "Why do you want to come to
Cuba to study rhythms? You should be going to
Africa, the source...we're just the tip of the iceberg"
I thought at the time this was just his frustration
for not being able to travel himself. He said if he could,
that's where he would go.
~ ISAAC ~
-
Isaac - Posts: 512
- Joined: Sun Feb 15, 2004 10:53 am
- Location: Canada
by windhorse » Thu Jan 05, 2006 2:03 pm
Good stuff, thanks everybody! Great thread!
I just google searched congolese and ngoma, just to see their resemblance to congas, and sure enough they do. The head is larger in relationship to the body than the twinchin, which is a better "fit" to a conga shape.
Thanks for the pics Pavlo! Love that last one especially! Good stuff!
Thanks Birimbau, Dave, and Isaac for each for your different takes on derivation.
I just google searched congolese and ngoma, just to see their resemblance to congas, and sure enough they do. The head is larger in relationship to the body than the twinchin, which is a better "fit" to a conga shape.
Thanks for the pics Pavlo! Love that last one especially! Good stuff!
Thanks Birimbau, Dave, and Isaac for each for your different takes on derivation.
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windhorse - Posts: 1453
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by Berimbau » Thu Jan 05, 2006 6:36 pm
Wow!
As always, a great thread on the history of our music!! First, a cautionary reminder from Gerhard Kubik, which I must appologetically paraphrase due to Katrina contretemps, "I have great difficulty in perceiving African music as merely the "roots' of something else." I have to agree....
Continental (second largest continent) Africa, Cuba, Brasil, and the U.S. ALL have LONG discrete musical/social histories that DO often overlap and invite ALL kinds of cross-cultural comparisons. Indeed by carefully combining our data into a temporal/geographical framework, a number of Diasporan musical trends become perceptible, and burning questions answered. Such a gestalt approach might prove fruitful, but should always be tempered with reason. Now if some pieces in our Cuban musical puzzle seem to fit together well, it is equally imporatant to remember that the slave trade there was a multi-track, multi-time event, and that peoples and cultural capital were flowing in BOTH directions across the Atlantic. Of course "rumba" as it was then erroniously called, although in reality the Cuban son form, did return to Central Africa by the early 1950's.
For example, if an 18th century popular Angolan dance was exported to Brasil, it likely became Brasilianized as it absorbed impulses from that sociocultural mileu, it is just as likely to have appeared in another related form in Cuba, where Angoleros were also taken. Conversely, it seems that the giant lamellaphones of Cuba (Rumba box, marimbula, etc.) were popularized ALL over the Caribbean with inter-island migrants, and even returned to West Africa by the late 19th century. The "roots & retentions" school of thought would have that the instrument ORIGINATED in West Africa, when it really didn't!! These instruments originated in Central Africa, took on a NEW larger form and musical role in Cuba, and THEN returned to a different part of Africa!!! A contemporary Central African likimbe player would be most vexed at the music and playing techniques of either a Cuban marimbula player or a Yoruba performer of the agidigbo. One small continuity in performance practice is the preference for passing one of the player's arms underneath her/his leg while playing. Just why this non-sound producing attitude was retained is unknown to me. Maybe it's for showy display as in Jimi Hendrix or other African-American guitarists playing with the intrument behind their back or playing it with their "teeth!"
Quite a redundant opening, and I DO appologize as my methodological orientation needs to be laid out. The Kongolese and Angolan peoples of West Central Africa were mightily influential in a number of Diasporan cultures for a number of different reasons. Unlike the widely disparate Niger-speaking cultures of the Gold Coast, the Bantu had a shared linguistic/cultural nucleus that extended across the center of the continent. This helped facilitated both inter-ethnic communication and solidified a more homogeneous cultural presence in New World slave societies. Numerically, the Kongo/Angolan slaves were also most dominant. Throughout the entire history of the slave trade, the region was repeatedly raided and then nearly depleted as slave traders made this region their PRIMARY target for human captives.
With the new social realities of slave life, the religious and political institutions that provided impetus for most musical activities was SEVERELY disrupted. Yet in Cuba and elsewhere, Kongo/Angolan peoples found new and different outlets for their incredible creativity.
