Usos e Nomes do Arco Musical Africano / The African Musical Bow: Uses and Names

O Arco Musical Africano

O mbulumbumba e o bavugu são instrumentos usados pelo povo Khoisan **. O mbulumbumba é tocado com um arco que se move para a frente e para trás, do estômago. Uma vara pequena, segurada com a mão direita, é usada para bater na corda. Os escravos angolanos levram o mbulubumba a Brasil.

– Dicionário histórico de Angola por W. Martin James

**Khoisan é uma da civilizações mais antigas.


Embora África tenha uma grande heterogeneidade de culturas, fortes semelhanças ainda podem ser encontradas entre muitas delas. A música é uma forma de arte que faz parte do dia-a-dia dos africanos. A música, no contexto africano, é uma expressão natural de emoções, como, alegria, amor, tristeza, e nostalgia. É usada igualmente para comunicar-se, e para conectar com regiões ancestrais e espirituais. As expressões das emoções e de assuntos gerais da vida, são manifestadas através da criação da música, escutando, e dançando. Neste poste, vamos fazer a introdução de um instrumento de música encontrado no sul, no leste, no oeste, e no norte do continente. É chamado Hungu, mbulumbumba, ibubura, umuduri, chitente, etc. Fizemos uma selecção de um número de vídeos para ilustrar este instrumento é tocado, onde e por quem.

Este é o nosso primeiro episodio sobre os muitos nomes deste instrumento magnífico. Em episódios subsequentes, discutiremos seu uso na diáspora de África, e na Capoeira; tendo em mente que uma das finalidades de Capoeira Africana é reconectar esta bela forma de arte a suas raizes. Também, para criar dar a conhecer sobre a forte influência de muitas tradições e culturas africanas na Capoeira. Muito embora teste instrumento musical africano, com modificações ligeiras, seja usado hoje na Capoeira, muitos capoeiristas estão inconscientes de suas origens. Esperamos que com esta esta série de artigos, sobre usos e nomes do arco musical african, mais partes do retrato maior sejam tragos a superficie.

De facto, aos arcos amarrados com uma corda, e tocados com uma vara, e têm uma cabaça unida a ele, para produzir sons resonantes, existim em partes diferentes de África, e são usadas de várias maneiras. A corda é feita da fibra de planta, de intestino de animal ou do metal (maneira moderna). O kalumbu era tocado tradicionalmente na Zâmbia, por jovens, para indicar o desejo para de se casar. O Umuduri é encontrado em Tanzânia e em Rwanda. É tocado em festividades, cerimónias especiais, ou por pedintes para provocar pena. O ibubura, igualmente chamado idono ou indono existe em Burundi, e é tocado até mesmo por crianças. Este tem pelo menos duas calabaças unidas ao arco. E, O Hungu é usado por bandas contemporâneas, em Angola. Os instrumentos acima mencionados sao simplesmente alguns exemplos.

Faça parte desta discussão

Capoeira Africana gostaria de convidar os leitores do seu blogue a contribuir com informação sobre o arco musical africano (Hungu, mbulumbumba, ibubura, umuduri, chitente, etc.). Nossa intenção é de experimentar a riqueza deste instrumento africano magnífico com conversas abertas e troca de informação.

English


The African Musical Bow

Mbulumbumba

The mbulumbumba and the bavugu are instruments used by Khoisan people**. The mbulumbumba is played with a bow that is moved back and forth, away from and toward the stomach. A small stick, held in the right hand, is used to strike the string. Angolan slaves took the mbulubumba to Brazil.

- Historical Dictionary of Angola by W. Martin James

**Khoisan is one of the oldest civilizations.


Although Africa has a great heterogeneity of cultures, strong similarities can still be found among many of them. Music is an art form that is part of the daily lives of Africans. Music, in the African context, is a natural expression of emotions such as joy, love, sadness, and nostalgia. It is also used to communicate and to connect with the ancestral and spiritual realms. Expressions of emotions and general life affairs are manifested through the creation of listening and dancing to music. Today, we introduce a musical instrument found in the south, east, west and north of The Continent. This single stringed bow is called the hungu, mbulumbumba, ibubura, umuduri, kalumba, chitente, etc. in these respective areas. We have selected a number of videos to illustrate how it is played, where and by whom. Follow the links at the end of the article to explore.

