Attached with Video of the 2010 Ngoma Festival
INTRODUCTION
Traditional performances through out history have been one among the unique identities of particular culture of certain society. In Africa, performance is a fundamental dimension of culture. Whether taken as the practice of everyday life or a bounded, framed event, performance is inherently social and rhetorical. Therefore the study of performance is at the same time the study of social processes.
Performances are events in which knowledge is produced, people sit and reflect and then perceive precepts and advice. Thanks to performances, people find and reinforce their individual and collective identities and resist or subvert prevailing social orders. Thus the social context and the audience become performative.
Most of the traditional dances are referred as “Ngoma”. The term Ngoma has a wide meaning. Siri Lange in his report “From Nation-Building to Popular Culture: The Modernization of Performance in Tanzania” explains that;
“Cultural performance in Tanzania has traditionally been ngoma. This Swahili word, also used in various central and southern African languages, may denote a drum (occasionally any traditional instrument), a dance, or the entire musical event. You may dance an ngoma (kucheza ngoma), you may play an ngoma (kupiga ngoma), you may go to an ngoma (kwenda ngoma), or you may have an ngoma enacted for you. Medical practioners, who believe that their patient is plagued by spirits, may arrange a therapeutic ngoma” (Lange S.1995: 3)
Ngoma performances are used to express joy and sadness. As in most cultures, polyrhythms are played. This means that each drum plays a different rhythm and when the different rhythms are combined, they produce one unique sound. Drumming is a complex skill that requires coordination, timing, rhythm and concentration. Singing, in ngoma is compulsory, because song is used as an avenue of communication. Because many African languages are “tone languages,” in which pitch level determines meaning, the melodies and rhythms of songs generally follow the intonation contour and rhythms of the song texts. Melodies are usually organized within a scale of four, five, six, or seven tones. In group singing, some societies habitually sing in unison or in parallel octaves with sporadic fourths or fifths; others sing in two or three parts, using parallel thirds or fourths. Songs generally are in call-and-response form.
Traditional ngoma, are derivatives of ancient cultures. These early cultures seem to be gone, but a true break-down of today’s cultures show that ancient cultures prevail today. Knowing that success of some of the most influential nations in the world was brought about by globalization is important. We can all succeed with a better understanding of globalization and what positive outcomes it can produce in the long run. In addition, globalization should be a gradual process. Rushing the process or forcing a culture on another is normally what slowly eliminates a culture.
With urbanization and the impact of Western culture, traditional music and dance, although still practiced, have decreased. New idioms have emerged, however, that combine African and Western elements; they include West African highlife (showing certain Caribbean traits), Congolese popular music (reflecting Latin American influence), and in southern Africa, sabasaba and kwella (both akin to U.S. swing and jive music). Evidence suggests that the needs of the church and other transplanted institutions may stimulate a new art music.
Due to globalization, traditional music and dance face serious threat of decline.
Mbezi Benjamini who is the holder of Bachelor degree in community arts, in his research entitled; “An Examination of Iringi Dance of the Chagga” states that;
“Today, the Iringi dance practice in the Marangu area is declining, while the local traditional dance practice in every day life has died a natural death. There are almost no more performers of these Chagga dances particularly the Iringi dance. Funny enough the dance is not well known to the youth and some adults in the Diaspora (most of the Chagga are living in Towns engaging themselves in economic activities. They are used to visit their homesteads one or twice a year and have no time to participate in the cultural events). They don’t know how the dance was organized and performed. The Marangu area is facing of what is called “cultural imperialism”; the modern arts (western arts like music, dances and others) have dominated the indigenous culture. Traditional Dances are less valuable to the young generation within the Chagga of Marangu”. (Mbezi B, 2010:15)
Despite all threats caused by Globalisation, there are few societies which have managed to resist and preserve their traditional dances with positive changes.
One among those communities is Sukuma. This report gives a detailed background of the Sukuma people their past traditional ngoma festival, present festival and the influence of globalization on the traditional ngoma.
BACKGROUND OF SUKUMA PEOPLE
The Sukuma live in north-western Tanzania on or near the southern shores of Lake Victoria, and the territory has been divided into nine administrative districts of the Mwanza and Shinyanga Region. The northern area of their residence is in the famous Serengeti Plain. Sukuma families have migrated southward, into the Rukwa area, encroaching on the territory of the Pimbwe. These Sukuma have settled outside Pimbwe villages.
The Sukuma area is mostly a flat scrub less savannah plain between 3000 and 4000 ft. elevation. Twenty to forty inches of rain fall from November to March. High temperatures range from 79 to 90 while lows at night seldom drop below the upper 50's. Population is very spread out among small farm plots and sparse vegetation.
Ancestors of the Sukuma were part of the extensive migrations of people speaking early forms of Bantu speech, in the first millennium AD.
It appears their ancestors left that area before the invasion of the Hima Cushites, since their culture and language show no influences of the Hima or the later Lwoo invaders in the Nyoro-Kigezi areas of Uganda, Tanzania and Rwanda. This puts the Sukuma in their current area by about 1300 AD.
It appears that the pastoral Hima were actually there when the Sukuma arrived. Sukuma tradition says they drove out the Hima who subsequently established their kingdoms farther west, around Lake Victoria.
The Sukuma are the largest ethnic group in Tanzania. The Sukuma are a Bantu-speaking people numbering over about 5.5 million, by current estimates. Commonly sources will report major divisions: the Kinakia (Kinakiya) of the north and the more dispersed Kisomao of the south.
Information from a local source indicates that the larger group called Sukuma divide themselves into 2 groups called the Sukuma and Balatulu, then further sub-groupings called clans. The Kisomao are reported to live in the Busumabu area. The Kinakiya are more similar in culture and seems to share kinship with the Balatulu.
Although many workers among the Sukuma define them as a single people, many Sukuma consider the clan groups as distinct, suggesting the possibility that "Sukuma" may not be a meaningful, cultural category.
The Sukuma language, like Swahili, is a Bantu language. Unlike Swahili, Sukuma is tonal and some missionaries had considered its difficulty to be a barrier to mission work.
The Sukuma are generally considered to be matriarchal in clan lineage and naming system. They grow crops, raise livestock, and gather a diminishing supply of firewood. It is common for the Sukuma women to do the majority of the family's work. The Kinakia are subsistence farmers growing cotton, cassava, rice and peanuts.
The Kisomao grow the same crops as the Kinakia but rely more on herding cattle.
The Balatulu on the eastern reaches of Sukuma area, on the plains away from the forests, are hearding cattle because the conditions are more conducive to their cattle herding. The southernmost Sukuma among the Pimbwe both farm and herd cattle.
Cotton is the main cash crop but the typical cash income is nominal.
Abundance of offspring and traditional group dance mark important aspects of their society. The Sukuma sing and dance to the music of drums to celebrate the various events of life.
Mwanza (pop. 250,000+) and Shinyanga (pop. 40,000+) are the major cities among the Sukuma. These cities are 70-90% Sukuma residents.
Christianity, although introduced to the culture over a hundred years ago by Catholic missionaries, has not formed a church presence capable of reaching its people. The vast majority have retained a belief in divination, magic, and spiritism.
It is estimated that about 10% of the Sukuma are Christian. Traditionally, the Sukuma have been perceived as slow to change, passive and yet friendly.
THE TRADITIONAL NGOMA FESTIVAL
Dancing is a vital part of Sukuma life. The Sukuma are famous throughout Tanzania for their innovative dancing styles. Dancers continue to perform and compete in annual competitions, creating new costumes and using new and old dances just as their ancestors did over a hundred years ago. Some suggest that many of the current Sukuma dances started through cooperative farming groups who travelled from farm to farm. Members assisted one another to till their own farms and also worked as a group in exchange for money. To help pass the long day and to maintain their energy, the workers composed songs and lifted their hoes to the rhythm of singing and drumming. Such cooperative groups still exist; yet, Sukuma dancing is not limited to farm work.
