Ngoma music

Ngoma (also ng'oma or ing'oma) is a Bantu term with many connotations that encompasses music, dance, and instruments.[1][2] In Tanzania ngoma also refers to events, both significant life-changing events such as the first menstruation or the birth or passing of a loved one, as well as momentary events such as celebrations, rituals, or competitions.[3] Ngoma was the primary form of culture throughout the Great Lakes and Southern Africa.[1] Today it is most notable in Tanzania, where it is deemed an official music genre by the National Arts Council (BASATA - Baraza la Sanaa la Taifa).[4][5] In Tanzania, it is experienced throughout the country and performed, taught, and studied in many schools and universities.[6] The most notable school for ngoma is the Bagamoyo Arts and Cultural Institute, which produces the most prominent chairmen (directors/conductors) and dancers.[7]

This article is about Ngoma music of Great Lakes. For other uses, see Ngoma (disambiguation).

Music of Tanzania
Genres
Media and performance
Music awards
Music festivals
Nationalistic and patriotic songs
National anthem
Regional music
Tanzanian Ngoma group

The traditional forms of ngoma dancing consist of prominent movements of the hips.[8] It uses a large variety of instruments, including strings and horns, but most prominently the use of drums.[8] In other cases no instruments are used, such as by the Ambrokoi of the Maasai or the Ligihu of the Ngoni.[7] These are usually dances of jumping and stomping, with significant movement and often a more competitive aspect than those with instruments.[6]

History

Before colonization, ngoma was the dominant form of culture throughout the Great Lakes.[1] One of the primary functions of ngoma was as an interaction between elders and youth. This served primarily as a means to teach the youth, and learn about the youth so as to know how to guide them better in life.[9] During colonization, ngoma was outlawed as colonial administrations viewed it as unchristian and holding back the civilizing process.[10] Tanzanians created a new form of ngoma called mganda in the hope that it would appeal to the colonial administrators. Mganda ngoma adopted the costumes of western military uniforms and dress. It also adopted some of the military instruments.[11] This would eventually become a form of big band music. Eventually, the first clubs opened in Dar es Salaam and Tanga for these mganda ngoma bands to perform. Their music began to be played on the radio and recorded in studios. Mganda ngoma music exploded in popularity and has become known as dansi (dance jazz) today. After independence, the government of Tanzania (TAMU) placed a very strong emphasis on returning to traditional ngoma.[12]

"When we were at school we were taught to sing the songs of the Europeans. How many of us were taught the songs of the Wanyamwezi or of the Wahehe? Many of us have learnt to dance the ‘‘rumba’’ or the ‘‘chachacha’’ to ‘‘rock’n’roll’’ and to ‘‘twist.’’...But how many of us can dance, or have even heard of, the Gombe Sugu, the Mangala, the Konge, Nyang’umumi, Kiduo or Lele Mama? ... And even though we dance and play the piano, how often does that dancing ...really give us the sort of thrill we get from dancing the mganda or the gombe sugu even though the music may be no more than the shaking of pebbles in a tin? It is hard for any man to get much real excitement from dances and music which are not in his own blood."

— President Nyerere, Tanganyika Inaugural Address, 10 December 1962[12]

While this was somewhat successful, TAMU was never able to fully achieve the goals set out by Nyerere's inaugural address. Even TAMU still used dansi and kwaya as primary tools for education, national and political purposes.[4] TAMU was successful in promoting arts in general, including establishing centers for art education. It also allowed the tribes to return to practicing ngoma freely, which most had been doing in the dark throughout colonization. Following the economic reforms of 1985, ngoma has changed its societal role in national and tribal life.[6][9] While still very popular, it is rarely taught by elders to the youths as was its traditional role in the past.[11] Nonetheless ngoma is still very popular and widespread today. Ngoma troupes have turned to modernizing and commercializing the music and dance, to compete commercially.[9][13] One dance may include aspects of as great a variety of tribal and geographic ranges as possible to appeal to as broad an audience as possible, particularly elders, while also using many inspirations from other genres such as dansi or bongo flava to appeal to the youths.[11][13] Additionally ngoma has modernized its use of instruments. Many traditional instruments are no longer available or possible to make. Today modern manufactured instruments and gear, such as guitars, keyboards, microphones, and amplifiers are usually used.[9]

