African Drumming

African Rhythm and African Sensibility 

African Rhythm and African Sensibility: Aesthetics and Social Action in African Musical Idioms by John Miller Chernoff is a fundamental ethnomusicology study based on his observation and exploration in West Africa, especially among the Dagbamba drummers of northern Ghana. The book looks into how African music, particularly drumming is not just entertainment, but deeply tied to social life, communication, morality, and cultural identity.

The book emphasises that African rhythm often involves multiple layers of timing happening at once, creating complex polyrhythms. These rhythms reflect a broader cultural sensibility where balance comes from interaction and tension rather than strict uniformity. Another key theme is that music functions as a form of social communication and ethical expression. Drumming can reinforce respect, authority, humor, and social coordination. The author shows how performances often carry meaning beyond sound, shaping how communities understand themselves. One of the main examples of what the author studied is Takai, a drumming and dance style built on contrasting rhythmic layers, which is where each drummer plays a different pattern that doesn't sound complete on its own and only makes sense when combined with others. Another example of what the author studied is Dagbamba drumming which is not one rhythm played by everyone, but a system of interlocking rhythmic roles. Each performance involves multiple drummers, dancers, a lead "master drummer" and supporting drum parts that fit together like a puzzle

Key elements I identified from this book:

- "drumming is speech" This quote is telling us that drumming is not just musical but communicative and reflects the author's core argument that drum patterns can function like language in West African musical systems.

- "participation and responsiveness" this quote  refers to how drumming is learned and performed socially and that musicians constantly respond to each other in real time.

- “interaction between performers” again, this quote leads back to the author's central argument that drumming is fundamentally collective, not individual.

African rhythm/polyrhythms

One of the most unique features of African drumming is its use of complex rhythms and polyrhythms. A polyrhythm occurs when two or more contrasting rhythms are played at the same time. For example, 3/2, this rhythmic relationship is common in many African musical traditions and creates layered, energetic patterns. Instead of following a single beat, African drumming often combines multiple rhythms that interact together. Another important musical technique is "call-and-response", where one drummer or singer performs a phrase and others answer with a response. This creates participation and communication within performances where they also use improvisation which is significant in African drumming. Skilled drummers frequently adjust rhythms based on dancers, ceremonies, or emotional atmosphere. This flexibility allows performances to feel dynamic.

Steve Reich:

In 1970, a composer named Steve Reich travelled to Ghana to study West African drumming. He studied with master drummers from the Ewe people at the Institute of African Studies in Accra. During this time, he learned traditional rhythmic structures, ensemble playing, and the cultural role of percussion in African music. Steve Reich was particularly interested in repetition, layered rhythms, cyclical patterns, polyrhythms and gradual rhythmic change. Before studying African music,  Steve Reich was already experimenting with repeated musical patterns. However, African drumming helped him develop more complex rhythmic ideas. One important concept he explored was phase shifting, which is where two identical rhythmic patterns slowly move out of sync with each other.

One of Steve Reich’s most famous works inspired by African music is the composition "Drumming". This piece was written shortly after he returned from Ghana and reflects many African musical influences. The composition includes repeated rhythmic patterns, gradual rhythmic transformation, percussion ensembles, layered textures and voice/instrument combinations. The composition is divided into many different sections that include Bongos, Marimbas, Glockenspiels and voices. Instead of traditional melody-focused composition, Steve builds the piece through rhythm and repetition, similar to African ensemble drumming traditions. His work helped influence many different genres and artists such as Minimalist composers, Film music, Electronic music, Experimental rock and Ambient music.

How is this relevant to African drumming?

Steve Reich is relevant to African drumming because his compositions represented cross cultural music influence, a global impact of African rhythm and a connection between traditional African music and modern compositions. To summarise, Steve Reich is an example of how African drumming influenced international music and changed the direction of contemporary classical composition.

Steve Reich's clapping music (1972):

Steve Reich’s Clapping Music, was written for two performers using only handclaps, the piece strips music down to one essential element: rhythm. Despite it's apparent simplicity, Clapping Music represents a major breakthrough in contemporary classical music and includes deep connections between Western minimalism and African rhythmic traditions.

Clapping Music consists of a single rhythmic pattern played by two performers clapping their hands. One performer maintains the original pattern throughout the piece, while the second performer shifts the pattern by one beat after every repeated cycle. This grouping creates asymmetry and syncopation, characteristics strongly associated with many African rhythmic systems which Steve Reich learned while being in Africa. As the second performer gradually shifts position, new rhythmic relationships emerge between the two parts. The process continues until both performers realign at the original starting point.

The rhythmic pattern contains 12 beats which is usually played as 3+2+1+2+2+2.

