Djembe - Knowledge (XXG)

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djembe's role is to play solo phrases that accentuate the movements of the dancers. Often, the aim is to "mark the dancers' feet", that is, to play rhythmic patterns that are synchronized with the dancers' steps. Individual solo dances are not choreographed, with the dancer freely moving in whatever way feels appropriate at that moment. Marking a solo dancer's feet requires the lead djembefola to have strong rapport with the dancer, and it takes many years of experience for a djembefola to acquire the necessary rhythmic repertoire.

1011: 1023: 999: 43: 1607: 987: 1556: 1544: 1484: 835:: the frequency of the bass is determined by the size and shape of the shell and independent of the amount of tension on the skin. In contrast, the pitch of tones and slaps rises as the tension of the skin is increased. The bass has a frequency of 65–80 Hz. Depending on the size of the drum and the amount of tension on the skin, tone frequency varies from 300 Hz to 420 Hz and slap frequency from 700 Hz to 1000 Hz, with audible overtones reaching beyond 4 kHz. 1653: 1335:

right hand play symmetric areas of equal size and thickness. In turn, this helps to minimize differences in pitch of the notes played by the left and right hand. Normally, the head end of the spine points at the player, so the hands strike the area of the skin that used to be the shoulders of the goat. With thicker skins, such as from a cow or horse, the skin round is usually taken from the side of the hide so it does not include the spine, which is too thick for use on a djembe.

1037: 919: 760: 1599: 305:. Excluding rings, djembes have an exterior diameter of 30–38 cm (12–15 in) and a height of 58–63 cm (23–25 in). The majority have a diameter in the 13 to 14 inch range. The weight of a djembe ranges from 5 kg to 13 kg (11–29 lb) and depends on size and shell material. A medium-size djembe carved from one of the traditional woods (including skin, rings, and rope) weighs around 9 kg (20 lb). 845: 1802: 881: 893: 351: 1442: 1712: 1507: 1393: 1726: 1578: 1429:

long strip of cowhide was used to lace up the drum, applying tension between the top ring and a third ring placed around the stem. To apply further tension, the vertical sections of the rope were woven into a diamond pattern that shortens the verticals. Wooden pegs wedged between the shell and the lacing could be used to increase tension still further.

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drummer and having private lessons or lessons for small groups of people. Players generally need to learn the basic sounds and traditional rhythm samples (4/4 and 12/8) to be able to follow classes. Many years of playing and learning are needed to be able to produce a sound that is comparable in its quality to that of a master drummer.

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learning/practising. A competent user is able to reproduce material learnt in a workshop for later use. Notwithstanding its utility as a basic transcription tool, Percussion Studio cannot reproduce the intonation and microtiming of a skilled player and has limited value, therefore, for transcribing solo. The drum machine software

820:, which have low, medium, and high pitch, respectively. These sounds are achieved by varying the striking technique and position. Other sounds are possible (masters achieve as many as twenty-five distinctly different sounds), but these additional sounds are used rarely, mainly for special effects during a solo performance ( 905: 857: 869: 1449:

The modern mounting system arose in the early seventies, when touring ballets came into contact with synthetic rope used by the military. Initially, the synthetic rope was used to replace the twisted cowhide strips. However, the rope could now be tightened to the point where it tore through the skin;

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Up until the 1980s, the most common mounting system used twisted strips of cowhide as rope. The skin was attached with rings made of cowhide; one ring was sewn into the perimeter of the skin and a second ring placed below it, with loops holding the skin in place and securing the two rings together. A

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of the drum head. A tone emphasizes the (0,1) mode while suppressing the bass (Helmholtz resonance) and higher-order modes as much as possible. A slap emphasizes the (2,1), (0,2), (3,1), (1,2), and (0,3) modes (as well as higher-order modes) while suppressing the Helmholtz resonance and the (0,1) and

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The bass sound is produced by striking the drum with the palm and flat fingers near the center of the skin. Tone and slap are produced by striking the drum closer to the edge; the contact area of the fingers determines whether the sound is a tone or a slap. For a tone, most of the area of the fingers

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Among the earliest educational resources available to a student of the djembe were an educational VHS tape by Babatunde Olatunji released in 1993, as well as books by Serge Blanc, Famoudou Konaté, and Mamady Keïta. In 1998, these were supplemented by a three-volume VHS set by Keïta and, in 2000, by a

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The amount of tension that can be applied this way is considerable. A djembe tuned to solo pitch has a tone frequency of around 400 Hz. For a drum with a 31 cm (12.2 in) playing surface, this equates to an overall pull force of around 455 kg (1,000 lb), or 15,000 newton

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Skins from dry and hot-climate areas and poorly fed goats are preferred for djembes because of their low fat content. Skins from cold-climate goats with high-value nutrition have more than double the fat content; they tend to sound dull and lifeless in comparison. Even though the fat content of male

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The djembe is headed with a rawhide skin, most commonly goatskin. Other skins, such as antelope, cow, kangaroo, or horse can be used as well. Thicker skins, such as cow, have a warmer sound with more overtones in the slaps; thinner skins have a sharper sound with fewer overtones in the slaps and are

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to shape the shell. A well-carved djembe does not have a smooth interior but a texture of scallops or shallow grooves that influence the sound of the instrument. (Djembes with smooth interiors have tones and slaps with too much sustain.) Often, interior grooves form a spiral pattern, which indicates

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Recordings of the djembe far surpass the number of recordings of any other African drum. Beginning in the late 1980s, a slew of djembe-centric recordings was released, a trend that, as of 2014, shows no sign of abating. This is significant because these recordings are driven by the demand of western

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A variation of this technique, introduced in the early 2000s, uses three rings instead of two. The idea of this technique is to increase the number of friction points trapping the skin to make it less likely for the skin to slip between the rings as tension is applied. There is no firm consensus in

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Starting in the 1980s, a number of Guinean djembefolas (Epizo Bangoura, Famoudou Konaté, Mamady Keïta) started hosting study tours to Guinea, allowing djembe students to experience Guinean culture first-hand. Many other djembefolas followed suit; as of 2014, a potential visitor can select from tens

