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In Sub-Saharan African cultures, call and response is a pervasive pattern of democratic participation—in public gatherings in the discussion of civic affairs, in religious rituals, as well as in vocal and instrumental musical expression. Most of the call and response practices found in modern culture originated in Sub-Saharan Africa. [3]
The call and response format became a diasporic tradition, and it was part of Africans and African Americans creating a new, unique tradition in the United States. [ 3 ] While slave masters encouraged conversion of slaves to Christianity, African slaves still practiced their own form of religious celebration, which was called Slave Christianity .
The call and response that follows each verse is called namba. Performances are often competitive and divided by age and gender. Performances are often competitive and divided by age and gender. The neighbouring Turkana people have maintained their ancient traditions, including call and response music, which is almost entirely vocal.
Another distinguishing form of African music is its call-and-response style: one voice or instrument plays a short melodic phrase, and that phrase is echoed by another voice or instrument. The call-and-response nature extends to the rhythm, where one drum will play a rhythmic pattern, echoed by another drum playing the same pattern.
The song is based on a call and responses system, which is widely present in the music of West Africa. Call: Se Se Se Ioooo Response: Aho Aho Ahoooo Call: Se Se Se Iooo Response: Aho Aho Ahoooo ALL: Enyo o Egble o ahooo Ne meku Agbadzawua nadim hee Ne meku Agbadzawua nadim hee Ne mekua Kiniwua nadi hee Ne makua Kiniwua nadi hee [9]
One musical influence that can be traced back to African sources is that of the plantation work songs with their call-and-response format, and more especially the relatively free-form field hollers of the later sharecroppers, which seem to have been directly responsible for the characteristic vocal style of the blues. [3]
Repeats are an integral part of the song: they result in many variations of the call and response form (see summary). The call and response type of song is usual in Africa [sic]. African [Ewe] melodies are diatonic: the major exception being the sequence dominant-sharpened subdominant-dominant. Short triplets are occasionally used.
The song was sung by working miners in time with the rhythm of swinging their axes to dig. It was usually sung under hardship in call and response style (one man singing a solo line and the rest of the group responding by copying him). [1] It was also sung by prisoners in call and response style using alto and soprano parts divided by row.