Allright, enough allready!! What about those drums?????
Well a number of drum types from different parts of Africa were/are present in the New World. So where did the conga drum or tumbadora come from?
CUBA!!!!!!!!!!
Drums VERY similar to congas are found ALL over Africa and ALL over the Diaspora: Kongolese ngoma, Yoruba ashiko, Brasilian atabaque, Haitian Congo. It is VERY tempting to get into the minutia of organology here, but what I really think we are talking about is a CULTURAL CONCEPT of a specific drum, and not just the instrument itself. Let me dilineate some of them:
(1.) Playing techniques associated with the tumbadoras are one very important factor. I think that these were developed IN CUBA by slave musicians who were conversant with a number of different African drumming systems. The heel - fingertip monoteo, the finger gliss, the open, slap and bass tones were all combined in a new and novel form to be played in a EUROPEAN strophic form largely unknown in pre-18th century Africa. Kongo/Angolan drummers have MANY beautiful things going on in their music, much of which is remembered and respected in Cuba, but they actually sound very LITTLE like congeros to me. With the exception of some bata styles, West African drummers even less so.
(2.) The tuning sytem is also unique. When and where IN CUBA this happened is still unknown, although a myriad of opinions may be encountered. Without this important development, the widespread diffusion of the tumbadoras would not have occured. Tunability increased the drum's range and volume, and eliminated the painintheass factor of using sterno, candles, etc. to keep the drum at a reasonable pitch level.
(3.) Multiple drums were introduced IN CUBA to give the player ever more melodic options. The U.S. drumset doubtless provided a working model, but it still happened IN CUBA. Accent should be on melody here, for THAT aspect seperates the tumbadoras from MOST other drums. We always play VERY melodically in this system.
Remarkabley, most of this activity occured in a fairly short time period. These innovations were so important that they IMMEADIATELY spread FAR outside of Cuba by 1955 had an enormous influence throughout the world. Today I hear a very strong Cuban influence even in the traditional hand drumming styles of Brasil, Jamaica, Haiti, and the U.S. Regardless of whether these drummers are playing atabaque, repeater, congo, or whatever.
In conclusion I'm quite certain that one may find any number of African organological "precurssors" to the conga drum, but in light of subsequent Cuban cultural development, it almost seems irrelavent. It is the innovations of Cuba musicians that really matter here most, not the ultimate origin of their drum.
Now I DO have a lot to say about the kinfuiti, but even I'M getting tired of my post, and will leave that for another day.
Saludos,
Berimbau
As always, a great thread on the history of our music!! First, a cautionary reminder from Gerhard Kubik, which I must appologetically paraphrase due to Katrina contretemps, "I have great difficulty in perceiving African music as merely the "roots' of something else." I have to agree....
Continental (second largest continent) Africa, Cuba, Brasil, and the U.S. ALL have LONG discrete musical/social histories that DO often overlap and invite ALL kinds of cross-cultural comparisons. Indeed by carefully combining our data into a temporal/geographical framework, a number of Diasporan musical trends become perceptible, and burning questions answered. Such a gestalt approach might prove fruitful, but should always be tempered with reason. Now if some pieces in our Cuban musical puzzle seem to fit together well, it is equally imporatant to remember that the slave trade there was a multi-track, multi-time event, and that peoples and cultural capital were flowing in BOTH directions across the Atlantic. Of course "rumba" as it was then erroniously called, although in reality the Cuban son form, did return to Central Africa by the early 1950's.
For example, if an 18th century popular Angolan dance was exported to Brasil, it likely became Brasilianized as it absorbed impulses from that sociocultural mileu, it is just as likely to have appeared in another related form in Cuba, where Angoleros were also taken. Conversely, it seems that the giant lamellaphones of Cuba (Rumba box, marimbula, etc.) were popularized ALL over the Caribbean with inter-island migrants, and even returned to West Africa by the late 19th century. The "roots & retentions" school of thought would have that the instrument ORIGINATED in West Africa, when it really didn't!! These instruments originated in Central Africa, took on a NEW larger form and musical role in Cuba, and THEN returned to a different part of Africa!!! A contemporary Central African likimbe player would be most vexed at the music and playing techniques of either a Cuban marimbula player or a Yoruba performer of the agidigbo. One small continuity in performance practice is the preference for passing one of the player's arms underneath her/his leg while playing. Just why this non-sound producing attitude was retained is unknown to me. Maybe it's for showy display as in Jimi Hendrix or other African-American guitarists playing with the intrument behind their back or playing it with their "teeth!"
