CaribSeek Kaleidoscope | Migrated Rhythm: The Tambú of Curaçao by Rene V. Rosalia

The Polyrhythm
Polyrhythm is one of the principal characteristics of African music. Most African music genres are characterised by several rhythms played at the same time. Despite this complicated and potentially confusing similarity in the playing method there is a stable and constant discernible line. African musical culture has many different drums to produce a variety of simultaneous rhythms. What is remarkable about the Curaçao tambú is the fact that the complicated rhythmic structures are played by one person on one drum. In contrast to the Jamaican tambú from Trelawney, the tambúlero (drummer) on Curaçao does not use his heel to create additional notes. The many rhythmic beats which he improvises are made with the palms of both hands. The plurality of simultaneously played rhythms is made still more complicated by the interaction between the drum and the heru. In the second half of the twentieth century the number of iron instruments increased from one to two or more and the polyrhythm has thus been richly embroidered, with the various iron instruments also in dialogue with one another.

Polyrhythm notation.

Chapi, first part

Chapi, variation of first part

Chapi, second part

Chapi, variation of second part

= long sound = short sound

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The Repetitive Element
The motifs which are elaborated in African music are often short and are never played in exactly the same way. Although the basic motif is repeated, the player continually improvises by introducing small variations. These are not discernible to every ear and lead the uninitiated to condemn the music as monotonous. African music must not be seen as an independent activity. It is strongly related to body movement – the dance. Furthermore, it is important to note that the music in these regions of the world is very strongly linked to everyday life. It is either ceremonial in nature or an amusement; in other words, it is functional. The repetitive element must be seen against the totality of what is happening in relation to events and dance. Repetition also promotes a trance-like state. Sometimes in tambú playing the same melody is sung for hours on end. Furthermore, the accompanying refrain of, for example, eight bars is also sung for hours on end. In principle the refrain of a particular song does not change. It is part of one of the continually repetitive elements of African music. But when the tambú is performed for such a long period perhaps four or five singers will come forward to replace each other as soloists.

It is often the case that singers immediately ’talk back’ to each other ’on the spot’. The part-singing is polyphonic and free in character so that the singers can improvise variations within the structure, which to some extent breaks up the repetitive element. Dancing also takes place, but never continuously and never in the same manner. Variations also take place in the movements. The drum playing is characterised by complicated rhythmical structures, alternating with pauses and sections containing crescendo and pianissimo.

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