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HUAN 7 |
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As stated earlier, slave masters quickly became aware of the Black man's
skill at executing intricate rhythmic patterns, which, when performed on
the drum, could be decoded into messages and signals. Realizing that
this ability could be put to good use in planning escape or rebellion,
the white captors prohibited all types of drumming in many sections of
the southern United States. Thus, the slave was denied one of his most
valued artistic expressions, for drumming, far from being limited to
signaling, often took the place of conversation, and regularly
accompanied religious rituals, ceremonies, litigation, dance, as well as
many forms of entertainment and amusement. Ever resourceful, the Black man simply transferred his complex
rhythmic performances to other instruments, often to whatever was at
hand--sticks, tin cans, animal
bones, etc. The most convenient percussion instrument was his own body,
and accordingly, very intricate patterns of foot stomping, thigh
slapping and hand clapping accompanied religious as well as
non-religious song. In secular music, this technique, which in some
forms was known as "pattin' juba" or "pattin' jibba," was indispensable in ring games, line games and play party
songs. (These games and songs were played and performed by adults as
well as children in both West Africa and the United States). One
favorite routine was "Hambone"
which, even today, is a favorite game of small Afro-American boys.
According to Harold Courlander, one hand-clapping sequence, which many
living adults enjoyed as children, is the line game "Mary
Mack," which is directly related to a similar line game played in
Ghana. Courlander's notation (3)
fails to note the syncopated rhythm which occurs naturally as the game
is played, however. It is not too difficult to trace the origin of these
games to West Africa. For instance, a basic rhythmic pattern used in the
"Prince's
Dance," an Ashanti percussion piece recorded by Richard Waterman
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HUAN 7 |
