Gwo ka
| Gwo ka | |
|---|---|
| Stylistic origins | West Africa |
| Cultural origins | 18th century, Guadeloupe |
| Typical instruments |
Traditional: the boula, playing the central rhythm and the smaller, markeur (or maké), as well as a chak chak (a maracas). Contemporary: boula and maké drums, maracas, conga or djembe drums, chimes and electric bass guitar. |
| Derivative forms | Gwo ka moderne |
| Fusion genres | |
| Zouk | |
| Other topics | |
| Music of Guadeloupe | |
| Music of Guadeloupe | |
|---|---|
| General topics | |
| Related articles | |
| Genres | |
| Nationalistic and patriotic songs | |
| National anthem | La Marseillaise |
| Regional music | |
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Traditional: the boula, playing the central rhythm and the smaller, markeur (or maké), as well as a chak chak (a maracas).
Gwo ka (Big drum) is both a family of hand drums and the music created with them, which is a major part of Guadeloupean folk music. There are seven rhythms in gwo ka, which are embellished by the drummers. Different sizes of drums establish the foundation and its flourishes, with the largest, the boula, playing the central rhythm and the smaller, markeur (or maké) drums embellishes upon it and interplays with the dancers, audience or singer. Gwo ka singing is usually guttural, nasal and rough, though it can also be bright and smooth, and is accompanied by uplifting and complex harmonies and melodies. There are also dances that tell folk stories that are accompanied by the gwo ka drums.
Rural Guadeloupans still use gwo ka drums in communal experiences called lewozes; this is the most traditional manifestation of gwo ka in modern Guadeloupe. Gwo ka is also played at Carnival and other celebrations. A modernized and popularized form of gwo ka is well-known on the islands; it is known as gwo ka moderne.
Gwo ka is the French creole term for big drum.
The origin of Gwo Ka goes back to the period of enslavement in the 18th century. Musical research show that the instrument can find its roots in the drums and songs of the West African countries (Guinea gulf, Congo...). From the diverse music and dance of their homelands, the slaves elaborated a communication tool, a new form of art, like the creole language: the Gwo Ka. This musical genre is characterised by an African typology: - repetitive form - improvisation - physical movements linked to music - a response between a soloist and choir - a syncopation weak times Gwo-ka, is a quadruple entity: dance, music, instrument, song.
The influences (lifestyle and musical genre) of the "master" fusioned with this base to create the seven rhythms or dances: the léwòz, the mendé, the kaladja, the graj, the woulé, the padjanbèl and the toumblak.
The léwòz is the war rhythm, used to give rhythm the attacks against the plantations, but was also an incantatory dance.
The kaladja symbolises the struggle in love.
The padjabèl is the cane cutting dance.
The toumblak, like the kaladja, deals with the love theme, belly dance, fertility dance.
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