Hitherto I Have Considered The Negroes Chiefly In A Moral Light, And
Confined Myself To The Most Prominent Features In Their Mental Character,
Their Domestic Amusements, Occupations, And Diet.
Their arts and
manufactures, with some other subordinate objects, are now to be noticed.
Of their music and dances, some account has incidentally been given in
different parts of my Journal. On the first of these heads, I have now to
add a list of their musical instruments, the principal of which are - the
_koonting_, a sort of guitar with three strings; - the _korro_, a large
harp, with eighteen strings; - the _simbing_, a small harp with seven
strings; - the _balafou_, an instrument composed of twenty pieces of hard
wood of different lengths, with the shells of gourds hung underneath, to
increase the sound; - the _tangtang_, a drum, open at the lower end; and,
lastly, the _tabala_, a large drum, commonly used to spread an alarm
through the country. Besides these, they make use of small flutes,
bowstrings, elephants' teeth, and bells; and at all their dances and
concerts, _clapping of hands_ appears to constitute a necessary part of
the chorus.
With the love of music is naturally connected a taste for poetry; and,
fortunately for the poets of Africa, they are in a great measure exempted
from that neglect and indigence, which, in more polished countries,
commonly attend the votaries of the Muses. They consist of two classes;
the most numerous are the _singing men_, called _Jilli kea_, mentioned in
a former part of my narrative.
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