ASU Research E-Magazine: Drum Families

West African folklore tells of two sisters traveling on the Senegal River. Their boat hit an object and was split in half. One sister, Aguene, drifted south to become the “mother” of the Jola people. The other sister, Anecho, drifted north to become the “mother” of the Serer people.

Such stories, passed down through generations, recount the origination myths of Senegalese ethnic groups. The stories hint at the relationships of these groups, some derived from others, some developing in tandem. Distinctive music types, rhythms, drums, and ensemble configurations likewise follow these cultural transformations.

“There is a connection in the music that these ethnic groups play,” says ASU music professor Mark Sunkett. The drums differ in pitch and shape. However, most follow a consistent playing style: one stick and one hand. “In Senegal, the Bamana people play the same or similar rhythms played by the Wolof, Lebu, or Jola, but they will play them on their own drums.”

In Senegal, there are many types of drums. The Djembe is played with two hands. It is the drum of the Bamana people. The Sabar is the drum of the Wolof, Serer, and Lebu peoples. The Sowruba is the drum of the Jola. The Diun Diun is the drum of the Serer. The Tama is a drum used by all of the ethnic groups. The Khin is a drum used in contemporary culture by the Bey Faal people.

DJEMBE [jim-bay]:
The first drum to grasp Sunkett’s attention, the Djembe is the most prominent instrument of the Mande, originally from Guinea. The distinct Djembe sound of Senegal evolved after the country became a region. The ensemble for this goblet-shaped hand drum generally consists of three Djembe drums and one Diun Diun, a double-headed bass drum.

SABAR [sa-bar]:
This is the drum of the Serer [seer-ear], an ethnic group from the south-central Senegal. They live north of the Senegal River near the Atlantic coast. The Sabar ensemble provides the foundation of drumming in Senegal, as it can represent the music of any of the areas.

An ensemble consists of seven drums. The lead drum is the Sabar N’Der. It is tall with a narrow waist. Others in the ensemble are similar in shape, but smaller in size. The M’Bung M’Bung Bal is shorter than the N’Der. It provides resonant bass sounds. Shorter still is the Tungany, added to the ensemble in the early 20th century. The Lamb is closed-bottomed and barrel shaped. This drum is lowest in pitch and the oldest remaining drum of the ensemble. Also closed-bottomed, the Talmbat has a narrow barrel shape and functions as the tenor voice.

“The Sabar have existed as an ensemble since before the 15th century,” Sunkett explains. “Each drum is carved from a solid piece of Dimba wood, a tree related to mahogany. The Serer are one of the oldest ethnic groups in Senegal. Their rhythms are closely related to the Jola of Cassamace.”

SOWRUBA [so-ru-ba]:
Cassamace is in the southern region of Senegal, located below the Senegal River and below Gambia. The region is home of the Jola and their Sowruba drums. The Sowruba family is made of three drums. The Kotero is bass. The Kotero N’Ding has a higher voice. The Sabaro is the lead voice.

Sowruba drums are long, skinny, and close enough in pitch that it is difficult to determine which drum produces which sound. This closeness makes the music sound quite complex.

DIUN DIUN [June June]:
The Farr Diun Diun people are known as the keeper of the Diun Diun. Basically Serer, they live in the Kaolack region of central Senegal. Kounta Camara is the man who brought the Diun Diun to the region.

The Diun Diun is a two-headed bass drum. Its ensemble represents one of the oldest configurations. The Diun Diun has been added to the Djembe ensemble. Sometimes the Diun Diun ensemble includes the Sabar N’Der. The drum acts as the leader and calls rhythms played by the Diun Diun.

TAMA [ta-ma]:
Lebu and Wolof people play the Tama. The drum is also identified with the northern part of Senegal near Saint Louis. The Tama ensemble has two to three different sizes of small hourglass shaped drums. Held under the arm of the drummer, the Tama changes pitch slightly when squeezed. Its high pitch is described as sounding like the voice of a swallow. The drum has its own body of music, but is also now included in the Sabar ensemble.

KHIN [heen]:
The Khin is the oldest Senegalese drum that is made of animal skin. The drum is the instrument of a specific division of the Mourid Islamic sect; today called Bey Faal [bi-fal]. The low-voiced Khin is a single-headed, skin covered drum with an open bottom. It once was but no longer is part of the Sabar ensemble.—Vickie Hamilton-Smith