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Touré generously supported the ballets (to the point of building a special rehearsal and performance space in his palace for Ballet Djoliba) and, until his death in 1984, financed extensive world-wide performance tours, which brought the djembe to the attention of Western audiences. Other countries

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model of using the country's culture and music for promotional means. He and Fodéba Keïta, who had become a close friend of Touré, saw the ballets as a way to secularize traditional customs and rites of different ethnic groups in Guinea. The ballets combined rhythms and dances from widely different

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Written transcriptions of rhythms tend to be imprecise. Usually only the basic idea of the rhythm is transcribed but the real feeling that it carries can't be easily put down on paper. This is due to the nature of the West African music—the different types of swing (at least four of them) that are

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Traditionally, as today, in Africa an individual needs to spend many years accompanying his master in ceremonies and other festivities before becoming a real djembefola (djembe player). Today in the communities of western civilization learning to play the djembe generally involves finding a master

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on the crown ring and bottom ring form loops. Through these loops, a length of rope connects the crown ring and the bottom ring; tightening this rope applies tension. As the vertical rope is tensioned, the cow hitches on the crown ring press the skin against the flesh ring below; this attaches the

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The pitch of these traditional djembes was much lower than it is today because the natural materials imposed a limit on the amount of tension that could be applied. Prior to playing, djembefolas heated the skin near the flames of an open fire, which drives moisture out of the skin and causes it to

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The skin is mounted with the spine running through the centre of the drum head, with the line of the spine pointing at the player, so the hands strike either side of the spine. Animal skins are thicker at the spine than the sides; mounting the skin with the spine centered ensures that the left and

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The lead djembefola also improvises to a rhythm at times when no-one is dancing. While there is considerable freedom in such improvisation, the solo phrases are not random. Instead, individual rhythms have specific key patterns (signature phrases) that the soloist is expected to know and integrate

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A djembe and dunun ensemble traditionally does not play music for people to simply sit back and listen to. Instead, the ensemble creates rhythm for people to dance, sing, clap, or work to. The western distinction between musicians and audience is inappropriate in a traditional context. A rhythm is

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Musicians and participants often form a circle, with the centre of the circle reserved for dancers. Depending on the particular rhythm being played, dances may be performed by groups of men and/or women with choreographed steps, or single dancers may take turns at performing short solos. The lead

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Traditionally, carvings on djembes (if any) are limited to the foot. Depending on the country of origin, different patterns are used; traditional carving styles are usually quite plain and restrained. In the 2000s, western demand and competition among carvers resulted in more and more elaborate

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Originally, the skin was attached by wooden pegs that were driven through holes in the skin and the shell near the playing edge. Four to five people would stretch the wet skin over the drum to apply tension while the pegs were driven into the bowl. The shrinkage of the skin while it dried then

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of djembe tours each year. Djembe tourism created a market for djembefolas in Guinea that previously did not exist. Young djembefolas try to emulate the success of their predecessors and cater to the needs of the tourists, leading to change and commodification of the original djembe culture.

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With the advent of musical software such as Percussion Studio, transcribing and reproducing rhythms has become easier. Musical software can be useful for people who don't have a group to practice with, as individual tracks can be isolated or tempo changed to assist with playing along and

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and the edge of the palm contact the skin whereas, for a slap, the contact area is limited to the edge of the palm and the fingertips. The basic sounds are played "open", meaning that the hands rebound immediately after a strike, so the contact time with the skin is as short as possible.

1638:. The rattles serve as decoration as well as to create a richer sound. Sege sege are not a status symbol or indicative of playing skill. Anyone can attach sege sege to their djembe, regardless of their ability or whom they are playing with, without causing offence or breaking etiquette. 1327:

louder. Thick skins make it easier to play full tones but more difficult to play sharp slaps; for thin skins, the opposite applies. Thin skins are louder than thick ones. Thick skins, such as cow, are particularly hard on the hands of the player and cause more callousing than goatskins.

545: 430:. However, due to the lack of written records in West African countries, it is unclear whether the djembe predates or postdates the Mali Empire. It seems likely that the history of the djembe reaches back for at least several centuries and possibly more than a millennium. 1300:

Shells are carved soon after the tree is felled while the wood still retains some moisture and is softer. This makes the wood easier to carve and avoids radial splits that tend to develop in logs that are allowed to dry naturally. Carvers use simple hand tools, such as

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Traditionally crafted djembes are carved from a single log of hardwood. A number of different wood species are used, all of which are hard and dense. Hardness and density are important factors for the sound and projection of the djembe. The most prized djembe wood is

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Particularly in Guinea, drum makers often fit motorcycle tires to the foot of a djembe, both for decoration and to prevent the drum from slipping when playing seated on a slippery floor. This trend started in the late 1990s and evolved from the practice of attaching

692:). However, these woods, being softer and less dense, are not as suitable as the traditional woods. A number of western percussion instrument manufacturers also produce djembe-like instruments, often with fibreglass bodies, synthetic skins, and a key tuning system. 824:, literally, "the sound of the djembe"). A skilled player can use the sounds to create very complex rhythmic patterns; the combination of rhythm and the differently pitched sounds often leads an inexpert listener to believe that more than one drum is being played. 1087: 1450:

in response, drum makers started using steel rings instead of twisted cowhide to hold the skin in place. Despite objections from many djembefolas, the modern mounting system gradually displaced the traditional one and, by 1991 had completely replaced it.

1574:). With more than one completed row of twists, the vertical rope forms diamond shapes that can be quite decorative. Well-applied Mali weave keeps the rope that runs across the verticals horizontal, without gradually climbing up in a spiral pattern. 1163:) and one djembe. The konkoni and djembe are in a rhythmic dialog, with each drum taking turns playing accompaniment while the other instrument plays improvised solos. If a second dunun player is available, he supplements the ensemble with a 720:, began to explore the idea of including women djembe and dunun players in ballet performances, against considerable initial resistance from male performers. Despite this, he included two female djembe players in the 2000 American tour of 371:. The wide dispersion of the djembe drum throughout West Africa may be due to Numu migrations during the first millennium AD. Despite the association of the djembe with the Numu, there are no hereditary restrictions on who may become a 519:

After the death of Sekou Touré in 1984, funding for the ballets dried up and a number of djembefolas (who were never paid well by the ballets) emigrated and made regular teaching and performance appearances in the west, including

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Field recordings from Guinea, with extensive liner notes by Johannes Beer (in German and French). One of the early djembe-centric recordings, and widely considered to be one of the best recordings of the traditional Guinean

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Most djembes from Mali, Guinea, Burkina Faso, and Senegal are still hand carved from traditional species of wood, using traditional tools and methods. In the 1990s, djembes started being produced elsewhere, such as in

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Instead of trimming the skin off above the crown ring, the drum maker can fold the skin over so it covers the crown ring. This is done for aesthetic purposes; the fold-over does not serve to hold the skin in place.

