Africa

Education

GRADES K—12

SCHOOL-TIME PERFORMANCE

Study Guide

DanceMay 21 & 22, 2014

BAM Howard Gilman Opera House

Brooklyn Academy of Music / Peter Jay Sharp Building / 30 Lafayette Avenue / Brooklyn, New York 11217

Groupe Bakomanga Study guide written by Fredara Mareva Hadley, Ph.D.

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TABLE OF CONTENTS

Page 3: Madagascar: An Introduction

Page 4: Madagascar: An Introduction (continued)

Page 5: The Language of Madagascar

Enrichment Activity

Page 6: Merina Culture

Page 7: Religious Performance with Ancestors

Page 8: Dance in Madagascar

Page 9: Dance in Madagascar (continued)

Enrichment Activity

Page 10: Malagasy Instruments

Page 11: Bakomanga Dance Guide

Enrichment Activity

Page 12: Glossary

Instrument Guide

DEAR EDUCATOR

Welcome to the study guide for BAM’s DanceAfrica 2014. This year’s events feature Groupe Bakomanga, an acclaimed troupe from Madagascar performing traditional Malagasy music and dance.

YOUR VISIT TO BAM

The BAM program includes this study guide, a pre-performance workshop, and the performance at BAM’s Howard Gilman Opera House.

HOW TO USE THIS GUIDE

This guide is designed to connect to the Common Core State Standards with relevant information and activities; to reinforce and encourage critical thinking and analytical skills; and to provide the tools and background information necessary for an engaging and inspiring experience at BAM. Please use these materials and enrich-ment activities to engage students before or after the show.

MADAGASCAR: AN INTRODUCTION

Madagascar is a land of contradictions. It is a place that conjures the mystery of the unknown as well as familiar Disney cartoons. Many of its plants and animals cannot be found anywhere else on earth, yet deforestation is destroying its flora and fauna at alarming rates. Madagascar is an island nation that has been a haven for pirates, Indonesian, African, Arabic, and Malagasy settlers, and a property of the French empire. Madagascar represents a cultural mix of foods, music, religions, and ethnicities that stretch the boundaries of what is thought of as traditionally “African” culture.

LOCATION AND GEOGRAPHY

The Republic of Madagascar lies in the Indian Ocean off the southeastern coast of Africa. It is roughly the size of Texas. It is the fourth largest island in the world, behind Greenland, New Guinea, and Borneo. Its ecological diversity mimics its ethnic diversity in that Madagascar is a land that boasts a wide range of topographies, including mountains, high plateaus, lush rainforests, and coastal plains. The island boasts both active volcanoes and beautiful waterfalls.

The middle of the island is known as the high plateau. The capital city, Antananarivo, is located here, and has the largest population of anywhere in Madagascar. This central region is also home to the Merina people.

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INDIAN

OCEAN

Moz

ambi

que

Cha

nnel

Mania

Mahajam

ba

Mangoky

Onilahy

Betsiboka

Ikopa

Tsiribihina

ANTSIRANANA

TOLIARA

FIANARANTSOA

ANTANANARIVO TOAMASINA

MAHAJANGA

GrandeComore

AnjouanMohéli

Mayotte(administered by FRANCE,

claimed by COMOROS)

Juan deNova Island

(FRANCE)

Glorioso Islands(FRANCE)

Europa Island(FRANCE)

Nosy Mitsio

Nosy Be

Nosy Sainte Marie

Tanjon’i Vohimena(Cap Sainte-Marie)

Tanjona Bobaomby(Cap d’ Ambre)

Tanjona Vilanandro

Bassas daIndia

(FRANCE)

Nosy Chesterfield

NOSY BARREN(BARREN ISLANDS)