The competitive dance season begins in Usukuma in June when people have free time from their farm work and can celebrate their new supply of food for the year. The season can last through September or until people resume their farming activities. A good harvest will lead to a dance season with great celebration through singing and dancing. The festivals take place in a large field that has been cleared for dancing or sometimes in a small stadium. A competition can be as short as a day or as long as two weeks depending on the occasion or the number of dance groups scheduled. Both July 7, or Saba-Saba, and August 8, Nane-Nane, are National holidays to commemorate farming and commerce in Tanzania and provide two of the biggest festival days for dancers.
Competitive dancing in Usukuma began with the formation of two dance societies: the Bagika and Bagalu. These societies were started in the mid Nineteenth century by two famous dancers and composers, Ngika and Gumha. Both of these men lived for many years with traditional doctors to gain the knowledge of potent medicines. Because they were also both famous dancers in Usukuma, they were encouraged to compete to test which one had the most powerful medicines. Both used their magical potions to attract the spectators to their side of the dance field and to force bad luck on their opponent. The matches between these men were fierce and in the end their supporters divided according to which man they thought was the most powerful. Ngika then became the first leader of the Bagika Society (people of Ngika) and Gumha of the Bagalu. The societies are still going strong and dancers are affiliated with either Bagika or Bagalu. The two groups continue to compete against one another during the dance season. While the leadership of Bagika is divided between Ibogo Muhangwa and Kabugume, Bulungute Muleka is the undisputed leader of Bagalu and grandson of its founder, Gumha. These men are considered all the more powerful because they received their knowledge from a direct ancestral line to the first dance society leaders, Ngika and Gumha. Bulungute, Ibogo and Kabugume are busy during the dance season administering special medicines to their followers to aid them in winning competitions.
Before going to a competition, the dance leader consults his trusted traditional doctor for special advice and medicines for good luck. He then wears certain medicines while the group is dancing or implants medicine on the dancing ground for good luck and to attract the crowd. The most popular dance medicine is called samba. This is a
special powder form of good luck medicine that is supposed to make the dancers and especially the dance leader very attractive to the audience. It can be used in three different ways. The dancers may rub the powdered medicine on their bodies with a lotion; mix some in water and allow it to wash over the body while bathing; or, sit in an enclosed space with the medicine over a fire and allow the open pores of the body to "inhale" the substance. During a contest, some dancers build semi-permanent ancestral shrines on the dance ground. Larger structures are also constructed where a constant fire might be maintained to heat the samba medicine. At the competition, dancers go into the house to allow the smoking medicine to enter their bodies through the pores.
During a match, two dance groups compete for the crowd at the same time. Each attempts to perform the most outrageous stunts to draw the rest of the spectators over. The crowd runs from one dance group to the other as the excitement builds and the cheers of the audience grow louder and louder. The winner is selected by judges based on the size of the crowd the dance group maintained during the competition. Costumes are diverse and new innovations occur each year in the hopes of victory. One famous dance family, the Lyakus, innovate new moves with each dance season. Hoja Lyaku, the family's grandfather, was a famous dancer of Bakomyalume. During a dance he would use large wooden figures, often with moveable arms and legs to parade in front of the spectators. The figures would often draw a large crowd because of their novelty and humorous moves. Hoja's grandson, Steven Lyaku, suggested that they no longer use the wooden figures. Instead they plan new secret weapons each year as a strategy to win.
Maganigani consults his traditional doctor before the dance season to gain advice on winning. The doctor prescribes special medicines to be used and recommends methods for honouring the ancestors to ensure good luck. For example, Maganigani may build ancestral shrines on the dance ground and then perform while moving in a special path around the structures. During a visit to the traditional doctor, Maganigani and other Sogota dancers may also receive scarification cuts in their skin, into which medicines for attracting the dancing crowd are rubbed. Although he relies on traditional medicines for good luck in winning, Maganigani's dance, Sogota, is pure innovation from traditional Sukuma dances. Its originality has helped Maganigani achieve status as a popular icon in Usukuma. Even in small villages, children can be
seen attempting to imitate the unique dance steps made famous by Maganigani. This blend of the traditional with innovative changes reflects the richness of the contemporary dynamic in Usukuma.
From June through September, Sukuma song writers compete in long festivals. The composer's groups are called Wigashe (pronounced "wee-gah-shay"). The composer, or mlingi in Kisukuma, stands and sings during the competition with a chorus surrounding him. The Wigashe competitions are also called the “Sitting Dances” because the chorus sits on long benches around the leader and, as the song progresses, begin to jump from their benches with the song's rhythm. After the composer sings the words, the chorus echoes the song. For the competition, each composer writes a new melody and a complicated series of lyrics. Some composers write six or more songs that will be performed during competitions and for commemorative festivals throughout the season. Wearing intricate costumes of beaded, embroidered or appliqued vests, hats and arm bands, the composer sings and sways slowly while rhythmically moving fly whisks in his arms. Most of the famous composers are men, but women also write songs and join in the chorus. Like the dancers, composers are affiliated with either Bagika or Bagalu. Two composers compete at the same time (one from Bagika and one from Bagalu) and try to attract a larger crowd than their opponent. They will often use medicines for good luck and to attract the largest audience. Composers write unique lyrics, which may be about anything from Sukuma history to recent National elections or even carrying a moral message about AIDS.
THE CURRENT TRADITIONAL NGOMA FESTIVAL
After having the knowledge about the origin and how the ngoma festival was practised hundred of years a go, it is time to make the comparison about what is currently taking place in the same area, same culture but new generation in the highly globalise world.
First of all I am filling very proud to have this extraordinary chance to step on the Sukuma land and participate lively to this Traditional ngoma festival. The festival took place from 17th to 22nd September 2010, at Mwamadelana Village.
17th September 2010, was the reporting day of the Groups which would participate in the festival.
I dedicated this day to find Mwamadelana village. It was some how a tough work. At first, I got lost due to the likeness of the names of the villages. Some of the names of
The villages which participated in the festival were; Budilana, Bulambiu, Bulambili, Mwalukwa, Mwamalili,Mwamapalala, Mwan’gosha, mwasele, Mwadui, Ning’wa, Solwa, Chibe and Pandakichizi. Instead of being sent to Mwamadelana village, I was sent to Budilana village which is totally wrong, far away from the direction I was supposed to go.
Mwamadelana is located about one hour drive from Shinyanga Town.
The cheapest means of transport is motorcycle, which coast 9,000 Tsh. (go and return)
Mwamadelana is a ward in the district of Shinyannga villages.
It is dominated by traditional Sukuma people. The area looks dry (savana), with scattered settlement. The main economic activities of the people are Pastoralist and crop cultivation. They strongly believe in witchcraft. To them witchcraft is a part and parcel of their daily life.
May be you would ask me how did I notice? Very easy!
After my arrival at Mwamadelana, I got a chance of exchanging some stories with the group of young Sukuma boys who were servicing their bicycles ready for the competition which was one among the most favorite games in this land; I came to know later that, it was also part of the festival. Most of their stories were about witchcraft. While sitting there, one among the electro candidate of that constituency passed through the road near to where we were sitting. A boy touched my shoulder and asked me; “have you seen that man?” I answered “yes” he took a breath and said “He is dangerous! This is his forth time running in election. Normally, when Election Day approaches, his opponent got sick and dies! Till now three of his opponents have died. He applies witch craft! We are just waiting to see what will happen in this year because his opponent is well protected!”
While I was still meditating about what I had just herd, there came another pinch! One among those boys, whose bicycle was ready, stood up and said; “every thing is fine, but I am still missing one important thing. I have to go to Mzee Manju to take the Hirizi for protection” I asked Him what the use of the Hirizi was? He answered that; “some of the competitors have their hirizi, when pressed, they make you tired and hence fail to ride the bicycle. In this case you must protect your self. I looked to the boys and found that, most of them had their hirizi tied to their left arms or to the neck.
The 17th was a reporting day of the groups which would participate in the festival.
Participants from different groups were building their local tents at the opposite sides of the ground where the festival would take place.
18th September, was the opening day. The activities started around 3 pm. The main activity of the day was bicycle competition. A good number of boys from different villages were registered to participate in the competition. There were more than 60 in groups of 10 competitors who will be competing for all days. They had to cycle 80 times around the play ground. The four groups competed and the five winners from each group were selected for the second competition. For the followed days there would be only two groups competing followed by the ngoma performances.