Single stringed bows played with a stick that have a calabash gourd attached to them to produce resonating sounds exist in various parts of Africa and are used in many ways. The string is made from plant fiber, animal gut or metal (modern way). The kalumbu was traditionally played in Zambia by young men to indicate their wish to marry. The umuduri is found in Tanzania and Rwanda. It is played at festivities, special ceremonies or by beggars to stir sympathy. The ibubura, also called idono or indono, exists in Burundi and can be played by children. This one has more than one calabash attached to the bow. The hungu is used by contemporary bands in Angola. The above are just a few examples.

This will be our first installment of the names and uses of this magnificent instrument. In subsequent episodes, we will discuss its use in the Africa Diaspora, and in Capoeira; keeping in mind that one of the purposes of Capoeira Africana is to reconnect this beautiful art form to its roots. Also, to create awareness of the strong influence of many African traditions and cultures on Capoeira. Even though this African stringed bow, with slight modifications, is used in Capoeira today many practitioners are unaware of its origins. So, we hope that with this series of articles on the names and uses of this instrument we bring more pieces of the bigger picture to light.

-The African Musical Bow played with the mouth to produce resonating sounds.

Be Part of this Discussion

Capoeira Africana would like to invite its blog readers to contribute with information on the traditional musical bow (hungu, mbulumbumba, kalumba, ibubura, umuduri, chitente, etc). Our intention is to experience the richness of this superb African instrument through open conversations and the exchanging of information. Thank You.

Links (click on names to see the video)

Hungu

Ibubura

Imuduri

Chitende: Mocambique

Chitende: South Africa

Moring(ue)

"Rhythm in light
rhythm in color
rhythm in movement
rhythm in the bloody cracks of bare feet
rhythm on torn nails
Yet rhythm
rhythm.
Oh painful African voices."

                    - From poem "Fire and Breath" written by Agosto Neto,
                      Accomplished Poet and Angola's first President


Undoubtedly, capoeira has a myriad of influences. Developed and stylized over centuries of practice, use, and contact with a vast number of cultures, it can almost be said that one does not know exactly who and what have permanently left an imprint on capoeira as we know it today. However, one thing is for sure: enslaved Africans played a major, central role in capoeira’s creation and sustenance.

Often disrespected, dishonored, and dismembered from the story of the Americas and Africa as well, descendants of the enslaved continue to fight for the value of their contributions to the world. Spread out in many directions across the globe, including the Caribbean, the Middle East, and Eurasia, these Africans, stripped of almost everything but faith and cultural memory, brought with them key markers of their African existence once on The Continent.  Some elements such as the use of drums, dance, intricate footwork, headbutting and grappling martial techniques, as well as ancestor worship serve as evidence of their shared connection to Mother Africa with the Africans who still inhabit The Continent today.

In this forum we will explore the many contributions and manifestations of Africans, on the continent and in the Diaspora, that have or could have helped to shape capoeira as we now know it. Today, to those who are unfamiliar with it, we introduce you to Moring (also known as Moringue).

Moring is a combat sport and martial art that originated on the island of Reunion. It was created and developed by enslaved Africans in their sugarcane fields who combined traditions from Mozambique and the neighboring island Madagascar to create this art. Its history is traceable back to the mid-18^th century and it is seen as a representation of the “cafre” culture, or people of Creole African descent. The activity became an escape for workers in the sugar cane fields and the poor white working class after the abolition of slavery on the island in 1848. Given the musical and dance elements associated with the practice it was seen as non-threatening to the slave owners who were aware of its existence. Combining folkloric traditions from the maloya and sega (customary religious and dance practices from the African islands in the Indian Ocean), Moring is performed to the beat of drums during the matches and/or training. Each match commences with bumping of the chests of the participants involved and the drums then indicate the pace of the bouts, rendering whether they will run slow or fast.  