COMOROS

MOZAMBIQUE

Maevatanana

Maintirano

Morondava

Morombe

Toliara

Moroni

Ihosy

Mamoudzou

Foumbouni

Ntsaouéni

António Enes

Lumbo

Cidade deNacala

Pemba

Mocímboa daPraia

Mahajanga

Namialo

Ilha de Moçambique

Antsiran̈ana

Tsiroanomandidy

Miandrivazo

Ambovombe

Ampanihy

Manakara

Farafangana

Fianarantsoa

Toamasina

Ambatondrazaka

Andilamena

Marovoay

Moramanga

Antsirabe

Ambalavao

Ambositra

Mananjary

Antsohihy

Maroantsetra

Sambava

AntalahaAndapa

Ambilobe

Fenoarivo Atsinanana

Mahanoro

Varika

Tôlan̈aro

Andoany

Soavinandriana

MananaraAvaratra

Antanifotsy

SoanieranaIvongo

Amboasary

Ambanja

Vavatenina

Befandriana

Iharan̈a

Bealanana

Arivonimamo

Beraketa

Besalampy

Vatomandry

Andilanatoby

Soalala

Mandabe

Tsivory

Mandritsara

Anjozorobe

Mahabo

Mitsinjo

Kandreho

Belo Tsiribihina

Ankavandra

Manja

MidongyAtsimo

Moutsamoudou

Antsohimbondrona

Antananarivo

Madagascar

Transverse Mercator Projection

Province (faritany) boundary

National capital

Province (faritany) capital

Railroad

Road

Track

0 50 100 Miles

0 50 100 Kilometers

Base 802924AI (C00455) 1-03

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Courtesy of the University of Texas Libraries, The University of Texas at Austin

MADAGASCAR: AN INTRODUCTION (CONTINUED)

SOCIAL HISTORY

Madagascar is a country of over 21 million people. That is roughly the population of the New York metropolitan area.

People from Madagascar are known as Malagasy. Seventy percent of the Malagasy population lives in rural areas and small villages. Nearly one million Malagasy live in the civic and cultural capital of the country, Antananarivo, which is known as “Tana” for short.

Madagascar is a diverse cultural melting pot that reflects its long history of African, Asian, and European settlers. The country has 18 ethnic groups: the Antaifasy, Antaimoro, Antaisaka, Antambahoaka, Antankarana, Antanosy, Antandroy, Bara, Bestileo, Betsimisaraka, Bezanozano, Mahafaly, Merina, Sakalava, Sihanaka, Tanala, Tsimihety, and Zafisoro. Groupe Bakomanga is comprised of people from the Merina group.

The first settlers arrived in Madagascar in A.D. 500. They were Austronesian, from what is now Malaysia and Indonesia. Shortly after their arrival, Malagasy settlers enslaved East Africans and brought them to the island. Most of the enslaved Africans were of Bantu origin. Arab traders arrived in the northern area of

Madagascar in the 9th century and gradually integrated into Malagasy society.

During the era of European global expansion, both the French and Portuguese staked their claims in Madagascar. In 1896, Madagascar officially became a colony of France. Finally on June 26, 1960 Madagascar became an independent country with Philibert Tsiranana as its first president.

The colors of the Malagasy flag are red, white, and green. It refers to the county’s struggles for freedom and independence. While there is no set meaning of the flag’s colors, most theories connect the red and green to the flag of Queen Ranavalona III who was the last monarch of the Merina Kingdom when it fell to the French in 1896. Other theories point to the prominent use of red and green in the flags of Indonesia and Malaysia—the present-day countries from which Madagascar’s first settlers arrived. In the 21st century, many Malagasy believe the red represents sovereignty, the white represents purity, and the green represents hope.

In its more then 50 years of independence Madagascar has struggled to maintain its democracy. The Malagasy have been oppressed by dictators and military coups.

Madagascar continues to experience a wave of immigration. In the 21st century there is a steady stream of Indian (mostly Muslim), Chinese, and European immigrants making their way to Madagascar.

Unfortunately, despite the wealth of natural resources, the majority of Malagasy live below the poverty line and work as farmers cultivating the land for food.

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THE LANGUAGE OF MADAGASCAR

Both Malagasy and French are official languages of Madagascar. Malagasy is a combination of several languages including Indonesian, African languages (mostly Bantu languages), Arabic, and some Malaysian.

Malagasy is the official language of Madagascar and is believed to be most closely linked to a language spoken within the island of Borneo (the third largest island in Asia, shared by Indonesia, Malaysia, and Brunei).

Madagascar is one of the only African countries in which the national language is not a European language, such as English, French, or Portuguese.

Although Malagasy is the language that most people speak, French is also an official language and is taught in school. French, in addition to Malagasy, is the language spoken by educated Malagasy.

Trace the influences of Malagasy culture

ENRICHMENT ACTIVITY

Locate the different countries that influence Malagasy culture on a map or globe. How far is each country from the island of Madagascar? Make a list of the reasons a person might travel so far from their home.

CCSS.ELA-Literacy.RH.6-8.7 Integrate visual information (e.g., in charts, graphs, photographs, videos, or maps) with other information in print and digital texts.

Environmental Origins

Madagascar is renowned for its unique plant and animal life, most of which can not be found anywhere else on Earth. Its tremendous biodiversity is attributed to the fact that it is an island that has been separated from other continental landmasses for more than 88 million years.