References
  1. Stone, Ruth M., ed. (2008). The Garland Handbook of African Music. New York: Routledge. pp. 14, 46–50, 136–137. ISBN 9781135900014. Archived from the original on 22 June 2022. Retrieved 8 June 2022.
  2. Kaduma, Godwin Z. (1978). A theatrical description of five Tanzanian dances (PhD thesis). Dar es Salaam: University of Dar es Salaam.
  3. Pels, P. (2000). "Kizungu Rhythms: Luguru Chtistianity as Ngoma". In Gunderson, Frank D. (ed.). Mashindano!: Competitive Music Performance in East Africa. Dar es Salaam, Tanzania: Mkuki na Nyota Publishers. p. 102. ISBN 978-9976-973-82-2. Archived from the original on 22 June 2022. Retrieved 8 June 2022.
  4. Askew, Kelly (2002). Performing the Nation: Swahili Music and Cultural Politics in Tanzania. Chicago: University of Chicago Press. pp. 27–67, 276. ISBN 978-0-226-02981-8. Archived from the original on 22 June 2022. Retrieved 8 June 2022.
  5. Ivaska, Andrew (2011). Cultured States: Youth, Gender, and Modern Style in 1960s Dar Es Salaam. Durham, NC: Duke University Press. p. 78. ISBN 978-0-8223-4770-5. Archived from the original on 5 June 2022. Retrieved 5 June 2022.
  6. Edmondson, Laura (2007). McNaughton, Patrick (ed.). Performance and Politics in Tanzania: The Nation on Stage. Bloomington, IN: Indiana University Press. ISBN 978-0-253-11705-2. Archived from the original on 22 June 2022. Retrieved 8 June 2022.
  7. Njogu, Kimani; Maupeu, Herv (2007). "Music and Politics in Tanzania: a case study of Nyota-wa-Cigogo". Songs and Politics in Eastern Africa. Dar es Salaam, Tanzania: Mkuki na Nyota Publishers Ltd. pp. 241–246. ISBN 978-9987-08-108-0. Archived from the original on 22 June 2022. Retrieved 8 June 2022.
  8. Green, D. (2010). "Traditional Dance in Africa". In Welsh-Asante, K. (ed.). African Dance: an artistic, historical and philosophical inquiry. Trenton, NJ: Africa World Press. pp. 13–28. ISBN 978-1-60413-477-3. Archived from the original on 8 June 2022. Retrieved 8 June 2022.
  9. Sanga, Daines Nicodem (27 March 2013). "Traditional dances and Bongo Fleva: A study of youth participation in ngoma groups in Tanzania". Swahili Forum. Mainz, Germany: University of Bayreuth, University of Leipzig. 20 (1): 67–84. ISSN 1614-2373. Archived from the original on 22 June 2022. Retrieved 7 June 2022.
  10. Lihamba, A. (2004). "A History of Theatre in Tanzania.". In Banham, M. (ed.). The History of Theatre in Africa. Cambridge, United Kingdom: Cambridge University Press. pp. 978-1-139-45149-9.
  11. Sanga, Daines Nicodem (10 December 2019). "Global Impacts upon Ngoma". Brill. Brill. 14 (1): 126–144. doi:10.1163/26836408-14010007. ISSN 2683-6408. S2CID 199148535. Archived from the original on 8 June 2022. Retrieved 8 June 2022.
  12. Nyerere, Julius K. (1966). "President's Inaugural Address: 10 December 1962". Freedom and Unity-Uhuru na Umoja: A Selection from Writings and Speeches, 1952-65 (in Swahili). United Kingdom: Oxford University. pp. 40–45. ISBN 978-0-19-644082-8. Archived from the original on 22 June 2022. Retrieved 8 June 2022.
  13. Van der Stockt, Anke (2019). The struggle for 'real' Tanzanian music (PhD thesis). Belgium: Ghent University.

Further reading
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