Invention & Convention Exploring the Ancient Origin of the Drum

Root Tones: Invention & Convention Exploring the Ancient Origin of the Drum

In a recent lecture, Naba Lamoussa Morodenibig stated, as he often does, that, "the human brain does not invent; it only imitates." He also defined language as, "...a convention placed on the sounds we make." I reflected on these statements within the context of my Root TonesTM research by interrelating Naba's concepts about invention with the creation of the first musical instruments and by, likewise, interrelating his definition of spoken language with the "language" of music, particularly that of the drum.

INVENTION?

Concerning the root or the origin of the very first musical instruments, there is absolutely no written history concerning these ancient instruments. Nevertheless, most would agree that the hand drum would logically be among the first. If it is true that the convoluted mass located in the cranial of the vertebrate is incapable of true invention, but rather is an organic mechanism, which masters the art of imitation, then we must admit that the first musical instruments were "inspired" by observation and imitation of natural phenomenon. These instruments and continued observation of natural phenomenon (i.e., whistling wind/birds=the flute) would have then inspired the development of subsequent instruments.

One's own heartbeat would be the most natural inspiration for creation of the drum or perhaps more accurately, it may have been the first inspiration for a rhythmic drumming pattern. Other inspirations in nature would have included thunder, the rhythm of rainfall and, perhaps, the cadence of animal hoofs as they galloped by. The clapping of the hands inside one's resonant cave would have been an obvious way to imitate the crackling thunder. Tapping the body would have been a simplistic means by which to imitate the pitter-patter of rainfall. While tapping on the chest, one would have noticed more resonance of sound around this cavity in comparison to the legs, which have more density. Yes, it is possible that the first drum was the human body. Once the concept of percussion based imitation of natural sound had been established, one would have began to experience a heightened "sense of discovery"; while exercising greater vigilance during the observation of nature. Such vigilance and reflection would eventual bring about an understanding about the deeper resonance of the chest cavity due to its hollowness. This hollowness would have certainly been observed in the chest cavity of a large animal while the tribe feasted on the meat of such a creature. The concept of resonance utilizing a hollow object would have eventually been recognized and correlated with the discovery of a hollow log. Beating on a log with the hands would soon prove to be difficult to sustain. This would have necessitated the removal of the bark. The result would have been better on the hands, but not much resonance would be heard due to the thickness of the wood. I could imagine a child crawling up to the open log and babbling, "goo- ga -boom!!!" Upon hearing the resonant tone of the child's voice in the hollow log, it would not be long before the parents would realize that there was yet another use for that animal's skin: a drumhead! There may be variations in the actual unfolding of this "first story of the drum", but can you imagine a more natural way that the drum could have evolved into existence? Getting back to the question of invention, is it correct to classify such discoveries as inventions? Or is one merely "dis-covering" that which was covered from one's view or consciousness. Nevertheless, even so, such discovery requires keen observation. Our Ancient African ancestors obviously possessed a keen sense of discovery, which resulted in the evolution of numerous ways to communicate musical expression. Concerning the subsequent development of the many types of drums, from this point it took perhaps centuries for drum designs and drum language to evolve.

CONVENTION

If there is any semblance of "convention" or universal consensus on how to define the sounds we make (with musical instruments) it would be probably be our categorization of musical genre based on idiomatic expression and instrumentation. Instrumentation would be important in many cases because, for example, an India Raga played by rock musicians would probably not be classified as Indian music as the musical expression would be disassociated with the traditional instruments of origin. Beyond our categorical delineations, is music really a universal language? In his book, African Holistic Healing, Dr. Imhotep Llaila O Ainka asserts, "African music is derived from a wholistic cultural foundation. It is basically culturally confined. In other words, without a knowledge of and respect for African culture, there cannot be an African musical understanding. Music (African as well as European) is not a universal language."

DRUM LANGUAGE CONVENTION

"Universality" implies "that, which is commonly known to a vast majority." The language of the drum has long been "known" but not understood. We know that African drum rhythms were commonly used as a form of language, so much so that the practice of drumming (communicating via rhythm) was actually prohibited by the "authorities" during the time of slavery in The Americas. Nevertheless, it is often said that, "music is a universal language." Based on the mystique of African drumming with its polyrhythmic encoded messaging system (which undoubtedly inspired the creation of the Morse Code and the binary, system. which is the basis for computers and digital technology), perhaps the universality of music is only on the surface. One example of this lack of universality is that of a word which has different meanings in different languages. Two listeners could "hear" an instrumental musical expression and yet not understand its meaning as per the intent of the musician (communicator). With regards to intent, we must keep in mind that, in Ancient Africa, musical instruments were not just used for entertainment (as is the primary function today), but rather were employed for communication, specific cultural events and spiritual practice. The development of drum language may have coincided with the Ancient African development of divination systems, which utilize a binary code generated by various means. Initiatic knowledge of theses systems could have easily been translated into a language for the drums. Such a binary system would be expressed as a series of beats and rests. One could think of the beats as being I's and the rests as being O's. The combinations would be limitless, even with one drum. Add to that a group of drummers with  layers of "code". If one free-associates this paradigm into micro-technology, you essentially have the basis for the computer.

The Eve people of Ghana are known to be masters of the coded messages of drum language. This drum language helped to unite the Eve people in their struggle against their oppressors. The drum language was also used to call for the ancestors' support. Such coded drum language is also a cultural institution of the Ashanti, Dagomba, and Ga peoples in Ghana, and other West African peoples such as the Fon in Benin and the Yoruba in Nigeria. Because their language is tonal, drums can act as a speech surrogate with the low, high and middle tones imitating the tonal patterns of the spoken language. Master drummers can use drums to reach people on a deeper level. When African drums were banned in the Americas during slavery, it was done with the clear knowledge and, thus, fear of this powerful form of communication.

At a later time we will explore the various types of drums developed and their known history. On the question of invention, we could explore an exhaustive discourse regarding the Western concept of ownership and control of inventions, land and resources. Such concepts were introduced to a world that was getting along just fine with barter systems and natural sovereignty. We have reached such an extreme in this regard, that a pop sax-player, Kenny G., actual applied for a patent on the circular-breathing technique discovered by the late jazz saxophonist, Rashan Roland Kirk. We have commercialized imitation. Native peoples around the world continue to have their talents, resources and discoveries exploited without recognition or compensation. Ironically, most indigenous peoples want nothing except to exist without outside influence. In this respect, "globalization" spells the death of individualist cultural expressionism. Stay tuned and C# (see sharp)!