Gbedu: Difference between revisions
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|publisher=Dabi Debo Kanyinsola |
|publisher=Dabi Debo Kanyinsola |
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|accessdate=2010-01-30}}</ref> |
|accessdate=2010-01-30}}</ref> |
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The Gbedu drum is said to have been brought to the [[Lagos]] area in the seventeenth century by [[Edo language|Edo]] diplomats, symbolizing the hegemony of the [[Benin Empire]].<ref>{{cite book |
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|page=30 |
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|title=Jùjú: a social history and ethnography of an African popular music |
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|author=Christopher Alan Waterman |
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|publisher=University of Chicago Press |
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|year=1990 |
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|ISBN=0226874656}}</ref> |
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Among the Yoruba, the Gbedu drum signifies royalty.<ref>{{cite book |
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| ⚫ | |||
|title=Culture and customs of Nigeria |
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|author=Toyin Falola |
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|publisher=Greenwood Publishing Group |
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|year=2001 |
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|ISBN=0313313385 |
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|page=165}}</ref> |
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The largest of the Yoruba drums, it is played only in the king's service.<ref>{{cite book |
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|title=The Journal of the Manchester Geographical Society, Volumes 5-6 |
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|publisher=Manchester Geographical Society |
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|date=1889 |
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|page=291}}</ref> |
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In ceremonies such the rite of Isagun, the [[Oba (ruler)|Oba]] might dance to the music of the drum.<ref>{{cite book |
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|title=Africa's Ogun: old world and new |
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|author=Sandra T. Barnes |
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|publisher=Indiana University Press |
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|year=1997 |
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|ISBN=0253210836 |
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|page=111}}</ref> |
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| ⚫ | |||
|url=http://www.clarku.edu/~jborgatt/ld_exhibit.htm |
|url=http://www.clarku.edu/~jborgatt/ld_exhibit.htm |
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|title=Art of Music |
|title=Art of Music |
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|accessdate=2010-01-30}}</ref> |
|accessdate=2010-01-30}}</ref> |
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An old Yoruba proverb says "the |
An old Yoruba proverb says "unless the he-goat dies, no one can make a gbedu drum from its skin". The implication is that a person will be able to look out for their own interests as they are alive. |
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Another proverb says "the hide of a pig cannot be used to make a gbedu drum", meaning that a given material cannot be used for all purposes. |
Another proverb says "the hide of a pig cannot be used to make a gbedu drum", meaning that a given material cannot be used for all purposes. |
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"No thief steals a gbedu drum" is a warning not to attempt the impossible.<ref name=proverbs/> |
"No thief steals a gbedu drum" is a warning not to attempt the impossible.<ref name=proverbs/> |
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==Modern usage== |
==Modern usage== |
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In modern Nigeria, the |
In modern Nigeria, the Gbedu and its relatives continue to be used, but the word has taken new meanings. |
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[[Fela Kuti]] included the traditional Gbedu drum in his ensemble, with a percussionist pounding out a thunderous rhythm from an eight foot drum lying on its side.<ref>{{cite book |
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|title=Fela: the life & times of an African musical icon |
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|author=Michael E. Veal |
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|publisher=Temple University Press |
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|year=2000 |
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|ISBN=1566397650 |
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|page=3}}</ref> |
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Afrobeat ensembles often include the [[Akuba]], a set of three small Yoruba congas played with sticks that are related to the Gbedu.<ref>{{cite web |