When the actual bout begins the dancers/fighters kick, sweep, and use their hands, upside down and right-side up, in attempts to show their bravado while trying to knock the other person off their feet. Please note that Moring is practiced by both men and women. Unfortunately, the art was banned soon after slavery by the French government, who colonized the island, because it was seen as violent and pertaining to the maroons, or slaves who escaped from the fields. Moring only made a revival in the 1960s through the efforts of a man named Jean René Dreinaza.

Mr. Dreinaza was an international French boxing phenomenon. He had only known the stories of Moring through the tales his mother told him as a child. In 1989, at 29 years old, he visited Madagascar, his ancestral homeland, for the first time. It was then that he discovered the traditional martial arts of the moraingy of the coast, the diamanga and dakebé of the highlands. When seeing moraingy he recalled, “What appealed to me most was the musical and ritual aspect of the fight, the respect for the forefathers.” Inspired, he traveled back to Reunion to reinvent and reintroduce this art to his contemporaries. Within a few years he drew the interest of many young people to the elegant techniques, styles, and rituals his culture. Taking pride in the slave ancestry of the sport, the reintroduction began to serve as a revival of cultural pride for people on the island because for so many years African and Malagasy (Madagascar) culture had been outlawed and/or looked down upon. As Dreinaza continued to teach Moraingy (now known as Moring), he called upon the older generations to recall their knowledge and correct his teachings and songs where he was insufficient. 

All of this is to say that the similarities between Moring and Capoeira are striking. While there is no concrete evidence that directly links the two art forms one can deduct that the traditions of Mozambique, strongly present in both Brazilian and Reunion culture, manifested near identical qualities in two separate parts of the world. This peculiarity has even peaked the interests of some Brazilian capoeiristas, as Mestre Lua Rasta, a Capoeira Angola teacher, and Mestre Nennel, a Capoeira  Regional teacher, have both been known to perform and demonstrate Moring with their respective academies. Given the facts, we do believe that there is indeed a correlation between capoeira and Moring. Whether distant or immediate, the aesthics and history of both arts parallel in such a way that it is hard not to see a connection. So today, we give thanks for the legacy of Moring. We give thanks to the people of Mozambique and Madagascar for holding onto their culture while enslaved and not allowing their conditions to completely repress or erase it. We give thanks for the lives of the enslaved Africans for their strength, tenacity, and creativity in the face of desolation and despair. We honor your contributions to the African continuum. The rhythm continues. 

We are reaching out to our contacts in Reunion and the Indian Ocean islands to conduct an interview of what Moring is like first hand so stay tuned! In the meantime, check out some videos of Moring below (and do some of your own research) and tell us what you think about its relationship to capoeira. Thanks.   

 

(Please excuse the advertisements in this one but if you get past it there is actually interesting footage.)

STAY TUNED!

Sawubona Capoeira Africana! Thank you for reading. Please stay tuned as we will be updating the site regularly providing exclusive interviews and insights from the African capoeira world. We are pulling resources together to bring you video footage of interesting research, people, places and events as well. But as you know, "Umuntu ngumuntu nagabantu". So we need your help too! Send us your thoughts, your pics, your references, etc. so we can make this an efficient communal hub of information and resources to access capoeira in the African world. We can't do it without you! But it must be done. Isandla sigez' esinye.

Let My People Go: A look at the African-American experience in Capoeira Angola over the past 20 years

On September 18, 2010, a number of African-Americans and supporters of this community joined to discuss the experiences of the black people in Capoeira Angola since its arrival in the United States 20 years ago. The discussion was prompted and facilitated by Totti Angola (Aristoteles Kandimba), a senior student of Mestre Joao Grande and a native of the country Angola in southwestern Africa. Totti currently lives in the Netherlands and is working on a documentary entitled, “Let My People Go”, which will explore this very issue. The meeting was meant to be a research session for Totti’s project and was held at the Low Country Capoeira Angola Society (LCCAS) in Philadelphia, Pennsylvania.