Traditional ngoma, are derivatives of ancient cultures. These early cultures seem to be gone, but a true break-down of today’s cultures show that ancient cultures prevail today. Knowing that success of some of the most influential nations in the world was brought about by globalization is important. We can all succeed with a better understanding of globalization and what positive outcomes it can produce in the long run. In addition, globalization should be a gradual process. Rushing the process or forcing a culture on another is normally what slowly eliminates a culture.
With urbanization and the impact of Western culture, traditional music and dance, although still practiced, have decreased. New idioms have emerged, however, that combine African and Western elements; they include West African highlife (showing certain Caribbean traits), Congolese popular music (reflecting Latin American influence), and in southern Africa, sabasaba and kwella (both akin to U.S. swing and jive music). Evidence suggests that the needs of the church and other transplanted institutions may stimulate a new art music.
Due to globalization, traditional music and dance face serious threat of decline.
Mbezi Benjamini who is the holder of Bachelor degree in community arts, in his research entitled; “An Examination of Iringi Dance of the Chagga” states that;
“Today, the Iringi dance practice in the Marangu area is declining, while the local traditional dance practice in every day life has died a natural death. There are almost no more performers of these Chagga dances particularly the Iringi dance. Funny enough the dance is not well known to the youth and some adults in the Diaspora (most of the Chagga are living in Towns engaging themselves in economic activities. They are used to visit their homesteads one or twice a year and have no time to participate in the cultural events). They don’t know how the dance was organized and performed. The Marangu area is facing of what is called “cultural imperialism”; the modern arts (western arts like music, dances and others) have dominated the indigenous culture. Traditional Dances are less valuable to the young generation within the Chagga of Marangu”. (Mbezi B, 2010:15)
Despite all threats caused by Globalisation, there are few societies which have managed to resist and preserve their traditional dances with positive changes.
One among those communities is Sukuma. This report gives a detailed background of the Sukuma people their past traditional ngoma festival, present festival and the influence of globalization on the traditional ngoma.
BACKGROUND OF SUKUMA PEOPLE
The Sukuma live in north-western Tanzania on or near the southern shores of Lake Victoria, and the territory has been divided into nine administrative districts of the Mwanza and Shinyanga Region. The northern area of their residence is in the famous Serengeti Plain. Sukuma families have migrated southward, into the Rukwa area, encroaching on the territory of the Pimbwe. These Sukuma have settled outside Pimbwe villages.
The Sukuma area is mostly a flat scrub less savannah plain between 3000 and 4000 ft. elevation. Twenty to forty inches of rain fall from November to March. High temperatures range from 79 to 90 while lows at night seldom drop below the upper 50's. Population is very spread out among small farm plots and sparse vegetation.
Ancestors of the Sukuma were part of the extensive migrations of people speaking early forms of Bantu speech, in the first millennium AD.
It appears their ancestors left that area before the invasion of the Hima Cushites, since their culture and language show no influences of the Hima or the later Lwoo invaders in the Nyoro-Kigezi areas of Uganda, Tanzania and Rwanda. This puts the Sukuma in their current area by about 1300 AD.
It appears that the pastoral Hima were actually there when the Sukuma arrived. Sukuma tradition says they drove out the Hima who subsequently established their kingdoms farther west, around Lake Victoria.
The Sukuma are the largest ethnic group in Tanzania. The Sukuma are a Bantu-speaking people numbering over about 5.5 million, by current estimates. Commonly sources will report major divisions: the Kinakia (Kinakiya) of the north and the more dispersed Kisomao of the south.
Information from a local source indicates that the larger group called Sukuma divide themselves into 2 groups called the Sukuma and Balatulu, then further sub-groupings called clans. The Kisomao are reported to live in the Busumabu area. The Kinakiya are more similar in culture and seems to share kinship with the Balatulu.
Although many workers among the Sukuma define them as a single people, many Sukuma consider the clan groups as distinct, suggesting the possibility that "Sukuma" may not be a meaningful, cultural category.
The Sukuma language, like Swahili, is a Bantu language. Unlike Swahili, Sukuma is tonal and some missionaries had considered its difficulty to be a barrier to mission work.
The Sukuma are generally considered to be matriarchal in clan lineage and naming system. They grow crops, raise livestock, and gather a diminishing supply of firewood. It is common for the Sukuma women to do the majority of the family's work. The Kinakia are subsistence farmers growing cotton, cassava, rice and peanuts.
The Kisomao grow the same crops as the Kinakia but rely more on herding cattle.
The Balatulu on the eastern reaches of Sukuma area, on the plains away from the forests, are hearding cattle because the conditions are more conducive to their cattle herding. The southernmost Sukuma among the Pimbwe both farm and herd cattle.
Cotton is the main cash crop but the typical cash income is nominal.
Abundance of offspring and traditional group dance mark important aspects of their society. The Sukuma sing and dance to the music of drums to celebrate the various events of life.
Mwanza (pop. 250,000+) and Shinyanga (pop. 40,000+) are the major cities among the Sukuma. These cities are 70-90% Sukuma residents.
Christianity, although introduced to the culture over a hundred years ago by Catholic missionaries, has not formed a church presence capable of reaching its people. The vast majority have retained a belief in divination, magic, and spiritism.
It is estimated that about 10% of the Sukuma are Christian. Traditionally, the Sukuma have been perceived as slow to change, passive and yet friendly.
THE TRADITIONAL NGOMA FESTIVAL
Dancing is a vital part of Sukuma life. The Sukuma are famous throughout Tanzania for their innovative dancing styles. Dancers continue to perform and compete in annual competitions, creating new costumes and using new and old dances just as their ancestors did over a hundred years ago. Some suggest that many of the current Sukuma dances started through cooperative farming groups who travelled from farm to farm. Members assisted one another to till their own farms and also worked as a group in exchange for money. To help pass the long day and to maintain their energy, the workers composed songs and lifted their hoes to the rhythm of singing and drumming. Such cooperative groups still exist; yet, Sukuma dancing is not limited to farm work.
The competitive dance season begins in Usukuma in June when people have free time from their farm work and can celebrate their new supply of food for the year. The season can last through September or until people resume their farming activities. A good harvest will lead to a dance season with great celebration through singing and dancing. The festivals take place in a large field that has been cleared for dancing or sometimes in a small stadium. A competition can be as short as a day or as long as two weeks depending on the occasion or the number of dance groups scheduled. Both July 7, or Saba-Saba, and August 8, Nane-Nane, are National holidays to commemorate farming and commerce in Tanzania and provide two of the biggest festival days for dancers.
Competitive dancing in Usukuma began with the formation of two dance societies: the Bagika and Bagalu. These societies were started in the mid Nineteenth century by two famous dancers and composers, Ngika and Gumha. Both of these men lived for many years with traditional doctors to gain the knowledge of potent medicines. Because they were also both famous dancers in Usukuma, they were encouraged to compete to test which one had the most powerful medicines. Both used their magical potions to attract the spectators to their side of the dance field and to force bad luck on their opponent. The matches between these men were fierce and in the end their supporters divided according to which man they thought was the most powerful. Ngika then became the first leader of the Bagika Society (people of Ngika) and Gumha of the Bagalu. The societies are still going strong and dancers are affiliated with either Bagika or Bagalu. The two groups continue to compete against one another during the dance season. While the leadership of Bagika is divided between Ibogo Muhangwa and Kabugume, Bulungute Muleka is the undisputed leader of Bagalu and grandson of its founder, Gumha. These men are considered all the more powerful because they received their knowledge from a direct ancestral line to the first dance society leaders, Ngika and Gumha. Bulungute, Ibogo and Kabugume are busy during the dance season administering special medicines to their followers to aid them in winning competitions.
