African drumming

tugfSub-Saharan African music is characterised by a "strong rhythmic interest" that exhibits common characteristics in all regions of this vast territory, so that Arthur Morris Jones (1889–1980) has described the many local approaches as constituting one main system. C. K. Ladzekpo also affirms the profound homogeneity of approach. West African rhythmic techniques carried over the Atlantic were fundamental ingredients in various musical styles of the Americas: samba, forró, maracatu and coco in Brazil, Afro-Cuban music and Afro-American musical genres such as blues, jazz, rhythm & blues, funk, soul, reggae, hip hop, and rock and roll were thereby of immense importance in 20th century popular music. The drum is renowned throughout Africa.

Many sub-Saharan languages do not have a word for rhythm, or even music. Rhythms represent the very fabric of life and embody the people's interdependence in human relationships. Cross-beats can symbolize challenging moments or emotional stress: playing them while fully grounded in the main beats prepares one for maintaining life-purpose while dealing with life’s challenges. The sounding of three beats against two is experienced in everyday life and helps develop "a two-dimensional attitude to rhythm". Throughout western and central Africa child's play includes games that develop a feeling for multiple rhythms.

Among the characteristics of the Sub-Saharan African approach to rhythm are syncopation and cross-beats which may be understood as sustained and systematic polyrhythms, an ostinato of two or more distinct rhythmic figures, patterns or phrases at once. The simultaneous use of contrasting rhythmic patterns within the same scheme of accents or meter lies at the core of African rhythmic tradition. All such "asymmetrical" patterns are historically and geographically interrelated.

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