Many older students and significant members of the African-American Capoeira Angola community were present, including Professor Ken Dossar, a lecturer at Temple University who was responsible for bringing the first angoleiros to the U.S. in the 1980s (Mestre Moraes and Mestre Cobra Mansa);  Jamie Brown, an angoleiro who started capoeira in the '80s, has trained extensively under Mestre Moraes and Mestre Cobra Mansa and is responsible, directly and/or indirectly, for the creation of every angoleiro in Atlanta, Georgia; Professor Justin Emeka, a theater director at Oberlin College and a long-time angoleiro who was responsible for first bringing Mestre Jurandir of FICA to the U.S., as well as training with the organization for a number of years; and the leader of the Low Country Academy, Chicago, another long-time angoleiro and community activist that trains many members of the African-American community in Philadelphia and a strong influence on the greater African-American capoeira community in the U.S. at-large.

The afternoon started off with a roda (of course!) which contained lots of axé and many good games. The capoeiristas sang beautifully, moved gracefully, and danced rhythmically around the roda. For the sake of having enough time to for the discussion the roda ended at the two hour mark sharp. After taking another hour to cool down and consume snacks and beverages the discussion began. The topics covered in the discussion spanned a wide but focused spectrum, including when and how Capoeira (Regional then Angola) first came to the U.S., the participation of black capoeiristas then and now and why some African-Americans (and Americans in general) have an aversion to learning the Portuguese language.  Participants also wanted to discuss their reactions to the recent delay in naming Chicago, a student of the Mestre Joao Grande for almost two decades, the honorary title of Contra-Mestre. This part of the discussion was not prompted by Totti but the conversation ensued because there were so many passionate speakers on this topic. It arose in relation to Mestre Joao Grande bestowing a handful of his other longstanding students this year with the honorary title when Chicago’s credits appeared to be just as credible…if not more. In addition, Chicago is the only American, specifically African-American, within the eligible crop of honories that was not acknowledged as having some mastery of the art thus some members of the African-American community felt it was a topic that affected their identity as well.    

In all, the 5 hour discussion was informative, enlightening, and enriching. It only ended because time ran out due to prior commitments. Totti encouraged the community to continue to have these discussions and all consented that they would like to. With the lack of representation of people of African descent in Capoeira Angola right now it seems as this would be a positive step towards the cohesion and comprehension of what Africans are experiencing in this art form today. Thus, not only do we encourage the meetings but we also hope to be a part of the next one and the many more to come.

~ Some games from the event ~

What does Capoeira Africana mean to me? - Chike

Capoeira Africana is a state of mind. It is a way to see capoeira, to engage with capoeira, to experience capoeira. It is a respect for capoeira's African roots as well as a respect for its Diasporic branches. It is the way one feels about capoeira today and could very well be a style of how one plays capoeira tomorrow. Capoeira Africana is the reason I began capoeira, the reason I still do capoeira, and the reason why I will continue to do capoeira.


When I began in this art some years ago I was immediately attracted to the African nature of this expression. Capoeira was presented as something foreign to me but yet it was so familiar. The drums, the bells, the theater of the game. They were all elements I had seen and experienced before in contemporary African culture, Nigerian to be specific. Then came the philosophy, the history. That's when it became personal to me. Given my shared heritage with the Africans and Brazilians who developed this art I believed, and still believe, that Africans on the continent could use capoeira as a springboard to begin to talk about and heal from the deep-seeded wounds inflicted upon the African world, by outsiders as well as ourselves, during the Trans-Atlantic Slave Trade. I began to imagine capoeira as common pastime in Africa, one that would have child soldiers "go to war" in the roda and hug afterward; women free to be bold and assertive without the threat of masculine insecurity; grown men "play" with the idea of fighting a common oppressor, not amongst themselves. Capoeira could be an intricate experience where Africans learned to build comradery and community, nimbleness and nations, poise and power.

The expansion of capoeira to Africa does arise some questions though. With all due respect to Brazil, and the Afro-Brazilian people especially, I wonder how would the transfer of stories and style be interpreted once continental Africans join the narrative. Specifically, these questions are:

1. What role will language play in transporting Capoeira Angola to Africa? While I applaud the current Capoeira Angola seeds planted in Mozambique and Angola, I wonder what types of challenges may occur when taking the art to a non-Portuguese speaking country, say Nigeria, where the Orishas originate from or Congo where many Afro-Brazilians came from during the slave trade? Shall it be expected that Nigerians praise their own Gods in a foreign language? The Congolese speak about their own lineage in an unfamiliar voice? How much give and take should be"allowed" if African languages are incorporated into capoeira? 
2. What role will contemporary African storytelling have in capoeira? Given that Capoeira Angola is a representation of the African experience and resistance to oppression should Africans be "allowed" to sing about their struggles in Africa today as well? Maybe sing songs about what was happening on The Continent when slavery was going on? Or songs about African gods that may have been previously untold?
3. What role will other African martial arts and dances play in the development of capoeira in Africa? Will capoeira acquire some new moves? If so, which ones would/should they be? Also, will the line between Capoeira Angola and Capoeira Regional become more blurry as other African moves are incorporated into the game?