342:(a woven basket rattle), are usually played by women. Even today, it is rare to see women play djembe or dunun in West Africa, and African women express astonishment when they do see a female djembe player. 1690:

not easily expressible with western notation. For this reason, written material for advanced players is still scarce if not unavailable, while general and informational literature can be easily obtained.

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The djembe can produce a wide variety of sounds, making it an extremely versatile drum. The drum is very loud, allowing it to be heard clearly as a solo instrument over a large percussion ensemble. The

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VHS tape by Epizo Bangoura. Since then, the market for educational materials has grown significantly. As of 2014, dozens of educational books, CDs, and videos are available to an aspiring player.

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region in Guinea have cycle lengths of 16, 24, 28, or 32 beats, among others.) Cycles longer than eight beats are rare for djembe accompaniments—longer cycles are normally played only by the

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In the United States, Ladji Camara, a member of Ballets Africains in the 1950s, started teaching djembe in the 1960s and continued to teach into the 1990s. Camara performed extensively with

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Each instrument plays a different rhythmic figure, and the cycle lengths of the different instruments need not necessarily be the same. This interplay results in complex rhythmic patterns (

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rarely played as a performance, but is participatory: musicians, dancers, singers, and onlookers are all part of the ensemble and frequently change roles while the music is in progress.

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by Laurent Chevallier depicts Mamady Keïta's return to the village of his birth after a 26-year absence. Upon release, the movie won the Wisselzak Trophy and Special Jury Award at the

1055: 1010: 1121:. The most common cycle length is four beats, but cycles often have other lengths, such as two, three, six, eight or more beats. (Some rhythms in the dundunba family from the 801:

For its size, the djembe is an unusually loud drum. The volume of the drum rises with increasing skin tension. On a djembe tuned to solo pitch, skilled players can achieve

1186:). If an ensemble includes more than one djembe, the highest pitched (and therefore loudest) djembe plays solo phrases and the other djembes and dunun play accompaniment. 1090: 2592: 1641:

Ropes of different color can be wrapped around the bowl of the drum as decoration. (To tune the drum, the rope wrap must be removed.) Djembes may also be decorated with

560: 3686: 1146:). The different accompaniment parts are played on djembes that are tuned to different pitches; this emphasizes the polyrhythm and creates a composite overall melody. 1078:

By slightly varying striking and finger position, skilled players can selectively emphasize different slap harmonics and create melodies of differently pitched slaps.

3586: 1525:), use a similar system. However, instead of by vertical ropes, the top ring is pulled against the flesh ring by mechanical lugs that are tightened with a wrench. 986: 278:, the name of the djembe comes from the saying "Anke djé, anke bé" which translates to "everyone gather together in peace" and defines the drum's purpose. In the 457: 1829:

Recording of the first national ballet of Guinea, illustrating how the traditional music was arranged and choreographed to adapt it for presentation on stage.

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say that a skilled drummer is one who "can make the djembe talk", meaning that the player can tell an emotional story (the Malinké never used the djembe as a

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spiritual backgrounds in a single performance, which suited the aim of Touré's demystification program of "doing away with 'fetishist' ritual practices".

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The number of instruments in the ensemble varies with the region and occasion. In Mali, a traditional ensemble often consists of one dunun (called

4109: 1089: 3555: 488:, after Guinea gained independence in 1958, to be followed by two more national ballets, the Ballet d'Armee in 1961 and Ballet Djoliba in 1964. 3708: 2075:

Polak, Rainer (2005). Post, Jennifer (ed.). "A Musical Instrument Travels Around the World: Jenbe Playing in Bamako, West Africa, and Beyond".

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goats is lower than that of female goats, many players prefer female skins because they do not smell as strongly and are reputed to be softer.

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applied sufficient additional tension for the skin to resonate. A similar mounting technique is still used by the Landouma (a subgroup of the

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To prevent damage to the rope from rust flakes, as well as for aesthetic reasons, the rings are often wrapped with strips of colored cloth.

1342:. Liming weakens skins; some djembefolas also claim that limed skins are harder on their hands and do not sound as good as untreated skins. 777: 4129: 4114: 4104: 3679: 2819: 1296:

Spiral pattern on the inside of a well-carved djembe (djalla wood). The spine of the skin is clearly visible through the hole in the waist.

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An ensemble may have only two dunun, depending on whether a village has enough dunun players and is wealthy enough to afford three dunun.

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that always accompany the djembe. Conversely, other percussion instruments that are commonly played as part of an ensemble, such as the

2014: 904: 892: 880: 868: 399:. (The djembe is not a griot instrument.) Anyone who plays djembe is a djembefola—the term does not imply a particular level of skill. 2688: 2584: 2156: 449:, due to the very limited travel of native Africans outside their own ethnic group, the djembe was known only in its original area. 232: 60: 4053: 2796: 1842:

Recordings of the traditional village style of playing, with just one djembe and one konkoni, performed by acknowledged masters.

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Diawara, Gaoussou; Diawara, Victoria; Koné, Alou (June 24, 1997). Diakhate, Ousmane; Eyoh, Hansel Ndumbe; Rubin, Don (eds.).

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Gaudette, Pascal (September 20, 2012). "Jembe Hero: West African Drummers, Global Mobility and Cosmopolitanism as Status".