The first animals are believed to have drifted over on rafts of vegetation. Madagascar’s isolation in the Indian Ocean and the late arrival of humans to its shores nearly 2,000 years ago meant that animals and vegetation evolved and flourished in Madagascar in ways that they could not elsewhere on the globe. Over 90% of Malagasy plant life and 82% of animal life can only be found in Madagascar. Its national tree is the statuesque baobab tree, which is also found in continental Africa and Australia, but six of the eight species of the baobab tree are only found in Madagascar. Lemurs, furry mammals known for their long limbs, were brought to worldwide fame by the character King Julien II in the Disney film Madagascar. Lemurs are one of the most populous animals on the island and Madagascar is home to over 100 species of them.

Adansonia grandidieri, baobab from Madagascar, picture taken near Morondava (Photo

by Bernard Gagnon)

Its fertile soil makes Madagascar the world’s chief producer of vanilla. Other important cash crops include bananas, cotton, sugar cane, and tobacco. Malagasy also cultivate rice paddies, as rice is a staple of their diet.

Madagascar has two seasons: dry and rainy. The dry season is from May until November while the rainy season is from December to April. While the dry season is a time of very little rainfall, the rainy season averages nearly three feet of rain annually.

Current Political Instability

Since gaining its independence from France in June 1960, Madagascar has struggled with maintaining democratic rule. Madagascar has a healthy tourism industry, but tourists should exercise caution in traveling around Madagascar.

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MERINA CULTURE

Merina girls of highland Madagascar: Photo by Hery Zo Rakotondramanana

The last major kingdom in Madagascar was the Merina kingdom, which was based in the center of the country and established its dominance in the 1700s. The Merina people are one of two cultural groups in Madagascar known as “highlanders”—people who dwell in the high plateau of the central region of the island. They share this region with the Betsileo people. Merina people are of Indone-sian and Malaysian decent but over the centuries they have mixed with both Africans and the French.

The Merina people are the largest ethnic population in Madagascar. In the 19th century they consolidated power over all the other sev-enteen ethnic groups to bring them under one rule. The rulers that governed Madagascar prior to the French arrival were all members of the Merina royal family. In the 21st century the majority of afflu-ent, educated, and politically engaged Malagasy citizens are Merina.

Music in Madagascar

The music of Madagascar reflects its ethnic diversity and cultural influences. It incorporates music from diverse regions, including Africa, Indonesia, Southeast Asia, Europe, and Arabia. Africans and Austronesians—people from the Pacific Islands such as Indonesia, the Philippines, Malaysia, and Singapore—brought instruments with them to Madagascar and those instruments became a central part of Malagasy musical culture.

Malagasy music is both traditional and contemporary in that it incor-porates instruments and musical aesthetics that have been a part of local communities for decades, as well as popular music styles that draw heavily from genres such as rock-and-roll and hip-hop.

Malagasy Myths of Musical Instruments

The Tsimihety myth states that the creator god, Zanahary, invented musical instruments. However, the people neglected to play the instruments and so Zanahary punished the people by turning men and women into dogs. The myth highlights the divine origin of instruments and their connection with ancestral spirits.

Hira Gasy

Hira Gasy is an important form of Madagascar musical perfor-mance. It is a combination of oratory, music, and drama. It origi-nated in the Malagasy royal court; a Malagasy prince wanted more people to pay attention to his political speeches, so he added music, drama, and dance to his presentation. The popularity of hira gasy endured during French colonialism and became even more popular after Madagascar became an independent nation.

Today, hira gasy performances are common throughout Madagas-car. Performances are done by hira gasy troupes that often number 50 or more musicians, dancers, and speakers. Troupes are usually comprised of relatives who tour around the country performing hira gasy outside in villages and towns. The performances draw signifi-cant crowds and last most of the day.

Royal Music

The music of the Malagasy courts dates back to the 1500s and the reign of Ralambo, in which villagers organized singing and dancing competitions for the young women. Eventually the songs from the competitions were performed on their own and were known as hira-tsangana. These songs were the precursors to hira gasy.

Future royals championed the use of music in the Merina courts. Radama I and Queen Ranavalona both went to great lengths to create official court music. Princess Rambolamasonadro introduced sacred songs that praised the king/queen to the court and those songs were called antsa. Antsas remained a staple of court music until the fall of the Merina kingdom in the 1800s.

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RELIGIOUS PERFORMANCE WITH ANCESTORS

Family members who have passed away still play a central role in Malagasy culture. There are several ceremonies dedicated to communicating with the ancestors. Throughout Madagascar, those ceremonies may be called doany, bilo, sandratse, sabo, osika, and tromba. They all share the same goal: to petition the ancestors who are believed to be intermediaries between the living and the creator god.