Before going to a competition, the dance leader consults his trusted traditional doctor for special advice and medicines for good luck. He then wears certain medicines while the group is dancing or implants medicine on the dancing ground for good luck and to attract the crowd. The most popular dance medicine is called samba. This is a
special powder form of good luck medicine that is supposed to make the dancers and especially the dance leader very attractive to the audience. It can be used in three different ways. The dancers may rub the powdered medicine on their bodies with a lotion; mix some in water and allow it to wash over the body while bathing; or, sit in an enclosed space with the medicine over a fire and allow the open pores of the body to "inhale" the substance. During a contest, some dancers build semi-permanent ancestral shrines on the dance ground. Larger structures are also constructed where a constant fire might be maintained to heat the samba medicine. At the competition, dancers go into the house to allow the smoking medicine to enter their bodies through the pores.
During a match, two dance groups compete for the crowd at the same time. Each attempts to perform the most outrageous stunts to draw the rest of the spectators over. The crowd runs from one dance group to the other as the excitement builds and the cheers of the audience grow louder and louder. The winner is selected by judges based on the size of the crowd the dance group maintained during the competition. Costumes are diverse and new innovations occur each year in the hopes of victory. One famous dance family, the Lyakus, innovate new moves with each dance season. Hoja Lyaku, the family's grandfather, was a famous dancer of Bakomyalume. During a dance he would use large wooden figures, often with moveable arms and legs to parade in front of the spectators. The figures would often draw a large crowd because of their novelty and humorous moves. Hoja's grandson, Steven Lyaku, suggested that they no longer use the wooden figures. Instead they plan new secret weapons each year as a strategy to win.
Maganigani consults his traditional doctor before the dance season to gain advice on winning. The doctor prescribes special medicines to be used and recommends methods for honouring the ancestors to ensure good luck. For example, Maganigani may build ancestral shrines on the dance ground and then perform while moving in a special path around the structures. During a visit to the traditional doctor, Maganigani and other Sogota dancers may also receive scarification cuts in their skin, into which medicines for attracting the dancing crowd are rubbed. Although he relies on traditional medicines for good luck in winning, Maganigani's dance, Sogota, is pure innovation from traditional Sukuma dances. Its originality has helped Maganigani achieve status as a popular icon in Usukuma. Even in small villages, children can be
seen attempting to imitate the unique dance steps made famous by Maganigani. This blend of the traditional with innovative changes reflects the richness of the contemporary dynamic in Usukuma.
From June through September, Sukuma song writers compete in long festivals. The composer's groups are called Wigashe (pronounced "wee-gah-shay"). The composer, or mlingi in Kisukuma, stands and sings during the competition with a chorus surrounding him. The Wigashe competitions are also called the “Sitting Dances” because the chorus sits on long benches around the leader and, as the song progresses, begin to jump from their benches with the song's rhythm. After the composer sings the words, the chorus echoes the song. For the competition, each composer writes a new melody and a complicated series of lyrics. Some composers write six or more songs that will be performed during competitions and for commemorative festivals throughout the season. Wearing intricate costumes of beaded, embroidered or appliqued vests, hats and arm bands, the composer sings and sways slowly while rhythmically moving fly whisks in his arms. Most of the famous composers are men, but women also write songs and join in the chorus. Like the dancers, composers are affiliated with either Bagika or Bagalu. Two composers compete at the same time (one from Bagika and one from Bagalu) and try to attract a larger crowd than their opponent. They will often use medicines for good luck and to attract the largest audience. Composers write unique lyrics, which may be about anything from Sukuma history to recent National elections or even carrying a moral message about AIDS.
THE CURRENT TRADITIONAL NGOMA FESTIVAL
After having the knowledge about the origin and how the ngoma festival was practised hundred of years a go, it is time to make the comparison about what is currently taking place in the same area, same culture but new generation in the highly globalise world.
First of all I am filling very proud to have this extraordinary chance to step on the Sukuma land and participate lively to this Traditional ngoma festival. The festival took place from 17th to 22nd September 2010, at Mwamadelana Village.
17th September 2010, was the reporting day of the Groups which would participate in the festival.
I dedicated this day to find Mwamadelana village. It was some how a tough work. At first, I got lost due to the likeness of the names of the villages. Some of the names of
The villages which participated in the festival were; Budilana, Bulambiu, Bulambili, Mwalukwa, Mwamalili,Mwamapalala, Mwan’gosha, mwasele, Mwadui, Ning’wa, Solwa, Chibe and Pandakichizi. Instead of being sent to Mwamadelana village, I was sent to Budilana village which is totally wrong, far away from the direction I was supposed to go.
Mwamadelana is located about one hour drive from Shinyanga Town.
The cheapest means of transport is motorcycle, which coast 9,000 Tsh. (go and return)
Mwamadelana is a ward in the district of Shinyannga villages.
It is dominated by traditional Sukuma people. The area looks dry (savana), with scattered settlement. The main economic activities of the people are Pastoralist and crop cultivation. They strongly believe in witchcraft. To them witchcraft is a part and parcel of their daily life.
May be you would ask me how did I notice? Very easy!
After my arrival at Mwamadelana, I got a chance of exchanging some stories with the group of young Sukuma boys who were servicing their bicycles ready for the competition which was one among the most favorite games in this land; I came to know later that, it was also part of the festival. Most of their stories were about witchcraft. While sitting there, one among the electro candidate of that constituency passed through the road near to where we were sitting. A boy touched my shoulder and asked me; “have you seen that man?” I answered “yes” he took a breath and said “He is dangerous! This is his forth time running in election. Normally, when Election Day approaches, his opponent got sick and dies! Till now three of his opponents have died. He applies witch craft! We are just waiting to see what will happen in this year because his opponent is well protected!”
While I was still meditating about what I had just herd, there came another pinch! One among those boys, whose bicycle was ready, stood up and said; “every thing is fine, but I am still missing one important thing. I have to go to Mzee Manju to take the Hirizi for protection” I asked Him what the use of the Hirizi was? He answered that; “some of the competitors have their hirizi, when pressed, they make you tired and hence fail to ride the bicycle. In this case you must protect your self. I looked to the boys and found that, most of them had their hirizi tied to their left arms or to the neck.
The 17th was a reporting day of the groups which would participate in the festival.
Participants from different groups were building their local tents at the opposite sides of the ground where the festival would take place.
18th September, was the opening day. The activities started around 3 pm. The main activity of the day was bicycle competition. A good number of boys from different villages were registered to participate in the competition. There were more than 60 in groups of 10 competitors who will be competing for all days. They had to cycle 80 times around the play ground. The four groups competed and the five winners from each group were selected for the second competition. For the followed days there would be only two groups competing followed by the ngoma performances.
On 19th September, Traditional ngoma officially started. There were several groups under two leaders. The first group was led by Inaga Mlyambelele and the second group was led by Mgelegele. These are the presently famous dancers and composers. These men are considered more powerful because they received their knowledge from a direct ancestral line to the first dance society leaders, Ngika and Gumha of the mid19th century.
Inaga Mlyambelele was on the western part of the play ground while Mgelegele was on the eastern part of the ground. The mode of competition was that; the groups performed at the same time, the credits were given to the group which attracted and hold the huge crowd for the long time.
Both Inaga and Mgelegele used the first day to introduce themselves and their members.
It was a wonderful experience because every one had to show how great he and his group were.
To start with Inaga, He stood up with his loud and strong voice, he uttered some words to the ancestors, before turning to the crowd and greeted them. (The language used was Sukuma). After the greetings He introduced him self and his ancestral background. He used dramatic language in his explanation. Indeed he showed great ability of using his body on explanation.
After his introduction, he allowed his 16 singers and dancers to introduce themselves. They introduced themselves in the funniest way. Some applied acrobat, some used signs while others used the words which made the audience burst into laughter. The audience was taken to another world of traditional joy, when Inaga Mlyambelele introduced his unique drum player Ndulu Magadu. He had the ability of playing 12 drums at the same time. The drums were arranged in tones resembling the arrangement of tunes on the piano. The drums were played in such a way that they produced melodic and rhythmic capacities, which provided an evocative or dramatic power. The bit was more pronounced when Ndulu was accompanied by two drum players, one playing the heavy kick and the other playing the lighter continuous bit. Rhythm patterns in one line or several simultaneous lines were interlock, overlap, or form polyrhythmic structures. Such structures were utilized cross-rhythms or alternate double and triple rhythms in linear patterns.
