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Tonga Traditional Music
Tonga traditional music is very rich and diverse, also it is in the
state of transition in which much of the traditional music has been lost
and new music has been introduced, which elders would consider as a sad
departure from the traditional music which they knew.
Perhaps the best way to try and understand Tonga music is to take each
musical expression and give an account of exactly how it is performed.
In this task we have sought the knowledge of the elders in what we have
written. We have taken every musical item and described it as best we
could.
Kutwa
Let us begin with traditional music which was connected with work, take
for example the pounding songs (kutwa). In the past much of a woman's
life was spend on pounding: it took a lot of time to pound for the
ordinary meals of the day. When a woman was pounding she was usually
singing, so over the years she built up quite an extensive repertoire
of pounding songs. If you examine the content of these songs you would
get a complete picture of Tonga life, for example she would sing about
problems of marriage, different characters (such as her mother-in-law,
the local headman etc.) and about her own emotions. Nowadays pounding
has decreased compared to the past. Women also sang during grinding.
Kuyabila
The Kuyabila Song is very important to a Tonga person. It was sung by
one person alone (man or woman) accompanied by the friction drum (Namalwa)
or a rattle (Muyuwa). It could be also accompanied by an ordinary drum
(Ngoma) using a special rhythm. It could be performed at a funeral
or any time in every-day-life in order to release personal feelings.
When somebody sang in this way people would listen carefully to what
was being sung, because when a person sang like this they revealed
some hidden experiences, which would not be expressed at other times.
For example a man could sing in praise of his cattle, of a difficult journey
he had undertaken or to give himself courage and bravery when facing
fear. Like the pounding song it could cover many different experiences
of life. In the middle of the song the listeners would call out, encouraging
him as he sings (Kumutembula). At the end of the Kuyabila the performer
would conclude by calling down praise names on himself (Kulibanda).
To the Tonga this is not a kind of conceit, but a way to encourage
oneself in enduring the difficulties of life.
Kalumbu and Kankobela
The Kalumbu is a one stringed musical bow used by the men. Attached to
it is a gourd which is used as a resonator and can change the sound
according to the movement to or from the chest. Like the pounding songs
for the woman it is performed to express inner feelings or different
experiences of life. There is one important function of the Kalumbu.
When the time comes for a young man to be married, he will be found
continuously playing this instrument. To his parents this will be a
sign of his wish to find a companion and marry. The
Kankobela is a small wooden keyboard into which are inserted about
eight metal keys, beneath them a hole is pierced which in turn
is covered with a white substance which covers the spiders eggs, (Namundelele), used
to alter the sound of the piano according to the preference of the
musician. The keys are tuned according to a pentatonic scale. Like
the Kalumbu the musician uses the Kankobela to describe his feelings
and different experiences of life.
Chikaambe-kaambe
Cikaambe-kaambe is a dance which is performed during the training
of initiation of a girl. There were different styles of dancing Cikaambe-kaambe
which were connected with particular songs:
Ndikiti
This dance could be performed at initiation, as well as for funerals
and beer parties. At initiation it was danced during the previous night
of the coming out of the girl and the following day of the actual feast.
At the funeral it was danced before the deceased was buried and at
the actual burial. It was danced while encircling the grave and the
drum was in the middle. Apart from that it was danced at the months
mind (Mweesyo). The songs and the style of dancing of Ndikiti at a
funeral were performed to suit the sorrowful occasion. Ndikiti
was also danced with more freedom at beer parties, when people had
imbibed plenty of alcohol and had become happy.
In general we can say that the lyrics of Ndikiti were well developed
compared to other more simple forms of Tonga singing. In different areas
Ndikiti can be called Haamatika, Mayanze and Bukonkoolo.
Kukambilana
This dance was also performed at initiation, funerals and beer parties,
in each case suiting the mood of the occasion. The dancers formed a circle
then each one would enter in turn to dance. Mime was one of the characteristics
of this dance: the dancer would mimic people or animals, often in amusing
situations.
Makwaya
It was performed for initiation, during the wedding and for general entertainment.
The people would stand in a circle with the drum in the middle.
Bukonkoolo
At the beginning this dance was very much connected with funerals. The
instrument used was the pestle, this was placed on the ground and several
women would sit on either side and beat out an integrated rhythm with
sticks. Other women would encircle them while dancing.
Budima
This dance was first of all connected with the funeral of a chief or
a rich person. This dance originated in the Gwembe Valley. It was accompanied
by flutes (Nyeele) and a large ensemble of special drums, each with their
specific name.
Masabe
This dance was connected with sickness: the sick person was asked to
dance and that is how recovery came. There was a special rhythm connected
with each type of sickness. There were three drums played.
Ngoma Yabukali
The Ngoma Yabudali was originally connected with dangerous situations,
for example if the villages were raided by other tribes (such as the
Lozi, Matebele or the Makololo). It was beaten to warn the people
of the impending attacks, similarly if there was a lion in the district
it was beaten, to inform the people of its presence. So the rhythm
of the Ngoma Yabudali was very vigorous. In modern times it's
more associated with expressions of joy. The dance accompanying it
was called Kutambala. People still use spears as they dance it.
It is also used when an elderly person dies; it is played in the morning
and in the evening. The drums would be accompanied by rattles and what
is called Kuzemba.
Kalyaba
This probably is the most popular dance of the Batonga at present. It
can be played at different occasions such as funerals, initiation and
at beer parties. It is danced by men and women. Two drums are
in the centre of the arena and the dancers dance in a circle.
© Mukanzubo-Kalinda
The following categories are not traditional and might be describe as modern music.
• SEESA
This music is associated with malende (shrine) beat although many Seesa players do not know this. It is characterised by the use of two drums. The master drum and a small “kasunto” drum. The Seesa name is actually where two dancers, female and male, would get engaged in a closed waist-wriggling dance. This has however changed as dancers now move in a circle around the drummers. Seesa is a drum dance that is modern to the Tonga culture. The drums have a fast jive that can be beaten in any rhythm the drummer chooses. Professional drummers can even make the drum ‘talk’, chirrup like a bird, bark like a dog even weep like a child. One good example was the Gonde Culture Troupe from the sugar plantation town of Mazabuka. No word here fits a description of their performance.
• CHIGOME
This is a contemporary type of music that implores the use of guitars or banjos to accompany the singers. The name comes from the action of the fingers hitting in the body of the guitar near the sound hall. In Tonga this is known as Chigome. This music developed from Masabe (therapeutic) music that was used to heal those that were possessed with evil spirits. Peter Nangulu popularised this style and Short Mazabuka is the champion in this category here in Southern Zambia. Chigome on the other hand, took people to times of ritual dances known as MASABE. This string sound, which goes along with a ‘gong’ sound hence chigome – has a fast rhythm and usually the lead singer needs a back up if he wants to, otherwise alone is enough.
• KALINDULA
This music is derived from the Kalindula dance of Serenje district in central Zambia. It was popularised by the Serenje Kalindula Band who begun by using home made guitars to produce their music. The notable instrument in this music is the big bass string instrument that uses three stretched chords over a big resonator made from the metal part of a drum. The melodies are composed in the African style of call and response.
• MA GUITAR
Music performed with a classical looking guitar. These are wooden, hand made guitars, with different sets of strings: 3 strings, 4 strings, 5 strings and 6 strings guitars. Cords being played are very original, different from player to player.
• FreeStyle
Music that is of Tonga-land but not among the one described above.
©2000 Chikuni Community Radio Station
