Endingidi
Endingidi , also endingiri, eningiri , is a single-string tubular spit violin made by the Baganda and Ankole in Uganda . The simple string instrument is played by men solo, as a song accompaniment and in a small cast for entertainment.
Origin and Distribution
In addition to the widespread gauntlet sounds, some single-stringed bows and stick zithers are also canceled in sub-Saharan Africa . These include the mouth bow umrhubhe of the South African Xhosa and the trough zither segankuru and the stick zither isankuni , both of which are played with a short bow.
In African spit be of straight, consisting of a wooden stick long neck passes through the body and protrudes a short distance out to the opposite side. There are three different types of instruments in terms of the shape of the body. In West Africa, the special type of inland skewers, the strings of which end in the interior, are widespread with shell-shaped resonance bodies. These include the Malian ngoni and their relatives further north in the Sahara: the plucked tidinit , tahardent and the single-stringed fiddle imzad of the Tuareg . A typical shell spike fiddle with full bar is the Goge the Hausa .
Tube-spit violins, in which the rod penetrates the body not lengthwise, but diametrically, are typical for East Africa. In western Kenya , a tubular spit violin is known under the name asiriri ; the tube spit violin played in Rwanda is called iningiri . With akadingidi a bar zither with tubular body is called in Uganda. In the 1960s, the tubular spit violin became popular with the Sandawe in central Tanzania . The ekegogo is a tubular spit violin in the Kuria district in southwestern Kenya. The Chewa in Malawi play the single-string kaligo . In the Congo the tubular violins akaghovoghovo are known by the Nande speakers, dongu by the Ndo speakers, lungoyongoyo by the Bakongo , ndingiti by the Hema and nkenkete .
The third type with a box-shaped body, which is rare in sub- Saharan Africa, includes the single-string masinko in Ethiopia .
While the West African bowl-shaped lutes from the Maghreb reached the Sudan region through the Sahara with the Islamization of the Arabs from the 11th century (see ngoni ), an influence of similar Chinese fiddles, such as the two-stringed erhu , comes into consideration for the East African tube pike violins . Arab traders, mainly in the 18th century with the Swahili culture, spread skewered bowl violins like the Tanzanian zeze throughout East Africa. Much later, at the end of the 19th century, they brought the tubular violins from the East African coast inland to Lake Victoria .
When asked when the endingidi arrived in Buganda , Klaus P. Wachsmann refers to the musical instrument catalog ( Ekitabo kye Mpisa za Baganda , “The Book of Customs of Buganda”) by Apolo Kagwa, the highest minister ( katikiro ) at the Buganda court the year 1905, in which the instrument is not yet mentioned. A later author named Byangwa, who was commissioned by the Kabaka in 1925 to compose a collection of songs suitable for young people, added a separate chapter to his work for songs with an endingidi accompaniment . Byangwa, however, disapproved of the endingidi songs, which he considered to be an inferior foreign tradition. A chief of the Kingdom of Busoga on the north shore of Lake Victoria stated that Swahili traders introduced the endingidi into his empire in 1903. The endingidi should have found their way to Buganda around 1907 .
In the following year the first large trade fair was held in Buganda, which was connected with a folk festival. Afterwards, many people remembered the carousel set up there because it was sung about in a song called Ekyuma kya Bboola (“The machine turning in a circle”), accompanied by an endingidi , among other things . This fact contributed significantly to the initial popularization of the tubular violin. It was introduced in the Kigezi region of southwest Uganda in 1911 and in the Congo around the same time. During the First World War from 1914 to 1918, the fiddle was popular with the Askaris , the local soldiers in the colonial troops.
Design
An early form of the lute had a shell resonator, the ceiling of which was not made of animal skin, as is common in West Africa, but of a tree leaf. In 1907, this model was replaced by a tubular shape made of wood, which was distributed by soldiers during the First World War.