All of the services also share the same order: musical introduction, invocation to the spirits, manifestation of the spirits, thanksgiving, dances, and songs of the audience. Music is only explicitly included in the beginning and final elements of the ceremony, but it serves a crucial role because the Malagasy believe that each ancestor has a favorite melody. The musical instruments used in the service are valiha, but a marovane (a case zither), lokanga (bowed lute), or a goradao (accordion) may be used instead. Before any of these instruments can be used in the ceremony they must be purified with special type of clay (tane fotsy) and then consecrated.

Malgasy Trio with a lokanga in the middle and Valiha on far right

POSTCOLONIAL MUSICAL LIFE

The European presence in Madagascar helped to establish the musical traditions of the Malagasy elite. European missionaries brought with them their church music, European instruments, and Western musical notation. Their conversion efforts were successful in the Central Merina region, but met resistance in the outlying regions of the island. The legacy of this religious movement is church music that uses biblical texts for its lyrics and Malagasy melodies and music.

By the 20th century there was a well-established group of Malagasy who could write, read, and sing in the Western music tradition, and they formed the musical elite. In the same period, another European style was imported to Madagascar. After World War I ended in 1918, the soldiers who had fought abroad introduced a form of opera that the Malagasy called kalon’ny fahiny. These performances were popular among Malagasy high society and featured productions about daily life and with patriotic themes. Currently, kalon’ny fahiny, is akin to Malagasy classical music and is what students study at the University of Madagascar.

Malagasy Myths of Musical Instruments

Andrianampomgatany was prince of the heavenly drums. His final words to his children and elders were, “If it happens that I must die, I would like to buried here, at Fanongoavana, during the night. And I would like that the people of Imerina loose their hair, without distinction of gender (a sign of mourning), for I have departed – I, the drum to which you have danced.”

MALAGASY HIP-HOP

In Madagascar, hip-hop is known as “Haintso Haintso,” which means H.H. or hip-hop. Hip-hop came to Madagascar in the late 1980s and closely follows the lyrical structure and production techniques of hip-hop in the United States. However, groups such as Oladad, are fusing hip-hop with Malagasy instruments and traditional melodies to further solidify the unique sound of Malagasy hip-hop.

Identifying Cultural Influences

ENRICHMENT ACTIVITY

Malagasy culture is influenced by many cultures including that of the French, Indonesian, Malaysian, East African, and American cultures. American culture is also influenced by many cultures. Think about your own neighborhood. Are there restau-rants, stores, music, food, or languages that you identify from other cultures? Make a list of these things and identify where you think they originate. Discuss your list with those around you and note the ones you have in common and the ones that are different.

CCSS.ELA-Literacy.SL.7.1c Pose questions that elicit elaboration and respond to others’ questions and comments with relevant observations and ideas that bring the discussion back on topic as needed.

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DANCE IN MADAGASCAR

Malagasy dance is an important means to communicate emotions. These emotions include happiness, joy, and reconciliation. There are dances to mark a wide array of life events including first haircuts, circumcisions, inaugurations of new office buildings, and even dances to keep the peace between village communities (Famptitaha).

Although there are many commonalities between dances found throughout Madagascar, what distinguishes one style from another are the movements of the hands and feet and various body postures. The different movements may reference nature, mythical creatures, or coded messages.

The formations in which dancers perform communicate meaning. Malagasy dances are often performed in a circle, which represents Malagasy strength and unity. In contrast a straight line represents a direct message, and a half-circle facing the audience represents openness.

In Madagascar, dances are also performed in tribute to family members who have passed away. Thus dance is an integral part of funeral ceremonies. Family members who have died are still important to the family members who remain, so after a period of time Malagasy stage elaborate ceremonies called famadihana to honor deceased family members where they exhume and re-bury their relatives.

Malagasy dance is an important way in which culture is maintained and communicated.

DANCE IN MERINA CULTURE

The dances of the Merina are the most representative of Malagasy culture because they represent the largest percentage of the popula-tion of Madagascar. The three signature Merina dances are the Latsitanana, Sy Dihy Soroka and the Afindrafindrao.

Groupe Bakomanga will perform the afinfrafindrao, a court dance that both men and women perform as an opening to a formal ball. The dance was created under the reign of Queen Ranavalona III in the Merinian court. The dance is performed in a line formation in which the men and women are placed alternately along the line.

The latsitanana has very specific hand movements and is often performed by both women and men. It is performed at important ceremonies including the famadihana (re-burial ceremony) and the famorana (circumcision ceremony).

The dihy soroka is a specific shoulder movement done during the hira-gasy.