Inaga Mlyambelele added that he will apply modern instruments to add beauty to his performances. He concluded by welcoming us to the wonderful performances on the followed days. He ensured us that he will be the winner in this festival.
At this point, we had to go to the opposite side of the ground for the Mgelegele group introduction. Things were more or less the same. He had also a group of 10 wonderful drum players. On his conclusion, he said that he will have extraordinary drama which will be played along with his ngoma performances to make sure that the great audience would be attracted to stay to his side.
The audience was left with need to know who will be the best.
After his introduction, he allowed his 16 singers and dancers to introduce themselves. They introduced themselves in the funniest way. Some applied acrobat, some used signs while others used the words which made the audience burst into laughter. The audience was taken to another world of traditional joy, when Inaga Mlyambelele introduced his unique drum player Ndulu Magadu. He had the ability of playing 12 drums at the same time. The drums were arranged in tones resembling the arrangement of tunes on the piano. The drums were played in such a way that they produced melodic and rhythmic capacities, which provided an evocative or dramatic power. The bit was more pronounced when Ndulu was accompanied by two drum players, one playing the heavy kick and the other playing the lighter continuous bit. Rhythm patterns in one line or several simultaneous lines were interlock, overlap, or form polyrhythmic structures. Such structures were utilized cross-rhythms or alternate double and triple rhythms in linear patterns.
Inaga Mlyambelele added that he will apply modern instruments to add beauty to his performances. He concluded by welcoming us to the wonderful performances on the followed days. He ensured us that he will be the winner in this festival.
At this point, we had to go to the opposite side of the ground for the Mgelegele group introduction. Things were more or less the same. He had also a group of 10 wonderful drum players. On his conclusion, he said that he will have extraordinary drama which will be played along with his ngoma performances to make sure that the great audience would be attracted to stay to his side.
The audience was left with need to know who will be the best.
The 20th, 21st and 22nd, were explicitly the ngoma performance days. A lot of ngoma were played.
It will cost me hundreds of pages to explain all. Here I am going to point out just a few performances.
Bulabo ngoma
The ngoma was performed by both Inaga Mlyambeele and Mgelegele. The drum and the drummers all had a certain role and rank and sat in their proper order. Occasional call and response songs also were introduced to involve everyone. The song was in call and response form, hence supports the theory of “call and response”. (Barz, 2004:21)
During the performance the musicians beat rhythms, echoes of a distant past, which have been modified over time both in terms of musical development and rules; the dancers mix steps and movements, learnt in the different artistic experiences they have participated in or which they have been taught by the elderly performer in their home villages, with new scenographic gestures invented for the performative context. The dance utilized symbolic gestures, mime, props, costumes, body painting, and other visual devices. The basic movements were simple, emphasizing the upper body, torso, or feet. They gradually changed to complex, involving coordination of different
body parts and intricate actions such as fast rotation, ripples of the body, and contraction and release, as well as variations in dynamics, levels, and use of space.
“Groups devise an image using their own bodies to crystallize a moment, idea or theme”. (Neelands, 2006:25).
The dance was some times open to all, some times an activity in which one, two, three, or four individuals (regardless of sex) take turns in the dancing ring. The formations were linear, circular, serpentine, or columns of two or more rows.
The Satanic dance
The dance was played by Inaga Mlyambelele. The dance started with the slow rhythm of the ngoma bits. The bit was gradually accelerated. Behind the drum players, in a small tent, came a man running, covered with blood all over his body. After reaching the middle of the ground, he started giving a unique dance. He was jumping, and running all over the place producing the loud strong voice. He called for his servants who brought some blood in the bucket. He drunk some of the blood and pour some over his body. When the bit was on its peak, he through himself to the ground several times with his head first. He rolled over the ground. He was carried by his servants and continued to drink and pour the blood over his body once again. The audience screamed, most of the children were crying while running away. Finally they carried him back to the small house.
Bulabo ngoma
The ngoma was performed by both Inaga Mlyambeele and Mgelegele. The drum and the drummers all had a certain role and rank and sat in their proper order. Occasional call and response songs also were introduced to involve everyone. The song was in call and response form, hence supports the theory of “call and response”. (Barz, 2004:21)
During the performance the musicians beat rhythms, echoes of a distant past, which have been modified over time both in terms of musical development and rules; the dancers mix steps and movements, learnt in the different artistic experiences they have participated in or which they have been taught by the elderly performer in their home villages, with new scenographic gestures invented for the performative context. The dance utilized symbolic gestures, mime, props, costumes, body painting, and other visual devices. The basic movements were simple, emphasizing the upper body, torso, or feet. They gradually changed to complex, involving coordination of different
body parts and intricate actions such as fast rotation, ripples of the body, and contraction and release, as well as variations in dynamics, levels, and use of space.
“Groups devise an image using their own bodies to crystallize a moment, idea or theme”. (Neelands, 2006:25).
The dance was some times open to all, some times an activity in which one, two, three, or four individuals (regardless of sex) take turns in the dancing ring. The formations were linear, circular, serpentine, or columns of two or more rows.
The Satanic dance
The dance was played by Inaga Mlyambelele. The dance started with the slow rhythm of the ngoma bits. The bit was gradually accelerated. Behind the drum players, in a small tent, came a man running, covered with blood all over his body. After reaching the middle of the ground, he started giving a unique dance. He was jumping, and running all over the place producing the loud strong voice. He called for his servants who brought some blood in the bucket. He drunk some of the blood and pour some over his body. When the bit was on its peak, he through himself to the ground several times with his head first. He rolled over the ground. He was carried by his servants and continued to drink and pour the blood over his body once again. The audience screamed, most of the children were crying while running away. Finally they carried him back to the small house.
The thief drama:
Mgelegele on the other hand coordinated his ngoma dance with drama performance. While dancing the dancers stopped and sat down allowing the other group to inter into the stage for drama. The drums volume was reduced to allow the people to hear clearly what was said by the performers.
The drama was about the thief who went to the village harassed a man and stole the bicycle and other properties. The man ran several times around the ground seeking for the help. He ended up came into contact with the thief once again! Lastly he used the cow’s horn to call the police, who came with the gun, killed the thief and handled back the properties to the person concerned. The play was fun watching because it was in comedy form. The way they dressed, the way they walked and the way they talked made the audience to be in laughter all the time of the performance. At the end of the performance, the dancers stood up, the volume of the ngoma was louder and the victory dance stared.
The drama was about the thief who went to the village harassed a man and stole the bicycle and other properties. The man ran several times around the ground seeking for the help. He ended up came into contact with the thief once again! Lastly he used the cow’s horn to call the police, who came with the gun, killed the thief and handled back the properties to the person concerned. The play was fun watching because it was in comedy form. The way they dressed, the way they walked and the way they talked made the audience to be in laughter all the time of the performance. At the end of the performance, the dancers stood up, the volume of the ngoma was louder and the victory dance stared.
The AIDS drama
This was among the best drama played by Mgelegele. The performance was the fiction between Individuals and puppets. The girls involved in the performance were puppets while the men involved were real persons. Like the other performances, the ngoma started with the song which warned people to be aware of HIV/AIDS. The two boys entered the stage with a lot of money after selling their cow. On the way, they met with beautifully girls (puppets). They seduced them, but the girls were not responding. They bought some soda and began to feed them. The arms of the girls began to swing slowly due to the wind action. The boys were happy that the girls had finally decided to enjoy with them. They slept with them. While sleeping, they had several activities which made people scream happily.
This was among the best drama played by Mgelegele. The performance was the fiction between Individuals and puppets. The girls involved in the performance were puppets while the men involved were real persons. Like the other performances, the ngoma started with the song which warned people to be aware of HIV/AIDS. The two boys entered the stage with a lot of money after selling their cow. On the way, they met with beautifully girls (puppets). They seduced them, but the girls were not responding. They bought some soda and began to feed them. The arms of the girls began to swing slowly due to the wind action. The boys were happy that the girls had finally decided to enjoy with them. They slept with them. While sleeping, they had several activities which made people scream happily.