These are just some questions that come to mind when thinking about what capoeira in Africa would look like. I would love to engage with people about them.

Thank you for the opportunity to share. Peace.
                                            
                                                          - Chike ( http://www.igbokwe.org/Chike.html)

-----------------------------------------------------------------------------------------------

Chike is an Angoleiro of Nigerian descent. He has studied with FICA-DC & FICA-BA, as well as taking many classes at M. Joao Grande's Capoeira Angola Center in New York City and Chicago's Low Country Capoeira Angola Society in Philadelphia, PA. Currently, he trains with an independent group of capoeiristas in Brooklyn, NY.

What does Capoeira Africana mean to me? - Submission Series

What does Capoeira Africana mean to you?! You have read what it stands for and why it was formed. Now you have a general idea of what the intention for this blog and movement are. So what does that mean to you?

Feel free to write an article, a statement, send a picture, a weblink,
anything to express what Capoeira Africana means to you.
Send it to capoeiraafricana@gmail.com and it will be posted
on the site, filed  under the link "What does Capoeira Africana mean to me?"
Please include your name and your relationship to capoeira.  Thanks!

What does Capoeira Africana stand to do? O que Capoeira Africana faz?

1. Provide a platform for the African voice in capoeira.
2. Facilitate a forum for the exchange of ideas between the continent of Africa and capoeira.
3. Encourage capoeira cultural ambassadors to and from the continent of Africa.
4. Research, challenge, and celebrate African cultural contributions to capoeira.
5. Promote the developments and expression of African cultures worldwide.

PORTUGUES

1. Criar uma plataforma para uma voz africana na capoeira.
2. Facilitar um fórum para a troca das idéias entre o continente Áfricano e a capoeira.
3. Incentivar embaixadores culturais da capoeira para, e do continente Áfricano.
4. Pesquisar, desafiar, e comemorar, contribuições de culturas africanas para a capoeira.
5. Promover o desenvolvimento e a expressão de culturas africanas no mundo inteiro.

Capoeira Africana Statement of Purpose / Declaração do Propósito

Capoeira Africana

Mission

The mission of Capoeira Africana is to develop, sustain, and promote the art and culture of capoeira as a way of life on the continent of Africa. 

Vision

To see capoeira actively practiced and become part of contemporary African culture within one generation.

What is it?

Capoeira Africana is an idea whose time has come. Using the art form of capoeira, specifically Capoeira Angola, as a tool for education and empowerment Capoeira Africana focuses primarily on the contributions, participation, and sustenance of Africans in capoeira. It will serve as a portal to learn about Africa, her descendants, and the many facets of one of her most beautiful manifestations, Capoeira Angola, through the lens of the Africans that practice it. 

Why was it formed?

Capoeira Africana was formed to address the lack of investment into the African continent as it concerns capoeira. Acknowledging that capoeira has and continues to serve as an ambassador of the African cultures of Brazil, we find it bewildering and, frankly, unacceptable that capoeira has been marketed and transplanted to every continent in the world but with severe underrepresentation in Africa. Given that the “seeds” of capoeira originated in Africa we aim to cultivate and grow new seeds of interest in capoeira and its allied arts from whence it came. We believe that capoeira can serve as a tool for community building, self-discipline, and non-violent conflict resolution in Africa just as it is serving the rest of the world with these traits.

Isn’t this an exclusive pursuit when capoeira is supposed to be inclusive?

The answer is yes and no. Capoeia Africana does seek to exclusively focus on and empower the continent of Africa and her people through capoeira. However, Capoeira Africana does not seek to discriminate against other cultures in pursuit of this agenda. All cultures and peoples are welcome to assist in the pursuit of Capoeira Africana’s cause as long as they are undoubtedly committed to humbly working towards the actualization of its purpose. 