DANCE IN BETSILEO CULTURE

The Betsileo live in the Central Eastern region of Madagascar, which is called the Fianarantsoa region. One of their central dances is the kidodo. It is performed at religious and healing ceremonies and is also popular at weddings. During a wedding ceremony, a storyteller, called a mpijijy, tells a epic tale, called an isa. The dance move-ments are concentrated in the feet while the mpijijy shares the story.

DANCE IN BETSIMISARAKA CULTURE

The Betsimisaraka live in the east coastal region of Madagascar, which is called the Tamatave region. They perform a dance that is tied to their agrarian lifestyle called the salegy. This dance is done by both men and women dancing alone or in twos. The salegy is performed as a part of animal sacrifices and during the coffee and banana harvests.

In the salegy, the dance movements imitate sea waves as dances move their body from side to side and the women stand in place and turn in circles. The rhythms of the dance are slower pace and dancers may sing along with the dance leaders. The principal salegy instruments are the korintsana and the valiha vata.

DANCE IN TANDROY CULTURE

The Tandroy live in the Southern region of Madagascar, which is called the Tollara region. The predominant Tandroy dance is separat-ed by gender: the tsinjaka is the dance for young women while daka is the dance for young men. The women wear long stripped skirts and hairstyles that are meant to resemble goat droppings, while men wear two long skirt and animal skin sandals. The men also decorate their bodies with white clay (called taniravo) to symbolize purification and beauty and they carry a spear as a sign of strength.

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DANCE IN MADAGASCAR CONT.

DANCE IN SAKALAVA CULTURE

The sakalava live on the West Coast of Madagascar, known as the mahajanga region. The predominant Tandroy dance is separated by gender: the kahoitry is the dance for women and the jabano is the dance for men. Both dances are performed during spirit possession ceremonies, animal sacrifices, and a full moon. The dances symbol-ize freedom and independence.

The movements of the kahoitry are similar to those of the salegy in that the dancers rock their bodies from right to left. The costumes are an example of the Muslim influence in Malagasy culture. The women are completely covered with only their faces exposed. The women decorate their faces using a yellow powder extracted from wood while the men wear a long skirt that is fastened at the waist.

The instruments that accompany the kahoitry are the accordion, a small drum, and the handclapping (lamako). There are two distinct types of lamako: heavy and light. The heavy handclap is the rombo matavy and is done by clapping hands with hyper-extended palms. The light handclap is called rombo mahia and is done the same way except with open palms.

GROUPE BAKOMANGA INSTRUMENTS

The instruments that Groupe Bakomanga uses illustrate the cultural diversity of Malagasy history.

Malagasy and Western Musical Instruments

ENRICHMENT ACTIVITIES

Look at the instruments on the next page and label them with an American instrument that they resemble. Present your findings in class citing an instance in which you might hear these instruments played.

CCSS.ELA-Literacy.SL.9-10.1.a Come to discussions prepared, having read and researched material under study; explicitly draw on that preparation by referring to evidence from texts and other research on the topic or issue to stimulate a thoughtful, well-reasoned exchange of ideas.

‘

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Elio RamboniPhoto courtesy of Beowulf Sheehan

MALAGASY INSTRUMENTS

THE GORODAO

(Photo: Beowulf Sheehan)

The French colonialists brought the gorodao to Madagascar in the late 1890s. The instrument was central in many music traditions including tromba, which deals with spirit and ancestral worship.

THE N’LAPA

The n’lapa is similar to a djembe drum. The djembe, pictured above, is one of the most popular drums across the African continent. Africans who were enslaved in Madagascar brought it to the country. Many Malagasy music genres incorporate the djembe, but its most prevalent use is in the coastal regions of the country.

THE AMPONGABE AND LANGOROANA

The ampongabe and langoroana are two other types of drums that are found in traditional Merina music in Madagascar. The ampongabe is bass drum with a low voice that steadies the beat to which the dancers move. It is similar to the bass drum that exists in Europe and the United States and is a drum that only men are permitted to play. Women may play its smaller and higher-voiced counterpart, the langoroana. The langoroana is similar to a snare

drum that subdivides and syncopates the beat.

The ampongabe drum. Image Courtesy of Canadian Heritage Information Network

Museum of Art and Archeology of the University of Antananarivo, Madagascar

The langoroana drum, Madagascar: Photo by Beowulf Sheehan

VALIHA

The valiha is a family of instruments of varying form used throughout Madagascar.