Culture and spiritual importance in African drumming:

African drumming plays a central role in many cultural and spiritual traditions. In many societies, rhythms carry symbolic meaning and represent emotions, historical events, or spiritual beliefs. Drumming can also strengthen community identity. During ceremonies, people gather together to dance and respond to rhythms in collective participation. This creates unity and cultural traditions. In some African belief systems, drums are believed to connect the physical world with ancestors or spiritual forces. The relationship between dance and drumming is especially important. Drummers often respond directly to dancers’ movements, creating a conversation between rhythm and motion. This interaction demonstrates how African music values participation and communication rather than passive listening.

Modern African drumming

In many African communities, drumming is still used during weddings, funerals, religious ceremonies, festivals and community celebrations. Traditional instruments such as the Djembe and Talking Drum continue to be taught through oral traditions, where younger generations learn directly from experienced drummers. Cultural groups and music schools across Africa work to keep these traditions alive and prevent them from disappearing as societies modernise. Modern African drumming has strongly influenced global music genres such as Hip-hop,  Jazz,  Afrobeat , Pop and Latin music. Artists often combine traditional percussion with modern instruments and digital production. For example, Fela Kuti blended African rhythms with jazz and funk to create Afrobeat, a genre that is still used to this day.

Regarding African drums, I included some examples on my traditional drumming post. I also have tracks played in time signatures commonly used in African drumming on my recording journal.

Historical Origins of African Drumming

The origins of African drumming date back thousands of years. Archaeological and historical evidence suggests that drums were used in various African societies long before written records existed. Drums were crafted from locally available materials such as hollowed tree trunks, animal skins, and natural fibers. In many African communities, drumming developed as an essential tool for transmitting information across long distances. Before modern communication systems, villages used drum signals to announce important events, warn of danger, celebrate victories, or gather community members. These "talking drums" could imitate the tonal patterns of spoken languages, allowing messages to travel between settlements, this method had an influence in military drumming.

Spiritual and Religious Functions

Many African societies use drumming in spiritual practices and religious ceremonies. Rhythms accompany rituals that honor ancestors, celebrate life transitions, or facilitate spiritual experiences. In some traditions, drumming is believed to create a connection between the physical and spiritual worlds.

African drums:

The Djembe

The djembe is one of the most recognized African drums worldwide. Originating in West Africa, particularly among the Mandinka peoples, the djembe is carved from a single piece of hardwood and covered with animal skin. It can produce three primary tones: bass, tone, and slap. Skilled players combine these sounds to create complex rhythmic patterns.

Talking Drum

The talking drum, common in West Africa, has an hourglass shape with cords connecting two drumheads. By squeezing the cords under the arm, players can alter pitch and mimic speech patterns. Historically, talking drums played a vital role in communication between villages.

Dundun

Often played alongside the djembe, the dundun is a family of bass drums that provide foundational rhythms. Different sizes create varying pitch ranges, contributing depth and structure to ensemble performances.

Ashiko and Other Regional Drums

Numerous other drums exist throughout Africa, including the Ashiko, Bougarabou, Ngoma, and Sabar. Each instrument reflects the unique traditions and musical practices of it's region.

The Global Influence of African Drumming

The impact of African drumming extends far beyond the African continent. During the transatlantic slave trade, African peoples carried their musical traditions to the Americas and the Caribbean. Despite attempts to suppress these practices, African rhythms survived and evolved into new musical forms.

Influence on Modern Music

African drumming has significantly influenced:

-Jazz

-Blues

-Gospel

-Samba

-Reggae

-Afrobeat

-Hip-hop

-Contemporary popular music

References:

African rhythm and sensibility by John Miller Chernoff.

BBC Bitesize. (n.d.). The elements of music in African drumming - Music of Africa - OCR - GCSE Music Revision - OCR. [online] Available at: https://www.bbc.co.uk/bitesize/guides/zhsny4j/revision/3.

‌Barfoot, M. (2024). The instruments and rhythms of West African drumming. [online] WEA. Available at: https://www.wea.org.uk/news-views/blog/west-african-drumming-blog.

DrumRoots (2025). The Fascinating History of the Djembe Drum: A Journey Through Rhythm and Culture | African drumming workshops, team building, performance and training | Drumroots. [online] African drumming workshops, team building, performance and training | Drumroots. Available at: https://www.drumroots.org.uk/2025/06/the-fascinating-history-of-the-djembe-drum-a-journey-through-rhythm-and-culture/.

‌Evans, B. (2010). African drums. [online] Contemporary African Art. Available at: https://www.contemporary-african-art.com/african-drums.html.

‌inrhythm.com.au. (n.d.). The History of African Drumming: Origins. [online] Available at: https://inrhythm.com.au/blog/the-history-of-african-drumming-origins.

‌‌Soaadelaide.com. (2024). The History and Origins of African Drumming. [online] Available at: https://soaadelaide.com/blog/the-history-and-origins-of-african-drumming.

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