What is the function of Capoeira Africana?

Capoeira Africana serves as a medium to develop, coordinate, and present capoeira-centered workshops, performances, and rodas to African communities by strategically working with allies to this cause. These events will facilitate the process of consciousness building and community-organizing to effectively and efficiently execute Capoeira Africana’s mission and vision.

Who contributes to Capoeira Africana?

Capoeira Africana solicits and accepts contributions from Africans, on the continent and in the Diaspora, as well as concerned associates of this cause who are dedicated to the expansion of capoeira throughout the African world.

How can I get involved with Capoeira Africana?

If you have research, commentary, articles, or just good axé that you would like to share please send an email to capoeiraafricana@gmail.com. Thank You.

PORTUGUES

Missão

A missão de Capoeira Africana é de desenvolver, sustentar, e promover a arte e a cultura da capoeira, como uma forma de vida, no continente de África.

Visão

A nossa visão é de ver a capoeira ser praticada ativamente em África, e de tornar-se parte da cultura africana contemporânea, dentro de uma geração.

O que é?

Capoeira Africana é uma idéia cuja a hora é chegada “A hora é essa”. Usando a forma de arte de capoeira, especificamente de Capoeira Angola, como uma ferramenta para educação e concessão, Capoeira Africana foca primeiramente nas contribuições, na participação, e na subsistência dos africanos na capoeira. Capoeira Africana servirá como um portal para aprendizagem sobre África, seus descendentes, e as várias facetas de uma de suas mais bonitas manifestações, a Capoeira Angola, através da perspectiva dos africanos que a praticam.

Porque foi formada?

Capoeira Africana foi formada para abordar a falta de investimento no continente africano, no que diz respeito a capoeira Angola. Reconhecendo que capoeira tem, e continua a servir como uma representação das culturas africanas do Brasil, nós pensamos desconcertante e sinceramente, inaceitável que a capoeira tem sido propagada e transplantada à todos os continentes no mundo, sem incluir África, e com muito pouca representaçao no continente. Com parentes de sangue que vivem atualmente no continente, e com profundas conecções pessoais a seus povos, nós planeamos mudar o cenário que se apresenta actualmente. Dado que as “sementes” da capoeira originarão em África, nós pretendemos cultivar e crescer sementes novas, de interesse na capoeira, e de suas artes aliadas, de donde vieram. Nós acreditamos que a capoeira pode servir como uma ferramenta para edifícar comunidades, como autodisciplina, e como um veículo para resolução de conflitos de forma não-violenta, em África, simplesmente como ela já está servindo o resto do mundo da mesma forma.

Isto não é um acto de exclusião, quando a capoeira é suporsta ser inclusiva?

A resposta é sim e não. Capoeia Africana procura focalizar exclusivamente no continente Áfricano, e nos seus povos através da capoeira. Entretanto, Capoeira Africana não procura discriminar outras culturas na execução desta agenda. Todas as culturas e povos são bem-vindos a ajudar na no desenvolvimento desta causa, Capoeira Africana, contanto que forem comprometidas indubitàvelmente, para humildemente trabalhar para a concretização da sua finalidade.

Que é a função de Capoeira Africana?

Capoeira Africana serve como um meio para desenvolver, coordenar, e apresentar oficinas/workshops de capoeira, demonstrações, e rodas à comunidades africanas, trabalhando estrategimante com os aliados desta causa. Estes eventos facilitarão o processo de consciêncialização, e organização de comunidades, para eficaz e eficientemente executar a missão e a visão de Capoeira Africana.

Quem contribui para Capoeira Africana?

Capoeira Africana solicita e aceita contribuições de africanos, no continente e na sua diáspora, assim como os associados interessados nesta causa, que são dedicados à expansão da capoeira no mundo africano.

Como posso participar da causa Capoeira Africana?

Se você tem resultados de uma pesquisa que gostaria de publicar, comentários, artigos, ou apenas o bom axé, que você gostaria de compartilhar, por favor mande um email a capoeiraafricana@gmail.com. Obrigado.