Valiha; Photo Courtesy of Beowulf Sheehan

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BAKOMANGA DANCE GUIDE

GROUPE BAKOMANGA

Groupe Bakomanga is one of the most well-respected performance organizations in Madagascar. Led by Malagasy singer Mariette Rasoarinala, Groupe Bakomanga is known for performing traditional Merina songs and dance. Its repertoire draws from the hira gasy as well as other traditional and contemporary Merina genres that pay tribute to ancestors, usher in the harvest, and preserve Merina traditions. The group’s appearance at DanceAfrica marks its debut performance in the United States.

The dances that Groupe Bakomanga perform are tied to aspects of everyday life. Those dances can be grouped into five different types of activities: welcome, holiday, party, recreational, and reconciliation.

As we discuss the dances, can you identify instruments or parts of the dances that connect with Indonesian, African, or French culture?

WELCOME DANCE

This dance is called “Sahala amin I Bakomanga” and is performed by male dancers to greet a visitor.

Groupe Bakomanga performs two different recreational dances, including Tonga hiseho sehatra, and Afindrafindrao. These are spirited dances that set the tone for the performance. In Tonga hisheo sehatra, dancers expresses how happy they are to perform.

Afindrafindrao is based on the 19th century quadrille which is a partner dance for four couples. The dance was prominent in the 19th century Malagasy royal courts while Madagascar was under French influence.

INSTRUMENTAL SONG

Kabosy is an instrumental piece named for the instrument of the same name, which is a wooden guitar that was brought to Madagascar centuries ago by the Arabs. It is related to the Arab instrument, the oud.

Malagasy boy playing a bush kabosy, otherwise known as a mandoliny, in Fort

Dauphin, Madagascar, Photo by Jhob

Bakomanga is a stage name given to Mariette Rosoarinala and the Bakomanga Troupe performs two pieces dedicated to her. The first, Sahala amin I Bakomanga, was discussed earlier in the section. It is a men’s dance of welcome for a visitor, in this case the visitor is Bakomanga. The second song is Eee R’Lay Bakomanga. Eee R’Lay is a song that praises the beauty of Bakomanga and of all Malagasy girls.

UNITY DANCE

Dihy Tambatra is a dance of celebration after a conflict is resolved. It is up-tempo and involves all the dancers and the musicians. It is fitting that it is the last dance in the Bakomanga performance.

Dance in Everyday Life

ENRICHMENT ACTIVITY

Many of the dances that Bakomanga performs connect with aspect of everyday life. The Mamboly vary Bestileo dance is one that shows how to plant rice and is done at harvest time. Think of a task you do at school, home, or work and create a dance that celebrates that task. What would you name your dance?

Another dance that Bakomanga performs is the Raha manina anay. It is a dance that women do in a time of happiness. Is there a dance, gesture you do when you are happy?

CCSS.ELE-Literacy.SL.7.1a Come to discussions prepared, having read or researched material under study; explicitly draw on that preparation by referring to evidence on the topic, text, or issue to probe and reflect on ideas under discussion.

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GLOSSARY

aerophone: An instrument in which sound is produced by vibrating air. The instrument itself does not vibrate nor does it have vibrating membranes or strings.

Examples are the saxophone and clarinet. In Madagascar this group of instruments is called

tsofinaI, which means, “to blow.”

ambaviny: the drum with the “female skin” that sits on the left and is played with the fingers.

amadahiny: the drum with the “male skin” that sits on the left and is played with a stick, which is a phallic symbol.

Austronesian: People from the Pacific Islands including Indonesia, Malaysia, Singapore, Taiwan, and other nations.

chordophone: An instrument in which sound is produced by vibrating stretched strings that are attached at both ends. Examples are violins and the piano.

In Madagascar this group of instruments is called tendrena, which means, “to play.”

electrophone: Instruments that require electricity in order to produce sound. Examples are synthesizers and music production computer software.

Famadihana: Important Malagasy ceremonies in which they exhume the remains of deceased loved ones and re-bury them.

idiophone: Instruments in which the vibration of the instrument itself produces sound. These instruments are most

commonly struck in order to produce sound. Examples are the cowbell and rattles.

In Madagascar this group of instruments is called kapohina, which means, “to strike.”

lamba: a rectangular piece of cloth that is worn around the body. It is the traditional garment of Madagascar and is worn by both men and women.

lutes: a type of chordophone that has strings that run along the neck of the instrument and a hollow resonator.

The strings of a lute can be plucked or bowed.

membranophone: Instruments that have a stretched membrane that is struck in order to produce sound. Examples include the snare drum and the bass drum. In Madagascar this group of instruments is called

velezina, which means, “to beat” or “give life to.”

vatany: the resonator or truck part of the instrument. In Malagasy culture it is the most important part of the instrument.

vodony: the “buttock” of the instrument. In Malagasy culture it is the inferior part of membrane drums.