“Theater for development has both artistic quality and relevant contents. In order for the people to be attracted by theater it must not only be relevant to their social reality, but worth watching”. (Handout, Undergeneous form of theater)
The drama ended with the boys being affected with HIV/AIDS. The sorrow dance started. The dance was so emotional that the audience failed to contain the joyful modern rhythmic loud voice which was herd from the opposite side of the ground. All people run to Inaga Mlyambelele and left Mgelegele finalizing his performance alone.
It was Inaga Mlyambelele with his modern ngoma.
In this ngoma, Inaga showed the great ability of mixing the local and modern musical instruments, what known as ethnomusicology. The ensemble was composed by Ndulu Magandu who played 10 drums at once, the two supporting drum players and two guitar players. One played the acoustic guitar while the other played the bass guitar. Inaga was singing and the dancers taking the chorus. It was really an excellent combination which had the power of convincing the audience to dance. The dancing was good come as a marvellous bonus to the “we-are-one experience”.
The best Sukuma dancer
This ngoma was played by Mgelegele group. The ngoma was played and the whistle was used to control the dancers. The ngoma provided a chance for any volunteer individual to inter into the ring and show his/her unique ability of dancing.
It was very interesting to see people of different age, each with different style.
Story telling the groups had the session of the story telling. It was among the favorite part of the performance liked by Sukuma people and others who understood the language. It was done repeatedly with new story every session. Most of the stories told were about the ancient funny stories and they were told dramatically. The audience was responding and there were also the insertion of song and ngoma dance within the story. It was funny watching and listening. This has been explained well by Neelands and Tony, state that in Structuring Drama work as;
“Realistic or stylized sounds accompany action, or describe an environment. Dialogue is devised to fit a given piece of action. Sound from one situation is `dubbed` onto another. Voices or instruments are used to create a mood or paint a picture.” (Neelands, 2006:24)
Majigambo This was the form of performance which was played by both Inaga and Mgelegele. In this performance every leader stood at the middle of the stage and began to explain the trend of his traditional inheritance. He also explains how strong he is and how weak his opponent is. They used the strong and dramatic language. One of the singers was assisting his leader when talking by exaggerating what was said. Hence Larsen stated that;
It was Inaga Mlyambelele with his modern ngoma.
In this ngoma, Inaga showed the great ability of mixing the local and modern musical instruments, what known as ethnomusicology. The ensemble was composed by Ndulu Magandu who played 10 drums at once, the two supporting drum players and two guitar players. One played the acoustic guitar while the other played the bass guitar. Inaga was singing and the dancers taking the chorus. It was really an excellent combination which had the power of convincing the audience to dance. The dancing was good come as a marvellous bonus to the “we-are-one experience”.
The best Sukuma dancer
This ngoma was played by Mgelegele group. The ngoma was played and the whistle was used to control the dancers. The ngoma provided a chance for any volunteer individual to inter into the ring and show his/her unique ability of dancing.
It was very interesting to see people of different age, each with different style.
Story telling the groups had the session of the story telling. It was among the favorite part of the performance liked by Sukuma people and others who understood the language. It was done repeatedly with new story every session. Most of the stories told were about the ancient funny stories and they were told dramatically. The audience was responding and there were also the insertion of song and ngoma dance within the story. It was funny watching and listening. This has been explained well by Neelands and Tony, state that in Structuring Drama work as;
“Realistic or stylized sounds accompany action, or describe an environment. Dialogue is devised to fit a given piece of action. Sound from one situation is `dubbed` onto another. Voices or instruments are used to create a mood or paint a picture.” (Neelands, 2006:24)
Majigambo This was the form of performance which was played by both Inaga and Mgelegele. In this performance every leader stood at the middle of the stage and began to explain the trend of his traditional inheritance. He also explains how strong he is and how weak his opponent is. They used the strong and dramatic language. One of the singers was assisting his leader when talking by exaggerating what was said. Hence Larsen stated that;
“With our voice we have the opportunity to make a whole lot of differences in a story”. (Larsen 2004: 54)
Snake handling dance Finally, at the close, came the snake-handling dance, it was preceded by skillful Ntwuki Gundu. As the drums beat their special rhythm, a large chest was opened in the public circle. Two pythons were taken out by the dancers and released to slither around and frighten the crowd. Volunteers were sought to let themselves be bitten by the snakes. A man and a boy came forward, and when the lethargic python finally did strike the boy in the buttocks, the crowd roared. Ndilanha, the who also plays with snacks, told me later that these snakes are very tame and have short teeth, and are not, of course, poisonous. The performers of the ngoma have knowledge of antidotes and are themselves immunized with the venoms; they allowed themselves to be bitten during the performance.
ANALYISIS OF THE PERFOMANCE
External part of the festival
Target group The festival was targeted to all Sukuma people and it was organized in sukuma land with Sukuma Language. The festival was the sign of unity and togetherness of the Sukuma people. The Sukuma people from different places meet at Mwamadelana village and celebrated together. Patricia A. Shifferd in his article First we make music; An introduction to Music and community arts, states that;
Snake handling dance Finally, at the close, came the snake-handling dance, it was preceded by skillful Ntwuki Gundu. As the drums beat their special rhythm, a large chest was opened in the public circle. Two pythons were taken out by the dancers and released to slither around and frighten the crowd. Volunteers were sought to let themselves be bitten by the snakes. A man and a boy came forward, and when the lethargic python finally did strike the boy in the buttocks, the crowd roared. Ndilanha, the who also plays with snacks, told me later that these snakes are very tame and have short teeth, and are not, of course, poisonous. The performers of the ngoma have knowledge of antidotes and are themselves immunized with the venoms; they allowed themselves to be bitten during the performance.
ANALYISIS OF THE PERFOMANCE
All recent studies stress the importance of the analysis of the audience’s process of perception, reaction and reinterpretation. It is impossible to speak about performance without referring to its interpretation. Sukuma land Ngoma festival like any other performance can be analysed accordingly. Bellow is the interpretation part of the Festival.
External part of the festival
Target group The festival was targeted to all Sukuma people and it was organized in sukuma land with Sukuma Language. The festival was the sign of unity and togetherness of the Sukuma people. The Sukuma people from different places meet at Mwamadelana village and celebrated together. Patricia A. Shifferd in his article First we make music; An introduction to Music and community arts, states that;
“There can be no society which does not feel the need of upholding and reaffirming at regular intervals the collective sentiments and the collective ideas which make its unity and its personality. Now this moral remaking cannot be achieved except by the means of reunions, assemblies and meetings where the individuals, being closely united to one another, reaffirm in common their common sentiments”
The festival contained Bicycle challenge, traditional ngoma, story telling, majigambo and drama. The main characters were Inaga Mlyambelele and Mgelegele who were the leaders of the two groups. The two groups were composed by more than 35 individuals from different Sukuma villages. Each and every one had his /her special duty to perform. There were drum players, dancers, singers, guitar players, witch doctors and security guards. All of the dancers were youth, aged 15 to 30 years. This was due to the fact that the dance requires high energy, speedy body movements, rolling of whist and other styles which can be perfectly done by youth. Most of the researchers have reported the decline of the participation of youth to the traditional dances. But in this festival, the case is completely negative. A number of reasons have been pointed out regarding the participation of the youth in the traditional dances. Mbezi Benjamini on his research about Irigi chagga dance argued that;
Use of symbolization – costumes, makeup, props and scenography:
The performers used different costumes, according to the activity which was taking place. Both Inaga Mlyambelele and Mgelegele’s dancers used the modern clothes in most of their performances. The Inaga dancers wore white and black vests, black, dark blue or grey jeans and rubber of different colors. Mgelelgele’s group wore the white and red vests, black, dark blue or grey jeans and rubber of different colors. The women wore red t- shirt with light blue skirts and white rubber. They tied khanga on their whist to make them more visible especially when rolled. In other performances male wore short trousers only.
The performers used makeup of different types. Inaga in his satanic dance had his body covered with blood. Mgelelegele had his face powdered in pink.