Quite a redundant opening, and I DO appologize as my methodological orientation needs to be laid out. The Kongolese and Angolan peoples of West Central Africa were mightily influential in a number of Diasporan cultures for a number of different reasons. Unlike the widely disparate Niger-speaking cultures of the Gold Coast, the Bantu had a shared linguistic/cultural nucleus that extended across the center of the continent. This helped facilitated both inter-ethnic communication and solidified a more homogeneous cultural presence in New World slave societies. Numerically, the Kongo/Angolan slaves were also most dominant. Throughout the entire history of the slave trade, the region was repeatedly raided and then nearly depleted as slave traders made this region their PRIMARY target for human captives.
With the new social realities of slave life, the religious and political institutions that provided impetus for most musical activities was SEVERELY disrupted. Yet in Cuba and elsewhere, Kongo/Angolan peoples found new and different outlets for their incredible creativity.
Allright, enough allready!! What about those drums?????
Well a number of drum types from different parts of Africa were/are present in the New World. So where did the conga drum or tumbadora come from?
CUBA!!!!!!!!!!
Drums VERY similar to congas are found ALL over Africa and ALL over the Diaspora: Kongolese ngoma, Yoruba ashiko, Brasilian atabaque, Haitian Congo. It is VERY tempting to get into the minutia of organology here, but what I really think we are talking about is a CULTURAL CONCEPT of a specific drum, and not just the instrument itself. Let me dilineate some of them:
(1.) Playing techniques associated with the tumbadoras are one very important factor. I think that these were developed IN CUBA by slave musicians who were conversant with a number of different African drumming systems. The heel - fingertip monoteo, the finger gliss, the open, slap and bass tones were all combined in a new and novel form to be played in a EUROPEAN strophic form largely unknown in pre-18th century Africa. Kongo/Angolan drummers have MANY beautiful things going on in their music, much of which is remembered and respected in Cuba, but they actually sound very LITTLE like congeros to me. With the exception of some bata styles, West African drummers even less so.
(2.) The tuning sytem is also unique. When and where IN CUBA this happened is still unknown, although a myriad of opinions may be encountered. Without this important development, the widespread diffusion of the tumbadoras would not have occured. Tunability increased the drum's range and volume, and eliminated the painintheass factor of using sterno, candles, etc. to keep the drum at a reasonable pitch level.
(3.) Multiple drums were introduced IN CUBA to give the player ever more melodic options. The U.S. drumset doubtless provided a working model, but it still happened IN CUBA. Accent should be on melody here, for THAT aspect seperates the tumbadoras from MOST other drums. We always play VERY melodically in this system.
Remarkabley, most of this activity occured in a fairly short time period. These innovations were so important that they IMMEADIATELY spread FAR outside of Cuba by 1955 had an enormous influence throughout the world. Today I hear a very strong Cuban influence even in the traditional hand drumming styles of Brasil, Jamaica, Haiti, and the U.S. Regardless of whether these drummers are playing atabaque, repeater, congo, or whatever.
In conclusion I'm quite certain that one may find any number of African organological "precurssors" to the conga drum, but in light of subsequent Cuban cultural development, it almost seems irrelavent. It is the innovations of Cuba musicians that really matter here most, not the ultimate origin of their drum.
Now I DO have a lot to say about the kinfuiti, but even I'M getting tired of my post, and will leave that for another day.
Saludos,
Berimbau
.