4058: 4048: 3928: 3716: 1233: 769: 587: 367: 2904: 2443: 4089: 4038: 2882: 2349: 965:(1,1) modes. Skilled players can also produce a medium-pitched sound (between a tone and slap) that is variously called 706: 3192: 2475: 484:. The ballet toured extensively in Europe and was declared Guinea's first national ballet by Guinea's first president, 2507: 961: 960:

The difference in pitch of the sounds arises because the different striking techniques selectively emphasize specific

294: 3516: 375:(literally, "one who plays the djembe"). This is in contrast to instruments whose use is reserved for members of the 4043: 3992: 3028: 2562: 2536: 2384: 2232: 1570:

After initial tightening of the verticals, a djembe is tuned by creating twists in the verticals to shorten them (

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the djembe community as to whether the benefits of this mounting are worth the extra weight and added complexity.

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Traditionally, the djembe forms an ensemble with a number of other djembes and one or more dunun. Except for the

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followed Touré's example and founded national ballets in the 1960s, including Ivory Coast (Ballet Koteba), Mali (

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in 2010). The group first toured the US in 2004 and continues to perform, with tour dates scheduled out to 2014.

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There are several notable female djembefolas, including Salimata Diabaté from Burkina Faso (lead djembefola of

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Hairy drums, live sampling: Ethos Percussion Group commissions of 2004 and their "extra-conservatory" elements

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Berliner, David (November 2005). "An 'Impossible' Transmission: Youth Religious Memories in Guinea-Conakry".

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Djembe and konkoni ensemble in the village of Nafadié, 85km northwest of Bamako, Mali, recorded January 2008.

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shrink and increase the pitch of the drum. This process had to be repeated frequently, every 15–30 minutes.

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core with a 16‑ or 32‑plait mantle and around 5% stretch. Very low-stretch (<1%) rope materials, such as

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into his improvisation. A skilled soloist will also play phrases that harmonize with the background rhythm (

485: 528:(Germany), and Epizo Bangoura (France, US, and Australia). A number of other djembefolas—M'bemba Bangoura, 4084: 3933: 579: 1409: 3943: 3695: 3343: 1967: 1361:

construction, 4–5 mm in diameter. Low-stretch (static) rope is preferred. Most djembe ropes have a

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Spectrum analysis of a slap. The spike at 812 Hz is the (2,1) mode, followed by higher-order modes.

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Spectrum analysis of a tone. The pair of spikes at 343 Hz and 401 Hz are the (0,1) mode.

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Mandiani Drum and Dance: Djimbe Performance & Black Aesthetics from Africa to the New World

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skin to the flesh ring very securely and stretches the skin over the bearing edge of the drum.

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African Rhythm and African Sensibility: Aesthetics and Social Action in African Musical Idioms

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Mandiani Drum and Dance: Djimbe Performance and Black Aesthetics from Africa to the New World

504:), and Senegal (Le Ballet National du Senegal), each with its own attached political agenda. 2739: 2204: 2002: 1253: 1227: 604: 476:

The djembe first came to the attention of audiences outside West Africa with the efforts of

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Choreographies of African Identities: Negritude, Dance, and the National Ballet of Senegal

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contains Djembe, dunun and bell sound files that can be used to study as described above.

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carvings that can cover all of the foot and, in some cases, include the bowl of the drum.

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The traditional barriers against women djembe and dunun players have come down over time.

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Djembe talk and performance with Mamady Keïta at the Big Bang festival in Dublin, Ireland

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The goblet shape of the djembe suggests that it originally may have been created from a

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Mande Music: Traditional and Modern Music of the Maninka and Mandinka of Western Africa

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The Politics of Representation and Transmission in the Globalization of Guinea's Djembé

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Djembe decorated with extensive carvings on the stem and bowl, with folded-over skin

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Official website sanctioned by the Department of Culture of the Republic of Guinea

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Geographically, the traditional distribution of the djembe is associated with the

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Academic research, publications, and audio and video samples of djembe music, by

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Spectrum analysis of a tonpalo (third slap). The tallest spike is the (1,1) mode.

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Youssouf Koumbassa (himself), Julian McNamara, Kate Farrell (directors) (2010).

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Djembefolas frequently attach one to four metal rattles to their drum, known as

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There is general agreement that the origin of the djembe is associated with the

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The mounting system for the skin has undergone a number of changes over time.

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The skin is held in place by being trapped between the top ring, called the

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Factory-made djembes often use skins made from synthetic materials, such as

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Skins may be shaved prior to mounting or afterwards, or may be de-haired by

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Djembe decorated with folded-over skin, sege sege, rope wrap, and metalwork

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Differently pitched slaps due to selective emphasis of different harmonics.

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ensured that the djembe was noticed internationally by mainstream viewers.

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The African Music Encyclopedia: Music from Africa and the African Diaspora

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In Guinea, a typical ensemble uses three djembes and three dunun, called

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audiences; there are almost no djembe recordings within African markets.

516:

during the 1970s, greatly raising awareness of the instrument in the US.

437:. (Mortars are widely used throughout West Africa for food preparation.) 290: 286: 248: 2530: 2226: 3873: 3806: 3791: 3748: 3020: 2877: 2372: 1907: 1665: 1577: 1366: 1159: 1133: 1127: 666:, often using modern machinery and substitute species of wood, such as 655: 469: 427: 383: 328: 2254: 3883: 3858: 3843: 3838: 2406: 1862: 992:

Spectrum analysis of a bass. The big hump is the Helmholtz resonance.

407: 338: 127: 20: 3287:

Keey, Roger B.; Langrish, Timothy A. G.; Walker, John C. F. (2000).

2986: 491:

Touré's policies alienated Guinea from the West and he followed the

3345:

Biological Factors Influencing the Nature of Goat Skins and Leather

3903: 3893: 3863: 3801: 1800: 1659: 1651: 1642: 1605: 1597: 1576: 1506: 1505: 1466: 1440: 1391: 1291: 1279: 1167:, which is a bass drum similar in build to a konkoni, but larger. 1149: 1148: 1085: 651: 543: 456: 377: 349: 322: 183: 119: 2960: 2803:. Department of Culture of the Republic of Guinea. Archived from 1117:. The figure repeats after a certain number of beats, known as a 805:

of more than 105 dB, about the same volume as a jackhammer.