Internal part of the festival
The festival contained a good number of performances with different themes. The main theme remained to be the Symbol of unity among Sukuma people. The festival Sukuma people meet and enjoy together. The following are some of the Themes which were embedded within the performances;
Bulabo ngoma
The ngoma was the sign of unity. It emphasize on the union of Sukuma people. The song had the following lyrics (Sukuma Language);
Nzogwi tobi hamo let’s be together
Nzogwi tobine hamo let’s dance together
Nzogwi tobi hamo na kuyega let’s dance and enjoy
Nzogwi tuyege ikanzalyawiza buyegu let’s celebrate the good time together
The satanic dance
It is believed that, evil spirit always appears to those people with bad deeds. The ngoma showed how the Satan looks like and what he used to drink. Hence people are reminded to live according to the law and regulations to avoid the fate of Satan.
The drama about the thief Drama always plays a vital role to the society. The drama showed the importance of protection to the society. It also tells the people to stop stealing because they will be imprisoned or killed. Hence Soyinka argued that;
During the act of performing, the performers are influenced by rules, customs, religion and politics: they must choose where to reproduce an ancient, ritual gesture and where to add some changes, in the mime, in the music, in the dance and/or in the song. This position may turn out dangerous in a context in which performance has been transformed into a performance of politics: in Tanzania, since the independence, a political use of performance, with particular attention, has rapidly developed in order to create a ‘super-ethnic’ culture. The freedom of improvisation, which is theatrically probably the most dramatic moment, has suffered strict censorship and has been substituted with an insistent representation of the dominant political ideology. In a limited context like this, performance becomes a place for the reinforcement of power relations, power not only immanent and comprising economic and political directives but also presentable to people in such a way that they would gladly submit themselves to social rules and authorities to the extent even of regarding them as desirable. Many segments of our multicultural expressions survived due to those individuals who sacrificed to keep the legacy alive. None of these expressions are more prevalent than music, and specifically the African Ngoma. Today it is necessary to re-implement the drum in every gathering. It is essential as a cultural tool and reminder of our rich and diverse cultural heritage. The drum symbolizes the ongoing heartbeat and struggle of a people to be free and self-determining. It is with this understanding that Sukuma Ngoma answers the call of our ancestors to keep our culture alive.
CONCLUSION
The Ngoma is often called the heartbeat of Africa and is used in many ceremonies. The Ngoma is used to send messages, tell stories and encourage. Audiences enjoy Ngoma and appreciate the traditional rhythms. The Ngoma is a mainstay and useful tool for motivation and relaxation. Our ancestors understood the importance of ngoma in particular, and carefully rooted it deep in our culture. The Ngoma has always been an important part of our cultural expression, and will remain so as we continue playing. We thank our ancestors for the Ngoma.
REFERENCES
1. Barz, Gregory (2004), “Music in East Africa” Experiencing Music, Expressing Culture”
Oxford University Press
2. Handout, “undergeneous form of theatre”, Prof. Meyer L. W. 23rd 2008
3. Lange, Siri (1995), Report; “From Nation-Building to Popular Culture: The Modernization
of Performance in Tanzania”
4. Larsen, Anne- Mari (2004), “Kwesuka Sukela-once upon a time: How to use play drama and
theatre in storytelling”, Trondheim, Norway.
5. Mbezi, Benjami S ( 2010), Research on, “ An examination of the Iringi dance of the
Chagga: A case study in Marangu Eastern ward”
6. Neelands, Jonothan (2000), “Structuring Drama Work: A handbook of available forms in
theatre and drama”, Cambridge University Press, U.K
7. Shiffered Patricial A (2002), “First we make music: An introduction to music and
community Arts”
8. Soyinka, Wole, “Theatre in African traditional cultures”: Survival patterns.
9. http://www.tanzania.go.tz/utamaduniF.html
“In the Chagga of Marangu, young people were not allowed to participate in dancing adult dances. The reasons behind the issue of age are not clearly explained within the society of the Chagga not only of Marangu but all of Kilimanjaro Region. According to the research made within the Ngoni, Nyakyusa and Matengo dances of the Southern Regions in Tanzania, the issues of age in dancing is similar to the Chagga of Marangu though the reasons of the young not to participate in the adult dance is clearly stated. In these societies there were dances of the youth like “Ling’oma”, “Ikibota” and “Amagosi”. In these societies the elder’s dances were Lizombe, Lingwamba, Nhwambo and Lipenenga. The performers of these dances were selected from the youth dances by the elders in their societies. The youth dancers who are older than others and who are married are allowed to join the elder dances and being trained how to participate in the performance. This training of the youth in performing their local dances, led to the existence of these dances in the societies of the Southern Tanzania compared to the Chagga society which left the young generation without any dance to perform at their young age. Is this stereotyping in dances contributed to the death of Iringi dance in Marangu area?”(Mbezi B, 2010: 9)
The performer’s artistic work:
All performers showed the great ability of using physical, body and voice expression to reach their goals. They showed special dedication to what they were doing. They loved it and they were there to make sure that the audience also admire it.
Dialog/voice expression
The performers used their loud original voices which were enough for the audience. In addition, Inaga Mlyambelele used loud speakers to make his voice heard even when the audience interrupts by laughing and so his performance was more unique.
The use of space: The festival took place on the play ground. Both groups performed at the same time on the opposite sides of the ground. The audience was in cycle. The performers moved all over around the circle to make sure that the audience hear and see what they were doing. The dancers arranged themselves one line and sometimes two lines. They also tend to change their direction time after time. Neelands in Structuring Drama for Learning Opportunities, He expressed the relationships of space on the stage design says that;
“ Certain conventions focus on the symbolic use of space, in order to convey meanings either in terms of movements in space , as in dance or in the way in which space is arranged and used to provide a visual content , or reinforcement, for meanings associated with levels of status between characters physical surroundings, and psychological distance in relationships”. (Neelands, 2006:95-96)
All performers showed the great ability of using physical, body and voice expression to reach their goals. They showed special dedication to what they were doing. They loved it and they were there to make sure that the audience also admire it.
Dialog/voice expression
The performers used their loud original voices which were enough for the audience. In addition, Inaga Mlyambelele used loud speakers to make his voice heard even when the audience interrupts by laughing and so his performance was more unique.
The use of space: The festival took place on the play ground. Both groups performed at the same time on the opposite sides of the ground. The audience was in cycle. The performers moved all over around the circle to make sure that the audience hear and see what they were doing. The dancers arranged themselves one line and sometimes two lines. They also tend to change their direction time after time. Neelands in Structuring Drama for Learning Opportunities, He expressed the relationships of space on the stage design says that;
“ Certain conventions focus on the symbolic use of space, in order to convey meanings either in terms of movements in space , as in dance or in the way in which space is arranged and used to provide a visual content , or reinforcement, for meanings associated with levels of status between characters physical surroundings, and psychological distance in relationships”. (Neelands, 2006:95-96)
Use of symbolization – costumes, makeup, props and scenography:
The performers used different costumes, according to the activity which was taking place. Both Inaga Mlyambelele and Mgelegele’s dancers used the modern clothes in most of their performances. The Inaga dancers wore white and black vests, black, dark blue or grey jeans and rubber of different colors. Mgelelgele’s group wore the white and red vests, black, dark blue or grey jeans and rubber of different colors. The women wore red t- shirt with light blue skirts and white rubber. They tied khanga on their whist to make them more visible especially when rolled. In other performances male wore short trousers only.
The performers used makeup of different types. Inaga in his satanic dance had his body covered with blood. Mgelelegele had his face powdered in pink.
Internal part of the festival
The festival contained a good number of performances with different themes. The main theme remained to be the Symbol of unity among Sukuma people. The festival Sukuma people meet and enjoy together. The following are some of the Themes which were embedded within the performances;
Bulabo ngoma
The ngoma was the sign of unity. It emphasize on the union of Sukuma people. The song had the following lyrics (Sukuma Language);
Nzogwi tobi hamo let’s be together
Nzogwi tobine hamo let’s dance together
Nzogwi tobi hamo na kuyega let’s dance and enjoy
Nzogwi tuyege ikanzalyawiza buyegu let’s celebrate the good time together
The satanic dance
It is believed that, evil spirit always appears to those people with bad deeds. The ngoma showed how the Satan looks like and what he used to drink. Hence people are reminded to live according to the law and regulations to avoid the fate of Satan.