Afrobeat ensembles often include the [[Akuba]], a set of three small Yoruba congas played with sticks that are related to the Gbedu.<ref>{{cite web |
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|url=http://afrofunkforum.blogspot.com/2006/04/lead-congas-in-afrobeat.html |
|url=http://afrofunkforum.blogspot.com/2006/04/lead-congas-in-afrobeat.html |
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|publisher=Radio Palm Wine |
|publisher=Radio Palm Wine |
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|accessdate=2010-01-30}}</ref> |
|accessdate=2010-01-30}}</ref> |
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Dele Sosimi, who played with |
Dele Sosimi, who played with Fela Kuti in the 1980s, later formed an Afrobeat group named "Gbedu Resurrection".<ref>{{cite web |
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|url=http://www.africanmusiciansprofiles.com/delesosimi.htm |
|url=http://www.africanmusiciansprofiles.com/delesosimi.htm |
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|title=Dele Sosimi |
|title=Dele Sosimi |
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Revision as of 16:54, 30 January 2010
Gbedu literally means "big drum" and is a percussion instrument traditionally used in ceremonial Yoruba music in Nigeria and Benin.[1] More recently, the word has come to be used to describe forms of Nigerian Afrobeat and Hip Hop music.[2]
Tradition
The Gbedu drum is traditionally used on state occasions or during ceremones of Ogboni, the ancient Yoruba secret society.[1] The Ogido/Gbedu is one of the four major families of Yoruba drums, each of which includes drums of different sizes, with the mother drum (iya ilu) playing the lead role and other drums playing in support. The other families are the Dundun/Gangan or talking drum, the Batá drum and the Sakara drum.[3] The Gbedu drum is said to have been brought to the Lagos area in the seventeenth century by Edo diplomats, symbolizing the hegemony of the Benin Empire.[4]
Among the Yoruba, the Gbedu drum signifies royalty.[5] The largest of the Yoruba drums, it is played only in the king's service.[6] In ceremonies such the rite of Isagun, the Oba might dance to the music of the drum.[7] Often the iya ilu in the Gbedu set is played by a king or diviner. The carved face of this drum includes an image of Olukun, goddess of the sea, and is considered the "face of worship".[8] Each backing drum is played by a drummer using both his open palm and a stick.[9]
An old Yoruba proverb says "unless the he-goat dies, no one can make a gbedu drum from its skin". The implication is that a person will be able to look out for their own interests as they are alive. Another proverb says "the hide of a pig cannot be used to make a gbedu drum", meaning that a given material cannot be used for all purposes. "No thief steals a gbedu drum" is a warning not to attempt the impossible.[1]
Modern usage
In modern Nigeria, the Gbedu and its relatives continue to be used, but the word has taken new meanings. Fela Kuti included the traditional Gbedu drum in his ensemble, with a percussionist pounding out a thunderous rhythm from an eight foot drum lying on its side.[10] Afrobeat ensembles often include the Akuba, a set of three small Yoruba congas played with sticks that are related to the Gbedu.[11] Afrobeat musician Kola Ogunkoya uses the term "Afro Gbedu" to describe his style of music, which includes jazz, highlife, Jùjú, funk and traditional Yoruba music.[12] Dele Sosimi, who played with Fela Kuti in the 1980s, later formed an Afrobeat group named "Gbedu Resurrection".[13] The word Gbedu has more recently been used to describe Nigerian Hip Hop music.[2] For many young people, the word now simply means "party".[14]
External links
References
- ^ a b c Oyekan Owomoyela (2005). Yoruba proverbs. University of Nebraska Press. ISBN 0803235763.
- ^ a b Maduabuchi Agbo (1 February 2009). "Language Alternation Strategies in Nigerian Hip Hop and Rap Texts" (PDF). Language in India. p. 35. Retrieved 2010-01-30.
- ^ "The Yoruba Talking Drums". Dabi Debo Kanyinsola. Retrieved 2010-01-30.
- ^ Christopher Alan Waterman (1990). Jùjú: a social history and ethnography of an African popular music. University of Chicago Press. p. 30. ISBN 0226874656.
- ^ Toyin Falola (2001). Culture and customs of Nigeria. Greenwood Publishing Group. p. 165. ISBN 0313313385.
- ^ The Journal of the Manchester Geographical Society, Volumes 5-6. Manchester Geographical Society. 1889. p. 291.
- ^ Sandra T. Barnes (1997). Africa's Ogun: old world and new. Indiana University Press. p. 111. ISBN 0253210836.
- ^ "Art of Music". Clark University. Retrieved 2010-01-30.
- ^ "Ogido ensemble". Motherlan' Music Lagos. Retrieved 2010-01-30.
- ^ Michael E. Veal (2000). Fela: the life & times of an African musical icon. Temple University Press. p. 3. ISBN 1566397650.
- ^ David McDavitt (April 21, 2006). ""Lead Congas" in Afrobeat". The Afrofunk Music Forum. Retrieved 2010-01-30.
- ^ "KOLA GBEDU OGUNKOYA". Radio Palm Wine. Retrieved 2010-01-30.
- ^ "Dele Sosimi". African Musicians Profiles. Retrieved 2010-01-30.
- ^ "Publisher's Note". Gbedu Magazine. Retrieved 2010-01-30.
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