Change and Continuity of Edzoxoxo Linyimewavu of the People of Dzogbefeme – Avatime

Abstract

This study offers a theoretical perspective for understanding music as a concept and cultural process of medium of musical change. By reviewing the existing theories of change scholarly and contextualizing it within the African context. The researcher identifies musical change in Edzᴐxoxo warrior music of the people of Dzobgeƒeme- Avatime for critical examination through the theories of change. To be able the researcher achieve the set goals, this research is anchored around the following objectives: The research traces the ethnography and historical background of Avatime people, and traces the Historical aspect of Edzᴐxoxo as a musical type of Dzogbeƒeme – Avatime, also to identify the types and sources of change in Edzᴐxoxo Linyimewavu, to compile and transcribe as many of Edzᴐxoxo songs as much as possible for analysis and for recording purposes, again to explain why changes or modifications have been encouraged and the impact of these changes on the continuity of music and culture among the people. To identify and clarify the non-musical sources or forces that support and explain the various adjustments and innovations in the music and dance area. To be able to achieve these objectives, the researcher moves from house to house to interview forty people including chiefs and elders and gathers data on the historical facts of the people of Avatime. The various settlements they made on their journey from Ŋᴐtsie under the cruel King Agᴐkᴐli in the Republic of Togo and the possible reasons for their departure from the various places. For the findings be comprehensive, facts would be collected from an Avatime in the Diaspora group who settled in present day Togo-Gafe for their side of the history of Avatime. Data has been collected from the elderly people who witness and experience the formation of some changes in the Edzᴐxoxo musical group: Its composition, mode of University of Ghana http://ugspace.ug.edu.gh iv performance, drum set, playing techniques, tuning and others. The researcher then visits some of the cantors to record both old and new songs which facilitate the objectives of the work and forty- five songs were recorded from the cantors. Some of the drummers will also be interviewed to gather some knowledge from the old and new styles of rhythmic structure. A full performance to be organized and recorded with audiovisual cameras and systems which helps the researcher to play it over and over to enable him transcribe with the finale software for the musical analysis. The Akan songs will be translated to enable the researcher understands the lyrics and categorize the song text into the role, importance and magnitude in which each song is use and perform in the Edzᴐxoxo musical performance. This research identifies some characteristic changes in the continuity of the Edzᴐxoxo music over time. It is evident that, the master drum of the Daʋatram music was replaced with a smaller and handy one which is hanged on the shoulders to make for easy mobility during processions. In 1946, a young group of drummers from Afram Plains introduce the bell adapted from the asafo company ensemble of the Akans into the Edzᴐxoxo ensemble. The bell time line pattern was originally played by two supporting drums by hocket technique in complement to one another. The young group from Afram plains also influenced the rhythmic patterns with the introduction of triplets in the time line play by the bell and the change of the rhythm of some melodies by the introduction of triplets. Customarily, women are not allowed to perform warrior music but eventually because women are allowed to go to war to play specific special roles, they are now allowed to perform eventually. The new membership of the Edzᴐxoxo music composition of the ensemble in terms of gender also brought along singing in harmonic thirds and occasionally fifth intervals and the octave. Akan songs were introduced, and added to the Eʋe repertoire. Previously, the music was slow, but it is now relatively fast and stable due to the introduction of the bell which was not introduce from the onset. Despite the various numerous characteristic changes, the linyimewavu (warrior music) is one of the indigenous music that survive the Western pressures of Christian religion music, perceptions and technology probably due to the high sense of traditional security system and the recurrence of funerals of members and royals that necessitate the performance of the group from time to time, couple with annual festive occasions. This study has been undertaken fundamentally to salvage the situation of extinction of certain vulnerable African musical genres having no documentation, Edzᴐxoxo music is no exception. Even membership is by performance, if one is identify once or more he or she becomes a member. No register registration fee for members but at least there is a story that can be told and read about, after this project. The young scholars need encouragement to study music and support the few in the universities, research into the indigenous music in the hinterlands, to dig out the large volumes of untapped musical types and revive some important musical types that are extinct in the African society. The researcher faces a lot of problems travelling to the villages and paying drinks (foreign gin) and other form of charges for purification for invoking some powers and the spirits of the ancestors become burdensome and scary for the young researchers to carry. The traditional authorities should have a second look at collecting money and other materials from students seeking help for their projects.