Before working, the ankole bury a block of wood in the ground for at least two weeks to make the material softer. Then the form is hollowed out thin-walled and sanded smooth on both sides. Alternatively, a calabash or a cow horn can be used. The latter is hollowed out with a hot knife. The wooden sound boxes ( mulugwa ) are about 15 centimeters high with a diameter of ten centimeters. The preferred type of wood is regionally called lusambya ( Markhamia lutea , trumpet tree family ). The membrane of the Baganda consists of the skin of an antelope or a young goat ( akatalaganya ), the Ankole also use sheep, steppe monitor and python . The fresh skin is soaked in water for a long time (one day), cleaned, then pulled tightly wet over the upper opening and wrapped tightly around the edges with strips of fabric. The next day the dry, shrunken skin has tightened.
The truss rod should consist enzo ( Teclea nobilis the family Rutaceae ) exist. It is inserted diametrically through the body just below the top. About six centimeters from its end there is a borehole in the rod, which receives a long vertebra ( akaleega ) projecting forward at a right angle . The Ankole instead secure the string to the top end with a tightly fitting strip of skin. The string ( akaguwa ) runs over a small cylindrical bridge ( ekkundi ), which lies in the middle on the membrane, and is tied to the lower end of the rod. The pitch can be fine-tuned by moving the bridge. The string used to consist of animal tendons or plant fibers, today nylon (fishing line) is mostly used. The bow consists of a piece of branch, which is formed into a semicircle by the covering with sisal fibers . The fibers are rubbed with resin before the game. A small, high-sounding fiddle is called endingidi entono , the larger bass instrument is called endingidi ey'olutamba or olufule . A bushy protruding tassel ( ekikuzzi ) made of goat hair is glued to the pegbox , which is supposed to decorate the instrument and give it a certain dignity.
Style of play
The singer, who accompanies himself on the endingidi , holds the opening of the instrument resting on his thigh and protruding forward at an angle against his left elbow. He grips his neck with his left hand; The index finger, middle finger or little finger touch the string lightly from the side. It is not pressed down on the neck. The mood takes place individually according to the requirements of the melody. Hanging on a string around the neck in an almost horizontal position, the endingidi can also be played while standing.
At the beginning of the 20th century, the instrument was particularly popular with young people. The songs deal with everyday life and are performed for general entertainment and on festive occasions such as weddings. In the village orchestra, the endingidi plays together with the spar xylophone amadinda , drums (with the Ankole with the single-headed barrel drum engoma ) and rattles.
At the court of the Kabaka of Buganda, the endingigi together with the bowl lyre endongo belonged to the palace orchestra, while the bow harp ennanga , which was previously important at the court, took a back seat .
literature
- James Makubuya: 'Endingidi' (Tube Fiddle) of Uganda: Its Adaptation and Significance among the Baganda. In: The Galpin Society Journal, Vol. 53, April 2000, pp. 140-155
- Ulrich Wegner: African string instruments . (Publications of the Museum of Ethnology / New Series; Vol. 41, Department of Ethnic Music, Vol. 5). Museum für Völkerkunde, Berlin 1984, pp. 125–128, ISBN 3-88609-117-1
Web links
- Endingidi . africamuseum.be
Individual evidence
- ↑ Iningiri Play And Sing Rwanda. Youtube video
- ^ Roger Blench: The Morphology and Distribution of Sub-Saharan Musical Instruments of North-African, Middle Eastern, and Asian, Origin. (PDF file; 452 kB) In: Laurence Picken (Ed.): Musica Asiatica, Vol. 4 . Cambridge University Press, Cambridge 1984, p. 172, ISBN 978-0-521-27837-9
- ^ Zaïre: Entre les lacs et la forêt. La musique des Nande. Archives internationales de musique popular. Musée d'ethnographie Geneve, AIMP XXIII, CD 1991, title 3
- ↑ Fiddle. music.africamuseum.be
- ↑ Gerhard Kubik : To understand African music. Essays (ethnology. Research and science). Lit Verlag, Vienna 2001, p. 14, ISBN 3-8258-7800-7
- ^ Klaus P. Wachsmann: Musical Instruments in Kiganda Tradition and Their Place in the East African Scene. In the S. (Ed.): Essays on Music and History in Africa. Music and History in Africa . Northwestern University Press, Evanstone 1971, pp. 97-99, ISBN 0-8101-0333-8
- ↑ James Makubuya, p. 143
- ↑ Engoma. africamuseum.be