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Radio France | JAZZ /OTRAS MUSICAS (1 CD)

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16,95 €

Centroáfrica
Música Gbaya - Chants à penser


REF.: C583008
EAN 13: 3415820000166
Si realiza el pedido hoy, este producto estará listo para ser enviado el lunes 27/05/2019

Intimate songs of large ethnic group from Central African Republic, with sanza (“thumb piano”) and rattles accompaniment

FECHA DE PUBLICACIÓN
22/02/2019

INTÉRPRETES
Étienne Ngbozo (small sanza and voice)
Joseph Samba (large sanza)
Daniel Ngadiké, Robert Tarapai, Raymond Doko (voice), a rattle and percussion sticks.

DATOS DE PRODUCCIÓN
Recorded in February-March 1977 in Ndongué (Central African Republic) during a field trip of the CNRS department 3-121 « Langues et civilisations à Tradition Orale ».  Translation from Gbáyá: Yves Monino and Paulette Roulon. Booklet cover: Étienne Ngbozo.

CONTENIDO
Chants à penser 

01 • Piéré 
02 • Naa-Koré 
03 • Naa-Bua 
04 • Daïte 
05 • Naa-Yanga 
06 • Fara Ko Kumanda 
07 • Naa-Ndongoé 

1 CD - DDD - 51:42

RESEÑA (La Quinta de Mahler)

The Gbáyá are one of the largest ethnic groups in the Central African Republic and occupy a vast area on both sides of the Cameroon border. Here we present the music of a Gbáyá Bodoé village, Ndongué, 45 miles southwest of Bouar. The village activities follow the seasonal alternation of dry season (November to March) and rainy season (April to October) and are fundamentally collective. 

That is, individual relationships in all circumstances are of a primordial nature: basically family and village ties. In the music, be it solo or ensemble, with or without the interjections of an assembly, the communication between individuals takes place both physically and instrumentally (cf. track 6). Thus the music depends closely on the performing situation and by the same token remains difficult to define. Two closely neighbouring villages (Ndongué and Galo, for example) have very different ways of doing things; a markedly rhythmic music at Ndongué becomes surprisingly flexible with Martin Kayo (cf. tracks 4 and 5). 

Stylistic diversity on one hand but social unity on the other among two villages in constant contact, and Martin Kayo, who lives in a small fishing camp a few hours’ walk from Ndongué, a trip the villagers make often to stock up on fish. It was in the course of one of these “visits” that we recorded him, in the evening on returning from fishing, which explains the presence of a large number of cicadas... 

The repertory of Gbáyá music is essentially made up of songs (Gima) relating to all kinds of activity: love songs, entertainment songs, lullabies, narratives, songs of mourning, hunting songs, etc. Here we present thinking songs. These songs, a repertory reserved for men, require instrumentation: primarily this involves the sanza, an instrument composed of a small wooden resonator on which metallic tongues are fixed. These are made (in the region concerned here, particularly in the village of Ndongué where we saw the making of several sanzas) of recycled material, such as the ribs of an umbrella or more often the spokes of a bicycle wheel, reworked in a forge. This explains a certain fragility in the resonance of these tongues, which have a tendency to soften from repeated use, and it is necessary to return to the forge from time to have them reworked.

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