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Creating a text: alternative interpretations of Gonja drum history

  • Esther Goody and Jack Goody

Résumé

A Damongo, au nord du Ghana, les chants de tambour sont joués en ancien Gonja que peu de gens sont capables de comprendre. Leur transcription (et ainsi la creation de textes) ouvre la voie à un potentiel très important d'interprétations diverses; on peut le constater en comparant l'extrait d'une version de J. A. Braimah à celle interprétée avec l'aide des joueurs de tambour par Esther Goody en 1964-65. Le texte publie par J. A. Braimah soutient une vision particulière de l'historique de Gonja.

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References

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Bartlett, F. C. 1932. Remembering: an experimental and social study. London: Allen & Unwin.
Braimah, J. A. n.d. Gonja Drums. Accra: printed privately.
Braimah, J. A. 1967. The Two Isanwurfos. London: Longman.
Braimah, J. A., and Goody, J. 1967. Salaga: the struggle for power. London: Longman.
Goody, J. 1954. The Ethnography of the Northern Territories of the Gold Coast: west of the White Volta. London: Colonial Office.
Goody, J. (ed.). 1966. Succession to High Office. Cambridge: Cambridge University Press.
Goody, J. 1972. The Myth of the Bagre. Oxford: Clarendon Press.
Goody, J., and Gandah, K. 1981. Une Récitation du Bagré. Paris: Colin.
Nketia, J. H. 1963. Drumming in Akan Communities of Ghana. Legon: University of Ghana.
Rattray, R. S. 1923. Ashanti. London: Oxford University Press.
Wilks, I., Levtzion, N., and Haight, B. M. (eds). 1986. Chronicles from Gonja: a tradition of West African historiography. Cambridge: Cambridge University Press.
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Africa
  • ISSN: 0001-9720
  • EISSN: 1750-0184
  • URL: /core/journals/africa
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