The drama about the thief Drama always plays a vital role to the society. The drama showed the importance of protection to the society. It also tells the people to stop stealing because they will be imprisoned or killed. Hence Soyinka argued that;
“We must not lose sight of the fact that drama, like any other art form, is created and executed within a specific physical environment. It naturally interacts with that environment, is influenced by it, influences that environment in turn and acts together with the environment in the large and far more complex history of the society. (Soyinka, W, Theatre in Huxley and Witts, 2002: 372)
The AIDS drama
AIDS is currently a fateful disease. Many people, both in towns and villages suffer from it. The drama warns the people to spend their money correctly. When the money is badly spent, especially by buying prostitutes, it can result into HIV/AIDS infection.
The best dancer
The ngoma showed different people dancing the Sukuma ngoma. The aim of the ngoma was to raise the morale of the people on learning how to dance the Sukuma ngoma and be proud with their traditional ngoma.
The story telling
Most of the stories told were about the past experience. Through the stories, people learn the tragic moments of their ancestors. They also get knowledge from ancestral line to the present. How they lived, what they did and what is supposed to be done at present.
Majigambo
Through majigambo, people are taught to be proud of themselves with what they have, try to do the impossible things which will make them popular, not to be like those who dead without any title.
The snake dance
The dance is intended to educate the public about snakes, and to teach them not to fear snakes.
EFFECT OF GLOBALISATION TO THE TRADITIONAL CULTURE
AIDS is currently a fateful disease. Many people, both in towns and villages suffer from it. The drama warns the people to spend their money correctly. When the money is badly spent, especially by buying prostitutes, it can result into HIV/AIDS infection.
The best dancer
The ngoma showed different people dancing the Sukuma ngoma. The aim of the ngoma was to raise the morale of the people on learning how to dance the Sukuma ngoma and be proud with their traditional ngoma.
The story telling
Most of the stories told were about the past experience. Through the stories, people learn the tragic moments of their ancestors. They also get knowledge from ancestral line to the present. How they lived, what they did and what is supposed to be done at present.
Majigambo
Through majigambo, people are taught to be proud of themselves with what they have, try to do the impossible things which will make them popular, not to be like those who dead without any title.
The snake dance
The dance is intended to educate the public about snakes, and to teach them not to fear snakes.
EFFECT OF GLOBALISATION TO THE TRADITIONAL CULTURE
Globalization has long been a topic of debate among many people such as reactionaries, conservatives, industrialists, protectionists, and nationalists. Some feel that globalization brings about positive growth for nations, while others fear that it actually wipes out traditional cultures such as a result of cultural imperialism. The main problem for both sides is in the correct definition of globalization. Ensuring that all parties involved in the debate define globalization universally can be a step to resolve such a heated argument. The negative viewpoint of globalization is that it destroys unique traditional cultures. People often prefer to be part of a larger group that share in the same beliefs and customs that they practice. To protect these ways of life, borders are established, forming states and sometimes even nations. These traditional ways such as language, dress, religion, and sometimes even local laws are sometimes passed down from generation to generation. Destroying these eliminates factors that set a nation or a community apart from others, such as dialect, music, and local tradition. There has been a slow elimination of established cultures due to the process of globalization. Siri Lange argued that;
“…the esteem of ngoma has decreased after Independence….. People rank football higher: this may be due to an idea that football is “modern” while ngoma represents the old and out-dated…(…) The authorities too, who at the outset promoted traditional dance, now seem to rank football higher: the credibility of the minister responsible for culture hinges on convincing promises about sports performance, especially football” (Lange S, 1995: 98)
Because of the rapid growth and modernization, globalization has caused most people to be more centred within cities, instead of more traditional rural areas. In fact, was Tanzania not founded on the principle of globalization? If we were not willing to accept outside cultural values or take our traditional cultures outside ours borders, where would Tanzania be today? We have gained more access to more non-Tanzanian things that could not be found within our borders, such as music, clothing, and other items previously. Understanding that globalization is not here to destroy our unique cultures can be a step in the positive direction. Destruction of culture occurs when there is not a strong foundation in distinctiveness of a culture. And although, borders are eliminated, it does not mean that the culture has been destroyed. Established cultures normally are combined with different cultures during the process of globalization. With fears of losing cultural diversity, critics of globalization tend to forget that with globalization comes cultural diversity. In other words, globalization has brought us all unique bits of different cultures that most of us are not able to experience on our own. The ideas of globalization and diversity should never be separated. Cultural change occurs when there is a certain amount of diversity within a community or even a nation over a long period of time. Globalization is the interconnectedness of diverse cultures for the establishment of growth and eventual cultural change. At this point the Sukuma traditional ngoma festival is a vivid reference. The Ngoma has existed since 1850s’ till today. From what I have witnessed, globalization has a positive influence on it. The ngoma has been modified instead of allowing it to die. The original traditional rhythms of the drums have not changed but there is addition of some instruments such as guitars. To some of the ngoma, the dressing style has changed to a modern look. The songs have been composed to match with the current world. Hence there is a positive influence of globalization in the Sukuma ngoma. Lange S. argued that;
“No matter how highly choreographed the dance is, the drum-rhythm that some of the people among the audience have grown up with is there, filling the air and giving rise to nostalgia and deeply-felt sentiments in those individuals” (Lange S, 1995: 106)
RECOMMENDATION
RECOMMENDATION
During the act of performing, the performers are influenced by rules, customs, religion and politics: they must choose where to reproduce an ancient, ritual gesture and where to add some changes, in the mime, in the music, in the dance and/or in the song. This position may turn out dangerous in a context in which performance has been transformed into a performance of politics: in Tanzania, since the independence, a political use of performance, with particular attention, has rapidly developed in order to create a ‘super-ethnic’ culture. The freedom of improvisation, which is theatrically probably the most dramatic moment, has suffered strict censorship and has been substituted with an insistent representation of the dominant political ideology. In a limited context like this, performance becomes a place for the reinforcement of power relations, power not only immanent and comprising economic and political directives but also presentable to people in such a way that they would gladly submit themselves to social rules and authorities to the extent even of regarding them as desirable. Many segments of our multicultural expressions survived due to those individuals who sacrificed to keep the legacy alive. None of these expressions are more prevalent than music, and specifically the African Ngoma. Today it is necessary to re-implement the drum in every gathering. It is essential as a cultural tool and reminder of our rich and diverse cultural heritage. The drum symbolizes the ongoing heartbeat and struggle of a people to be free and self-determining. It is with this understanding that Sukuma Ngoma answers the call of our ancestors to keep our culture alive.CONCLUSION
The Ngoma is often called the heartbeat of Africa and is used in many ceremonies. The Ngoma is used to send messages, tell stories and encourage. Audiences enjoy Ngoma and appreciate the traditional rhythms. The Ngoma is a mainstay and useful tool for motivation and relaxation. Our ancestors understood the importance of ngoma in particular, and carefully rooted it deep in our culture. The Ngoma has always been an important part of our cultural expression, and will remain so as we continue playing. We thank our ancestors for the Ngoma.
REFERENCES
1. Barz, Gregory (2004), “Music in East Africa” Experiencing Music, Expressing Culture”
Oxford University Press
2. Handout, “undergeneous form of theatre”, Prof. Meyer L. W. 23rd 2008
3. Lange, Siri (1995), Report; “From Nation-Building to Popular Culture: The Modernization
of Performance in Tanzania”
4. Larsen, Anne- Mari (2004), “Kwesuka Sukela-once upon a time: How to use play drama and
theatre in storytelling”, Trondheim, Norway.
5. Mbezi, Benjami S ( 2010), Research on, “ An examination of the Iringi dance of the
Chagga: A case study in Marangu Eastern ward”
6. Neelands, Jonothan (2000), “Structuring Drama Work: A handbook of available forms in
theatre and drama”, Cambridge University Press, U.K
7. Shiffered Patricial A (2002), “First we make music: An introduction to music and
community Arts”
8. Soyinka, Wole, “Theatre in African traditional cultures”: Survival patterns.
9. http://www.tanzania.go.tz/utamaduniF.html