-
Berimbau - Posts: 356
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by zaragemca » Thu Jan 05, 2006 7:35 pm
Greetting and Happy New Year to all, getting in to the debate,which is pretty good,but there are some misconceptions,the influence of the Rumba,(InCuba) was taking place with the Arara,Bantu,and Carabaly tribes, the Yorubas didn'y have anything to do originally and I would touch that later.Even when the Actual 'Conga' was taking from the Ngoma,(it didn't have the curve/shape originally,..it was more rustic straight up drum), that actual curve/shape of the Conga in Cuba,was taken from the Lards/Containres wich were the one used to transport that product,later when the European and U.S., based label companies started shipping cuban records in Africa,for sale,(back in the 1930's and some bands started touring that country,..they,(African),started developing those shaping drums which they featured now.As I said before the originals of those type drumming,(except the Batas which are Yorubas),were the Araras,(Guinean Empire),which since ancient times, 202 BC already were using drumming in war,(as psychologic weapons),and this was observed by Hannibal Barca,(Greece Empire),and incorporated into his strategy..The Yorubas influenced the Araras,(in some of the percussion patterns,but since the Yorubas never gave their drums to anybody outside the religion,nobody in Africa knew how to build them, the bells in the Arara and later Bantu,was incorporated from the Yorubas which were the only one in Africa knowing about metalurgic subjects and also the Yorubas metalcrafter were recruited to do scultures and other figures which they sold to other tribes,(the same token than seing an Airplane in many countries now doesn't mean that they builded,they just bought it,or lease it from somebody else. to be continued. Dr. Zaragemca
Edited By zaragemca on 1136567357
Edited By zaragemca on 1136567357
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by zaragemca » Fri Jan 06, 2006 5:11 pm
Continued...For sometimes historian thought that there were large shipping of Yorubas people as slave,(it was not the case),..First the Yorubas,(which was the only civilization in Africa against slavery went as far as talking with the Egiptians in relation to the use of Nubias and Abyssian as slave,later they did talk with the Araras, and later with the Muslims,becouse Odudowa forecasted that slavery would bring disgrace to Africa..So what really happened was the the Yorubas,(knowing the reason of the European in coming to West Africa, set up the Ibibios,Igbos,Efiks,Ijaws,etc.,between them and the European,(since the trader weren't that sophisticated at that time to know the different between the Yorubas and the rest of the Tribes around them for the following reasons)...The Tribes were dressing influenced by the Yorubas dressing style,they would speak Yorubas,or broken/Yoruba which have been a trade language for centuries, and they were all blacks,(to the traders mentality),..So the only true shipping of Yorubas didn't happened until 1820/1840, to the persisten of Spain to have some (Princess,Prince), of Yorubas ancestry and there were not war/slaves as it had been told,(they were secuestrated in one of the trips to Dahomey with the help of some Tribes which really knew the Yorubas distintion,and that was the only,(I have to repeate in case of insecurity),..This was the only shipping of Yorubas to the Americas,they were placed in Matanzas/Cuba,(the only place in Cuba that the Yorubas landed from Africa),They weren't mistreated in there and allowed to form a Yoruba Cabildo..It is from these 'Root of the Tree' that the Yoruba,(Santeria),was extended to Habana and later to the rest of Cuba and the Latin America..I was growing up in Cuba and observing people coming from differents part of Cuba to the Habana for the Spiritual/Healing becouse this was the only place were the Religion was taking place before being extended to other part of the country,(Cuba)...And my Godfathers in this subject knew with details the name and category of every Ocha/House in La Habana and Matanzas..In a subsequence subject the Yorubas have nothing to do with the development of the Guaguanco for the following reasons;,the Araras,Bantu,and Carabaly were the Tribes which would get together on weekend for drumming and chanting,the Yorubas only would use the drums for official ceremonies until about 1930's which it was used for by Dr.Obdulio Morales,Gilberto Valdez,Fernando Ortiz and other to do presentations,in Theatres and Philharmonic Music,... and from there some of the patterns were used for what would be called later Columbia,but still there were not authorization to use the Batas for Guaguanco.Also at that time the bataleros didn't associate themselves with Rumberos..Even in the 1950's when I was growing up I never observed them together,unless there were and special show usully directed by Dr. Obdulio Morales...The development of the Rod Tuning System started with the Timbales when doing the transition from the Timpanies, (in the Orchestras Typicas),around 1800's, and later in the 1950's with some modification it was incorporated to the Bongos and Tumbadora,(Congas)...The use of the Drum/Set started in the Rag Time when two percussionists,(one playing the Bass Drum used in the marching, but seated),and the other playing snare and Cymbals,they would syncronized the beats and the grooving between themselves in the band,later when the bass/ drum/Pedal was developed,one person would be able to play the bass/drum,snare and Cymbals at the same time.Dr. Zaragemca
Edited By zaragemca on 1136831421
Edited By zaragemca on 1136831421
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by Isaac » Fri Jan 06, 2006 11:22 pm
An excellent for the many drumming traditions of Ghana.