INSTRUMENT GUIDE

ampongabe: a Membranophone instrument that is similar to a bass drum. It can only be played by men. See Page 10

gorodao: anaccordion in the tsofina/aerophone instrument group. See Page 10

kakanikakanika: an instrument in which a plank is laid over a hollow mortar and struck. The mortar serves as the resonator. The instrument is played to welcome a king, chief, or other noteworthy visitor.

kabosy: a chordophone that resembles a box-shaped wooden guitar. They can be found in various regions of Mada-gascar. See page 11

langoroana: a membranophone small drum that can be played by both men and women.

See Page 10

n’lapa: a type of West African drum that is the velezina/mem-branophone instrument group. See page 10

rattles: an idiophone made of bamboo and filled with seeds. Throughout Madagascar rattles are known by various regional names including: kritsakritsa, tsikatray, korint-sana, tsakaiamba, voamaintilany, foray, kaiiamba, and doka.

sodina: a flute-like aerophone

struck tubes: kapohina/idiophone instruments composed of a long bamboo tube that is held horizontally. The bottom end of the tube may rest of the ground or be held up at belly level by forked sticks. Players line up alongside the tube and strike it with small batons. Striking the tube at different points alongside the tube create notes with different tonal qualities.

In Madagascar instruments in this category have dif-ferent regional names that include: tsikaretika, raloba, kimbolo, karatsaka, farai, peripetika, tsipetrika, or volo.

tsikatray: a frame rattle constructed from a square frame of wood covered by rushes, and filled with seeds. It is in the kapohina/idiophone instrument group.

valiha: is a chordophone zither made of bamboo. It is the most popular instrument in Madagascar and traces its origins to Indonesia. The valiha accompanies speech-es, other instruments, other valihas, or can be played alone. See Page 10.

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BIBLIOGRAPHY

Blench, Roger. “Evidence for the Indonesian Origins of Certain Elements of African Culture: A Review, with Special Reference to the Arguments of A.M. Jones.” African Music 6, no. 2 (January 1, 1982): 81–93.

Bloch, Maurice. “The Ethnohistory of Madagascar.” Ethnohistory 48, no. 1/2 (January 1, 2001): 293–299.

Emoff, Ron. “Phantom Nostalgia and Recollecting (From) the Colonial Past in Tamatave, Madagascar.” Ethnomusicology 46, no. 2 (April 1, 2002): 265–283.

Jones, A. M. “Indonesia and Africa: The Xylophone as a Culture-Indicator.” The Journal of the Royal Anthropological Institute of Great Britain and Ireland 89, no. 2 (July 1, 1959): 155–168. doi:10.2307/2844267.

McLeod, Norma. “The Status of Musical Specialists in Madagascar.” Ethnomusicology 8, no. 3 (September 1, 1964): 278–289.

Ottenheimer, H. J. “Culture Contact and Musical Style: Ethnomusicology in the Comoro Islands.” Ethnomusicology 14, no. 3 (September 1, 1970): 458–462. doi:10.2307/850614.

Rakotomalala, Mireille. “The Traditional Dances of Madagascar,” The Spirit’s Dance in Africa. Edited by Esther A. Dagan (1997): 245-249.

Rakotomalala, Mireille. “Performance in Madagascar.” The Garland Encyclopedia of World Music Volume 2. Edited by Ruth Stone. Library of Congress. (1998): 791-792.

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BAM 2014 Winter/Spring Season sponsor:

DanceAfrica 2014 is made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature:

Major support for DanceAfrica 2014 provided by:

DanceAfrica 2014 is part of Diverse Voices at BAM sponsored by:

Major support for Global BAM provided by:

Major support for BAM Education programs provided by:

Support for Dance Africa 2014 provided by Travelers Foundation.

Additional support for DanceAfrica 2014 provided by the Travelers Foundation and GGMC Parking, LLC. Additional endowed support for DanceAfrica is provided by the Lila Wallace-Reader’s Digest Endowment Fund for Community, Educational, and Public Affairs Programs at BAM.

Leadership support for BAM Education programs is provided by the Altman Foundation; The Irene Diamond Fund; The Rita and Alex Hillman Foundation; Martha A. & Robert S. Rubin; The Della Rosa Family Foundation; and Judith and Alan Fishman.

Expansion of BAM Education and Community programs made possible by the support of The SHS Foundation.

Leadership support for school-time performances, pre-show preparation workshops, and educational film screenings is provided by The Simon and Eve Colin Foundation, Inc. and Lemberg Foundation.