282:, "djé" is the verb for "gather" and "bé" translates as "peace." 3913: 3316:(DVD). Companion DVD to the book. Tempe, AZ: White Cliffs Media. 2502: 2470: 1357:

Modern djembes exclusively use synthetic rope, most commonly of

1314: 1306: 465: 411: 275: 3668: 2797:"The creation of Amazones: The Women Master Drummers of Guinea" 2704:(DVD). Re-release of 1998 VHS version. Djembefola Productions. 2225:

Laurent Chevallier (director), Mamady Keïta (himself) (1991).

1521:

Factory-made djembes (often from synthetic materials, such as

1302: 611:, raising awareness of the instrument with western audiences. 567:, and brought the djembe to the attention of a wide audience. 3655: 3649: 2171:

The State of Africa: A History of Fifty Years of Independence

1664:

Timing belt decoration on the foot of a djembe (purchased in

1832:

Jaraba Jakite, Yamadu Bani Dunbia, Jeli Madi Kuyate (2007).

1035: 917: 758: 599:

The djembe has been used by many western artists, including

320:

Traditionally, the djembe is played only by men, as are the

1510:

Fibreglass djembe with synthetic skin and lug tuning system

224: 215: 212: 3329:

Djembé Spielen Lernen: Herstellung, Geschichte, Tradition

743:), and Melissa Hie from Burkina Faso (lead djembefola of 3636: 3110:(1st ed.). Singapore: World Scientific Publishing. 2174:. Johannesburg, South Africa: Jonathan Ball Publishers. 2124:

A Life for the Djembé—Traditional Rhythms of the Malinké

1656:

Cowrie shell and tire decoration on the foot of a djembe

1645:, coloured paint, decorative tacks, or other metalwork. 3220: 3218: 2930: 257: 2287:

The World Encyclopedia of Contemporary Theatre: Africa

1373:, are used only rarely due to their much higher cost. 2820:"Amazones Djembe Group—from Kumandi Drums Newsletter" 2717:

Yole & Zawuli: Traditional Rhythms for the Djembe

233: 332:(a hollowed-out gourd covered with a net of beads), 221: 4016: 3970: 3942: 3819: 3724: 3715: 3129: 3127: 2849:. Department of Culture of the Republic of Guinea. 2373:"Rare German Radio Interviews with Famoudou Konate" 981:

Spectrum analysis for bass, tonpalo, tone, and slap

218: 209: 177: 137: 111: 99: 91: 71: 59: 52: 3259: 2873:"Salimata Diabate et Afro Faso Jeunesse, SNC 2010" 2618:(DVD). Re-release of 1993 VHS version. Interworld. 2126:(5th ed.). Kirchhasel-Uhlstädt: Arun-Verlag. 2585:"Cirque du Soleil's percussion setup in pictures" 1834:The Art of Jenbe Drumming (Mali Tradition Vol. 1) 943:Djembe bass, tone, tonpalo (third slap), and slap 704:In 1998, Mamoudou Conde, director of the ballets 561:International Documentary Film Festival Amsterdam 26:"Jembe" redirects here. For the garden tool, see 850:(0,1) vibrational mode created by a bass or tone 3652:Extensive collection of Malinke rhythm notation 3331:(DVD) (in German). Neusäß, Germany: Leu-Verlag. 2715:Bangoura, Epizo (2000). Bolliger, David (ed.). 2498:"Marseille Festival of Documentary Film (1991)" 2070: 2068: 2066: 2064: 1917:(in French). No. 19. Kanjamadi. p. 7 1908:"Les Recherches linguistiques de l'école N'ko" 3680: 3646:International community of djembe enthusiasts 3351:(Ph.D. thesis). UK: University of Leicester. 3225:Konaté, Famoudou (1991). Simon, Artur (ed.). 2801:Amazones: The Women Master Drummers of Guinea 2442:(Ph.D. thesis). City University of New York. 2220: 2218: 726:Amazones: The Women Master Drummers of Guinea 8: 1936:Doumbia, Abdoul; Wirzbicki, Matthew (2005). 1207:) that is created by the other instruments. 839:Different vibrational modes of a djembe skin 35: 3238: 3236: 2290:. Vol. 3. London: Routledge. pp. 2117: 2115: 2113: 2111: 1445:Djembe with modern two-ring mounting system 862:(1,1) vibrational mode created by a tonpalo 285:The djembe has a body (or shell) carved of 3721: 3687: 3673: 3665: 3613:The Healing Drum: African Wisdom Teachings 3462:Djembe Construction: A Comprehensive Guide 3162:"Vibrational Modes of a Circular Membrane" 1412:, Paris, added to the collection in 1938.) 3408: 3406: 3404: 2646: 2644: 4024:Classification of percussion instruments 2763: 2761: 2371:Friedberg, Lilian, ed. (December 2001). 2122:Billmeier, Uschi; Keïta, Mamady (2004). 1975:(Ph.D. thesis). University of Michigan. 1677:to the foot of djembes as a decoration. 910:(0,3) vibrational mode created by a slap 898:(1,2) vibrational mode created by a slap 886:(0,2) vibrational mode created by a slap 874:(2,1) vibrational mode created by a slap 266:played with bare hands, originally from 3527:from the original on September 15, 2016 3014: 3012: 3010: 3008: 2732:Journal of Ethnic and Migration Studies 2510:from the original on September 24, 2015 1961: 1959: 1957: 1873: 1536: 1476: 979: 837: 808:Djembe players use three basic sounds: 3709:List of percussion instruments by type 2905:"Monette Marino-Keita's Official Site" 2885:from the original on September 2, 2012 2671: 2651:Konaté, Famoudou; Ott, Thomas (2000). 2529:Laurent Chevallier (director) (1998). 2235:from the original on February 11, 2017 2139: 2094:. Courbevoie Cedex, France: ID Music. 2077:Ethnomusicology: A Contemporary Reader 1532: 1068: 950: 791: 565:Marseille Festival of Documentary Film 247: 34: 3611:Diallo, Yaya; Hall, Mitchell (1989). 3496:from the original on January 10, 2012 3141:from the original on December 2, 2012 2993:from the original on October 29, 2013 2967:from the original on October 29, 2013 2941:from the original on January 31, 2012 2853:from the original on January 30, 2012 2795:Conde, Mamoudou (December 17, 2003). 2770:"Djembe Woods: What You Need to Know" 2595:from the original on January 29, 2013 2559:"Evolution of the Instrument: Djembe" 2352:from the original on January 12, 2012 2265:from the original on January 16, 2012 2017:from the original on January 16, 2012 1561:3rd and 4th row of twists on a djembe 1549:1st and 2nd row of twists on a djembe 1501:Schematic of three-ring skin mounting 578:, Mamady Keita, Famoudou Konaté, and 7: 3589:from the original on January 6, 2012 3558:from the original on January 4, 2012 3389:from the original on January 4, 2012 3106:Rossing, Thomas (January 15, 2000). 2818:Cogliandro, Chuck (August 5, 2004). 2776:from the original on January 3, 2012 2665:. First published 1997 in German as 2478:from the original on October 9, 2009 2466:"Laurent Chevallier – Awards – IMdb" 2090:Sidibé, Séga; Piquet, Cyril (2010). 2038: 2036: 2034: 2032: 1906:Faya Ismael Tolno (September 2011). 1457:, and the ring below it, called the 1421:) for a djembe-like drum known as a 258: 3637:Djembefola drum and dance community 3327:Branscheid-Diabaté, Ursula (2010). 3258:Chernoff, John (October 15, 1981). 2539:from the original on March 23, 2016 2387:from the original on April 13, 2012 1982:from the original on April 28, 2014 1489:Schematic of two-ring skin mounting 1318:a carver taking pride in his work. 4120:Bissau-Guinean musical instruments 3546:Henning, Michi (January 4, 2011). 3492:. djembefola.com. March 18, 2009. 3172:from the original on June 25, 2012 3166:Acoustics and Vibration Animations 3031:from the original on March 5, 2016 2702:Rythmes Traditionnels du Mandingue 2446:from the original on March 4, 2016 2417:from the original on March 3, 2016 1817:. Museum Collection Berlin: CD 18. 1581:Three completed rows of Mali weave 14: 3447:Landouma Fare: From the Heartland 3358:from the original on July 8, 2019 3203:from the original on May 24, 2024 3168:. Pennsylvania State University. 3108:Science of Percussion Instruments 3087:from the original on May 25, 2011 3075:Henning, Michi (March 23, 2011). 3054:. Tempe, AZ: White Cliffs Media. 2655:. Oldershausen, Germany: Lugert. 1827:. Musique du Monde, Buda Records. 