256:, which included ashiko and other drums. His ensemble of Montego Joe, Chief James Hawthorne Bey, and Baba Taiwo DuVall, and Julito Collazo, were all students of Miannes who played with Olatunji, and disseminated the technique. They can be heard on Olatunji's groundbreaking LP for Columbia, Drums of Passion. Famed djembefola Ladji Camara, who truly introduced the drum to U.S. students, worked with Olatunji. He can be heard on Olatunji's More Drums of Passion.
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Superficial sonic similarities with the djembe relate to the goatskin head it has in common with it, but the longer, cylinder form of the ashiko drum makes the bass tone âdeeperâ than that of the bowl-shaped djembe, while in general the sounds â most speak of three different tones of the ashiko â are
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The
African/Nigerian ashiko as such first got disseminated and popularized in some circles in the US in the 1930s, after Nigerian drummer Moses Mianns emigrated to New York in the 1930s. The drum he commissioned in the United States is in the collections of the Schomburg Center for Research in Black
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Modern ashiko drums produced in the West are often made of vertical staves. Like other drums they can be purchased with the standard 8, 10, or 12 inch diameters of the hides. Ashikos tuned by lugs and metal tacks are nowadays also produced. Some manufacturers use cow hide; some assume to make the
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After
Olajuni opened for the Grateful Dead in the 1980s, the ashiko spread from its Afro-based constituency, and became part of the European-American growing local drum movement in the US and elsewhere in the Western world. Though it remains there, its popularity has dwindled to that of the
217:, West Africa. The word âashikoâ is also traced to a word in the Yoruba language meaning either âdrumâ or (with tonal difference) "time-frame" or âfreedomâ. The drum has a long tradition in Yoruba culture, where the drum functioned in community celebrations, as well as a â
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Yoruba culture. Also it being regarded as "between a djembe and a conga" is seen as wrong, and disrespectful to the ashiko itself and its own tradition, including a distinct playing technique, different from the djembe or conga. A video example can be seen here:
193:, shaped like a tapered cylinder or truncated cone with the head on the wide end, and the narrow end open. It is made of hardwood and generally has a calfskin hide. Nowadays, goatskin is sometimes used, in imitation of the high sound of the popular
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secret society. Drums similarly shaped to the ashiko - including the "truncated cone" form - can also be found in Afro-Colombian music (the Tambor Alegre in the
Caribbean region of Colombia), as well as in Afro-Brazilian music, such as the
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different (a bit softer) when compared to the djembe. That is especially true of one uses traditional technique to play the drum. Some percussionists argue that the ashiko knows more "middle tones" when compared to the djembe.
289:. The ashiko is a drum with its own history and is not a counterpart or derivative. There is, besides this, a geographical difference, as the djembe's origins are associated with the
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Culture, the NYPL. Examining it, one can see the original ashiko is not a simple cone drum but is, in fact, curved on the inside, creating a softer tone, and emulating carved drums.
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The ashiko received exposure on a much wider scale in the US and elsewhere in the 1950s and 1960s with the popularity of the touring folkloric ensemble created by Yoruba musician
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drum. It is played with the hands, and tuned by ropes. Ashiko drums â or variants thereof â are traditionally found in West Africa, as well as part of the
Americas.
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specifically,âashiko-likeâ drums can be identified in the drum known as âbocĂșâ in
Eastern Cuba, as well as one of the drums (a solo drum) used in the
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232:, drums with similar forms and characteristics are historically found in Afro-Caribbean and Afro-Latin American cultures and traditions. In
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Some call the ashiko a "male" counterpart to the djembe, though this is contradicted by references to the relatively
245:. The latter, from the Bahia region, tends to have however synthetic heads and is, unlike the ashiko, tuned by pegs.
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205:The origins of the ashiko drum are traced to the
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287:Traditional Ashiko Drum Playing Technique
120:Learn how and when to remove this message
725:Classification of percussion instruments
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410:List of percussion instruments by type
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165:HornbostelâSachs classification
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323:Drumaticinnovation.com
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291:Mali empire
282:matriarchal
775:Categories
730:Drum stick
635:Wood block
610:Tambourine
600:Snare drum
470:Vibraphone
305:References
226:Yorubaland
110:April 2021
80:newspapers
590:Mark tree
555:Castanets
530:Bass drum
475:Xylophone
460:Tubaphone
319:"ćš±äčæŻäžç§æćșŠ"
176:Developed
169:211.251.1
679:Drum kit
630:Triangle
625:Timbales
498:Steelpan
488:Handbell
440:Crotales
435:Carillon
354:20 April
328:20 April
69:"Ashiko"
663:Octapad
615:Tam-tam
585:Maracas
575:Cymbals
570:Cowbell
535:BodhrĂĄn
508:Timpani
493:Handpan
450:Marimba
272:drums.
211:Nigeria
201:History
94:scholar
580:Djembe
560:Claves
545:Cabasa
540:Bongos
270:bongos
262:djembe
243:Timbau
238:Abakua
195:djembe
187:ashiko
179:Yoruba
133:Ashiko
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565:Conga
550:CajĂłn
503:Tabla
268:, or
266:conga
215:Benin
189:is a
101:JSTOR
87:books
356:2021
330:2021
234:Cuba
213:and
191:drum
185:The
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18:BocĂș
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