http://www.rpi.edu/~addyy/high/drums/rhythms.html
~ ISAAC
http://www.rpi.edu/~addyy/high/drums/rhythms.html
~ ISAAC
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Isaac - Posts: 512
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by pavloconga » Sat Jan 07, 2006 6:25 am
Isaac wrote:Pavlo,
You asked me about our Cuban conga teacher,
that we both had in common - Guillermo Lopez.
Your last post reminded me of a comment he made to me.
I thought it was a very odd/funny remark at the time.
Guillermo and I were walking back to his locker at the
Folklorico, and he asked "Why do you want to come to
Cuba to study rhythms? You should be going to
Africa, the source...we're just the tip of the iceberg"
I thought at the time this was just his frustration
for not being able to travel himself. He said if he could,
that's where he would go.
~ ISAAC ~
Hi Isaac,
I know it's probably been a while (1988?) since you have seen our teacher Guillermo Lopez from Havana so I have attached a pic of him.
regards
Pavlo
Guillermo Lopez, at his home in Havana Vieja in December 2003:
Attachment: http://mycongaplace.com/forum/eng/uploa ... llermo.jpg
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pavloconga - Posts: 546
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by pavloconga » Sat Jan 07, 2006 6:30 am
Oh by the way, many thanks for the link to the Ghanaian drums site.
Is Yacub Addy a relative of Mustapha Tetty Addy? (I had the good fortune of meeting him [Mustapha] and hearing his group in 1998 at Kokribiti in Ghana).
regards
Pavlo
Is Yacub Addy a relative of Mustapha Tetty Addy? (I had the good fortune of meeting him [Mustapha] and hearing his group in 1998 at Kokribiti in Ghana).
regards
Pavlo
-
pavloconga - Posts: 546
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- Location: Australia
by JohnnyConga » Sat Jan 07, 2006 7:01 pm
I believe Yacub is "one" of the ADDY clan....and Mustapha's brother, who I have on a Kpanlogo album they did....I am glad to hear that Mustapha is still around hitting his drums. I have never seen him but I have his first album and he "smokes it"...great hands..and his Ghanain drumming is incredible.....if anybody is into Voudou drumming chek out my man TI-RO-RO, at one time Haiti's National Tourist Attraction...He is gone but he has a few recordings still around....I have about 4 with him...he could actually "change the pitch" of the drum just with his hands, no elbow, just by pressing into the head, that is how strong he was..."JC" Johnny Conga.... 
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by zaragemca » Mon Jan 09, 2006 6:00 pm
To my brothers in percussion setting more history straight,I could said that some of the Tribes living in that region which was giving the name of Ghana,were not originally from there neither,during the war of 1864,the British almost exterminate the Assante Tribe,(in retaliation of the early defeat suffered by them from the Assante,(1824),and also the slavery trade reduced the numer of available population in that part of Africa,to which people of other part of Africa were brought it to that region to grow the population back again, and this happened in several part of Africa as well, the war of some African Empire, the invasion of the Arabian Berbers,the slavery,the Jihad of the Muslims,and later the European Invasion and wars,had contribute to the movement and displacement of several tribes from their original territory and the establisment of new one which are not the original setted. It look like the Yorubas were one of the few Civilization surviving the original setting like, Ife,Oyo,Ibadan, and the Yorubaland which is still there in their original territory.So many of this habitants don't have a clue what happened during the (BC time),and the early centuries..Dr. Zaragemca
Edited By zaragemca on 1136918345
Edited By zaragemca on 1136918345
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