645:Commercially produced instruments 4095:Unpitched percussion instruments 4054:List of vibraphone manufacturers 3615:. Rochester, VT: Destiny Books. 3515:Henning, Michi (July 13, 2012). 3377:Kondas, Tom (December 9, 2011). 3247:. Nürnberg, Germany: bibiafrica. 2561:. The Revivalist. Archived from 2319:. University of Illinois Press. 1724: 1710: 1554: 1542: 1494: 1482: 1082:Role in the traditional ensemble 1069:Problems playing this file? See 1051: 1021: 1009: 997: 985: 951:Problems playing this file? See 933: 903: 891: 879: 867: 855: 843: 792:Problems playing this file? See 774: 563:, and the Audience Award at the 205: 87:, one membrane, open at one end) 41: 3579:"Non-Nailing Tyre Foot Is Born" 3266:. University of Chicago Press. 3191:Henning, Michi (July 3, 2012). 2436:Files, Frederick Rimes (2012). 2411:Epizo Bangoura official website 2047:. University of Chicago Press. 1396:Traditional djembe used by the 585:The Oscar-nominated 2007 drama 365:caste of blacksmiths, known as 262:) is a rope-tuned skin-covered 73:Hornbostel–Sachs classification 4110:Senegalese musical instruments 3705:List of percussion instruments 3193:"Harmonics of tones and slaps" 2667:Rhythmen und Lieder aus Guinea 2631:African Percussion: The Djembe 1881:Friedländer, Marianne (1992). 1836:. bibiafrica. Companion CD to 1823:Les Ballets Africains (1990). 570:A 1998 follow-up documentary, 1: 4100:Burkinabé musical instruments 4059:List of timpani manufacturers 4049:List of marimba manufacturers 3486:"Three top rings? Yea or nay" 3342:Stosic, Philippa (May 1994). 3160:Russell, Daniel (2004–2011). 2653:Rhythms and Songs from Guinea 1825:Les Ballets Africains: Guinea 447:decolonization of West Africa 4039:List of cymbal manufacturers 3577:bubudi (November 25, 2010). 3137:. Georgia State University. 2961:"Benkadi un art authentique" 2744:10.1080/1369183X.2013.723259 2614:Olatunji, Babatunde (2004). 2315:Castaldi, Francesca (2006). 831:Acoustically, a djembe is a 178:More articles or information 4130:Ivorian musical instruments 4115:Guinean musical instruments 4105:Gambian musical instruments 3460:Henning, Michi (May 2012). 2001:Charry, Eric (April 1996). 752:Sound and beating technique 445:Prior to the 1950s and the 47:Lenke wood djembe from Mali 16:Type of African goblet drum 4146: 4125:Malian musical instruments 4044:List of drum manufacturers 3993:Indoor percussion ensemble 3517:"Tension on a djembe skin" 3021:"Physics of Djembe Sounds" 3019:Prak, Albert (July 1997). 2987:"On the Road with Mélissa" 2678:: CS1 maint: postscript ( 2146:: CS1 maint: postscript ( 1938:Anke Djé Anke Bé, Volume 1 1408:. (From the collection of 929:Basic sounds of the djembe 301:, most commonly made from 25: 18: 3782: 3702: 3379:"Damn it.....seriously!!" 3135:"Circular Membrane Modes" 2340:Wassserman, Andy (1995). 2168:Meredith, Martin (2006). 1182:(high pitch, also called 722:Les Percussions de Guinée 707:Les Percussions de Guinée 182: 142: 118: 106: 40: 2589:Congas, djembes and more 2407:"Who is Epizo Bangoura?" 2209:10.1525/ae.2005.32.4.576 1940:. 3idesign. p. 86. 1813:Famoudou Konaté (1991). 1586:per meter (N/m) of 1153:Khassonka player in Mali 480:, who, in 1952, founded 19:Not to be confused with 3642:April 25, 2021, at the 2255:"Les Ballets Africains" 293:made of untreated (not 3696:Percussion instruments 3312:Sunkett, Mark (1995). 3243:Polak, Rainer (2006). 3050:Sunkett, Mark (1995). 2700:Keïta, Mamady (2008). 2003:"A Guide to the Jembe" 1809: 1669: 1657: 1611: 1603: 1582: 1511: 1446: 1413: 1297: 1154: 1098: 1040: 922: 784:Djembe at medium pitch 763: 552: 473: 358: 336:(a tubular bell), and 3944:Electronic percussion 3449:(DVD). B-rave Studio. 3413:Mamady Keïta (2009). 3289:Kiln-Drying of Lumber 2629:Blanc, Serge (1997). 2043:Charry, Eric (2000). 1804: 1663: 1655: 1609: 1601: 1580: 1509: 1444: 1395: 1295: 1264:Pterocarpus erinaceus 1152: 1111:accompaniment pattern 1096: 1047:Famoudou Konaté: Sofa 1039: 921: 762: 713:Les Ballets Africains 555:The 1991 documentary 547: 482:Les Ballets Africains 462:Les Ballets Africains 460: 353: 54:Percussion instrument 3971:Percussion groupings 3821:Unpitched percussion 3548:"Djembé ears, sessé" 3291:. Berlin: Springer. 3227:Rhythmen der Malinke 2911:on September 4, 2012 2197:American Ethnologist 1966:Flaig, Vera (2010). 1883:Lehrbuch des Malinke 1815:Rhythmen Der Malinke 1806:Rhythmen Der Malinke 1750:(Jordanian-American) 1461:. A third ring (the 1388:Traditional mounting 624:Educational material 357:c. 1350 AD 4090:Goblet-shaped drums 4003:Percussion ensemble 3983:Marching percussion 3726:Keyboard percussion 2937:(in French). 2005. 2845:Sekou Conde (ed.). 2719:(VHS). Dramavision. 2342:"Papa Ladji Camara" 1797:Selected recordings 1702:Notable djembefolas 1696:Hydrogen (software) 833:Helmholtz resonator 770:Djembe sound sample 580:Doudou N'Diaye Rose 381:caste, such as the 270:. According to the 113:Related instruments 37: 3998:Percussion section 3717:Pitched percussion 3585:. djembefola.com. 3554:. djembefola.com. 3523:. djembefola.com. 3426:on January 3, 2012 3385:. djembefola.com. 3245:The Jenbe Realbook 3199:. djembefola.com. 3083:. djembefola.com. 2772:. djembefola.com. 1838:The Jenbe Realbook 1810: 1784:Soungalo Coulibaly 1778:Yamadu Bani Dunbia 1670: 1658: 1612: 1604: 1583: 1512: 1447: 1414: 1298: 1244:Khaya senegalensis 1178:(bass pitch), and 1155: 1115:accompaniment part 1099: 1041: 923: 764: 737:Afro Faso Jeunesse 683:Swietenia mahagoni 673:Cordia platythyrsa 576:Soungalo Coulibaly 553: 514:Babatunde Olatunji 502:Les Ballets Malien 474: 359: 149:Soungalo Coulibaly 4067: 