The DanceAfrica Education Program is conducted in collaboration with Bedford Stuyvesant Restoration Corporation. Support for the program is provided by Charles Hayden Foundation.

Development of new education and community initiatives at the BAM Fisher supported by Brooklyn Community Foundation; Rockefeller Brothers Fund; and The Skirball Foundation.

BAM Education programs are supported by: Altman Foundation; Jody and John Arnhold; Barker Welfare Foundation; Tiger Baron Foundation; the Pierre and Tana Matisse Foundation; The Bloomingdale’s Fund of the Macy’s Foundation; The Simon and Eve Colin Foundation; Constans Culver Foundation; Robert and Mercedes Eichholz Foundation; William and Mary Greve Foundation; The Hasty Pudding Institute of 1770; Charles Hayden Foundation; Jaharis Family Foundation; Emily Davie and Joseph S. Kornfeld Foundation; Lemberg Foundation; National Grid; The Jerome Robbins Foundation, Inc.; The David Rockefeller Fund; May and Samuel Rudin Family Foundation; In Memory of Robert Sklar; Sills Family Foundation; Joseph and Silvia Slifka Foundation; The Alvin and Fanny B. Thalheimer Foundation; Travelers Foundation; Michael Tuch Foundation; Turrell Fund; and the Joseph LeRoy and the Ann C. Warner Fund.

BAM Education programs at BAM are endowed by:Lila Wallace-Reader’s Digest Endowment Fund for Community, Educational, & Public Affairs Programs; Martha A. and Robert S. Rubin; William Randolph Hearst Endowment for Education and Humanities Programs; The Irene Diamond Fund; and The Robert and Joan Catell Fund for Education Programs.

BAM would like to thank the Brooklyn Delegations of the New York State Assembly, Joseph R. Lentol, Delegation Leader; and New York Senate, Senator Velmanette Montgomery, Delegation Leader.

The BAM facilities are owned by the City of New York and benefit from public funds provided through the New York City Department of Cultural Affairs with support from Mayor Bill de Blasio; the New York City Council including Council Speaker Melissa Mark-Viverito, Finance Committee Chair Julissa Ferreras, Cultural Affairs Committee Chair Jimmy Van Bramer, the Brooklyn Delegation of the Council, and Councilwoman Laurie Cumbo; and Brooklyn Borough President Eric Adams.

Your tax dollars make BAM programs possible through funding from:

BAM Education & HumanitiesThe mission of BAM Education & Humanities is to ignite imagination and ideas through programs that enrich the audience experience, spark conversation, and generate creative engagement.

EducationBAM Education connects learning with creativity, engaging imagination by encouraging self-expression through in- and after-school arts education programming, workshops for students and teachers, school-time performances, and comprehensive school-break arts programs.

After-School Programs & In-School Residencies:Young Film Critics Arts & Justice Dancing Into the Future Shakespeare Teaches Students Shakespeare Teaches Teachers Young Shakespeare AfricanDanceBeat

Department of Education and Humanities Staff:Stephanie Hughley: VP Education & HumanitiesSteven McIntosh: Director of Eduaction & Family ProgramsJohn P. Tighe, DMA: Assistant DirectorViolaine Huisman: Humanities DirectorShana Parker: Director of Operations for Education & HumanitiesJohn S. Foster, Ph.D.: Education ManagerVerushka Wray: Program ManagerEveline Chang: Program ManagerJennifer Leeson: Operations Manager for Education & HumanitiesNathan Gelgud: Box Office ManagerCathleen Plazas: Internship CoordinatorMolly Silberberg: Humanities CoordinatorTamar MacKay: Education AssistantRebekah Gordon: Administrative AssistantVictoria Collado: Education InternDaniel Balkin: Humanities Intern

About the Writer Fredara Mareva Hadley, PhD is a visiting assistant professor at Oberlin College. She is an ethnomusicologist who specializes in researching, writing, and teaching African-American popular music. Fredara is the founder of Jooksi, a company through which she provides tours of New York City through the lens of African-American music. She is the managing editor of Musiqology.com—a web platform that provides thoughtful analysis of Africa-American music through the lens of musicology. Fredara has been a regular contributor to Okayplayer, Revivalist, and PopMatters. Fredara was the 2010-2012 Laura Boulton Junior Fellow in Ethnomusicology at Indiana University. During her fellowship, she conducted extensive research on the history of black music divisions at major record labels. Fredara conducted research related to the African Burial Ground Memorial, Carn-egie Hall, and 651 Arts. She has presented at conferences such as the South by Southwest (SXSW), and the Experience Music Project’s PopCon.

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