4066: 4034:Percussion mallet 3815: 3814: 3622:978-0-89281-256-1 3471:978-0-9872791-0-1 3298:978-3-642-59653-7 3273:978-0-226-10345-7 3117:978-981-02-4158-2 3061:978-0-941677-76-9 2662:978-3-89760-150-5 2565:on March 17, 2012 2326:978-0-252-07268-0 2301:978-0-415-05931-2 2181:978-1-86842-251-7 2133:978-3-935581-52-3 2101:978-2-7466-1384-3 2054:978-0-226-10161-3 1947:978-0-9774844-0-9 1892:978-3-324-00334-6 1742:Abdoulaye Diakité 1568: 1567: 1274:Prosopis africana 1094: 1056: 962:vibrational modes 938: 779: 696:Women djembefolas 530:Abdoulaye Diakité 193: 192: 79:(Directly struck 4137: 3722: 3689: 3682: 3675: 3666: 3626: 3599: 3598: 3596: 3594: 3574: 3568: 3567: 3565: 3563: 3543: 3537: 3536: 3534: 3532: 3512: 3506: 3505: 3503: 3501: 3482: 3476: 3475: 3457: 3451: 3450: 3442: 3436: 3435: 3433: 3431: 3425: 3410: 3399: 3398: 3396: 3394: 3374: 3368: 3367: 3365: 3363: 3357: 3350: 3339: 3333: 3332: 3324: 3318: 3317: 3309: 3303: 3302: 3284: 3278: 3277: 3265: 3255: 3249: 3248: 3240: 3231: 3230: 3222: 3213: 3212: 3210: 3208: 3188: 3182: 3181: 3179: 3177: 3157: 3151: 3150: 3148: 3146: 3131: 3122: 3121: 3103: 3097: 3096: 3094: 3092: 3072: 3066: 3065: 3047: 3041: 3040: 3038: 3036: 3016: 3003: 3002: 3000: 2998: 2983: 2977: 2976: 2974: 2972: 2957: 2951: 2950: 2948: 2946: 2935:Official website 2927: 2921: 2920: 2918: 2916: 2907:. Archived from 2901: 2895: 2894: 2892: 2890: 2869: 2863: 2862: 2860: 2858: 2842: 2836: 2835: 2833: 2831: 2826:on July 10, 2012 2822:. Archived from 2815: 2809: 2808: 2807:on June 6, 2004. 2792: 2786: 2785: 2783: 2781: 2768:Henning, Michi. 2765: 2756: 2755: 2727: 2721: 2720: 2712: 2706: 2705: 2697: 2691: 2683: 2677: 2669: 2648: 2639: 2638: 2626: 2620: 2619: 2616:African Drumming 2611: 2605: 2604: 2602: 2600: 2581: 2575: 2574: 2572: 2570: 2555: 2549: 2548: 2546: 2544: 2526: 2520: 2519: 2517: 2515: 2494: 2488: 2487: 2485: 2483: 2462: 2456: 2455: 2453: 2451: 2433: 2427: 2426: 2424: 2422: 2403: 2397: 2396: 2394: 2392: 2377:Percussive Notes 2368: 2362: 2361: 2359: 2357: 2337: 2331: 2330: 2312: 2306: 2305: 2281: 2275: 2274: 2272: 2270: 2251: 2245: 2244: 2242: 2240: 2222: 2213: 2212: 2192: 2186: 2185: 2165: 2159: 2151: 2145: 2137: 2119: 2106: 2105: 2087: 2081: 2080: 2072: 2059: 2058: 2040: 2027: 2026: 2024: 2022: 2007:Percussive Notes 1998: 1992: 1991: 1989: 1987: 1981: 1974: 1963: 1952: 1951: 1933: 1927: 1926: 1924: 1922: 1912: 1903: 1897: 1896: 1878: 1728: 1714: 1558: 1546: 1533: 1498: 1486: 1478:Mounting systems 1410:Musée de l'Homme 1254:Cordyla africana 1228:Afzelia africana 1174:(medium pitch), 1095: 1058: 1057: 1038: 1025: 1013: 1001: 989: 940: 939: 920: 907: 895: 883: 871: 859: 847: 781: 780: 761: 605:Cirque du Soleil 453:National ballets 280:Bambara language 261: 260: 251: 236: 231: 230: 227: 226: 223: 220: 217: 214: 211: 164:Douguitigui Kone 107:65–1000 Hz. 45: 38: 4145: 4144: 4140: 4139: 4138: 4136: 4135: 4134: 4070: 4069: 4068: 4063: 4012: 3966: 3957:Electronic drum 3938: 3811: 3778: 3711: 3707: 3698: 3693: 3644:Wayback Machine 3633: 3623: 3610: 3607: 3605:Further reading 3602: 3592: 3590: 3576: 3575: 3571: 3561: 3559: 3545: 3544: 3540: 3530: 3528: 3514: 3513: 3509: 3499: 3497: 3484: 3483: 3479: 3472: 3459: 3458: 3454: 3444: 3443: 3439: 3429: 3427: 3423: 3412: 3411: 3402: 3392: 3390: 3376: 3375: 3371: 3361: 3359: 3355: 3348: 3341: 3340: 3336: 3326: 3325: 3321: 3311: 3310: 3306: 3299: 3286: 3285: 3281: 3274: 3257: 3256: 3252: 3242: 3241: 3234: 3224: 3223: 3216: 3206: 3204: 3190: 3189: 3185: 3175: 3173: 3159: 3158: 3154: 3144: 3142: 3133: 3132: 3125: 3118: 3105: 3104: 3100: 3090: 3088: 3074: 3073: 3069: 3062: 3049: 3048: 3044: 3034: 3032: 3018: 3017: 3006: 2996: 2994: 2985: 2984: 2980: 2970: 2968: 2959: 2958: 2954: 2944: 2942: 2929: 2928: 2924: 2914: 2912: 2903: 2902: 2898: 2888: 2886: 2871: 2870: 2866: 2856: 2854: 2844: 2843: 2839: 2829: 2827: 2817: 2816: 2812: 2794: 2793: 2789: 2779: 2777: 2767: 2766: 2759: 2729: 2728: 2724: 2714: 2713: 2709: 2699: 2698: 2694: 2670: 2663: 2650: 2649: 2642: 2628: 2627: 2623: 2613: 2612: 2608: 2598: 2596: 2583: 2582: 2578: 2568: 2566: 2557: 2556: 2552: 2542: 2540: 2528: 2527: 2523: 2513: 2511: 2496: 2495: 2491: 2481: 2479: 2464: 2463: 2459: 2449: 2447: 2435: 2434: 2430: 2420: 2418: 2405: 2404: 2400: 2390: 2388: 2370: 2369: 2365: 2355: 2353: 2339: 2338: 2334: 2327: 2314: 2313: 2309: 2302: 2283: 2282: 2278: 2268: 2266: 2253: 2252: 2248: 2238: 2236: 2224: 2223: 2216: 2194: 2193: 2189: 2182: 2167: 2166: 2162: 2138: 2134: 2121: 2120: 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204: 188:Mandinka people 157:Famoudou Konaté 95:c. 1200 AD 78: 48: 31: 24: 17: 12: 11: 5: 4143: 4141: 4133: 4132: 4127: 4122: 4117: 4112: 4107: 4102: 4097: 4092: 4087: 4082: 4072: 4071: 4065: 4064: 4062: 4061: 4056: 4051: 4046: 4041: 4036: 4031: 4026: 4020: 4018: 4014: 4013: 4011: 4010: 4005: 4000: 3995: 3990: 3988:Front ensemble 3985: 3980: 3974: 3972: 3968: 3967: 3965: 3964: 3959: 3954: 3948: 3946: 3940: 3939: 3937: 3936: 3931: 3926: 3921: 3916: 3911: 3906: 3901: 3896: 3891: 3886: 3881: 3876: 3871: 3866: 3861: 3856: 3851: 3846: 3841: 3836: 3831: 3825: 3823: 3817: 3816: 3813: 3812: 3810: 3809: 3804: 3799: 3794: 3789: 3783: 3780: 3779: 3777: 3776: 3771: 3766: 3761: 3756: 3751: 3746: 3741: 3736: 3730: 3728: 3719: 3713: 3712: 3703: 3700: 3699: 3694: 3692: 3691: 3684: 3677: 3669: 3663: 3662: 3653: 3647: 3632: 3631:External links 3629: 3628: 3627: 3621: 3606: 3603: 3601: 3600: 3569: 3538: 3507: 3477: 3470: 3452: 3437: 3400: 3369: 3334: 3319: 3304: 3297: 3279: 3272: 3250: 3232: 3214: 3183: 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