We were playing at the Hilversum Afrika Festival, and I was excited to watch a group of Surinamese musicians perform. Their performance was a captivating blend of poems, rhythms, and songs. Although I arrived a bit late, I was immediately drawn to the show. Several aspects caught my attention: the rhythm, the singing, and the attire of the performers.
We all know that the enslaved individuals taken to the Americas were predominantly from West Africa. The musicians I am referencing likely have ancestors from Nigeria.
The rhythm was enchanting. The group played percussion drums that resembled djembes but were distinct in their own right. Although I did not play the drums, I observed that the drumheads seemed softer than those of traditional djembes. Nonetheless, the playing techniques were similar.
The singing reminded me of Yoruba chants. I want to clarify that there is no specific "Yoruba chant," but the music could easily be categorised as Yoruba folkloric music. The combination of drumming and singing created a sound that felt like a blend of various Nigerian influences from the south, east, and west. It’s striking that the "Surinamese music" could embody such characteristics, as these musical traditions are often perceived separately. The people from these regions in Nigeria are somewhat geographically and culturally alienated from each other. Witnessing this natural fusion of sounds was truly beautiful.
The performers wore white attire with blue neck scarves. The colour choice was particularly striking to me; I have seen similar white attire among the Ijebu people of western Nigeria, which has endured over time. This reminds me of an unpublished paper I wrote years ago about the Abakua people of Cuba and their meeting with the Ekpe tradition from Cross River State in an event in the United States. Both traditions feature a masquerade dance, and interestingly, while the Cuban masquerade was preparing to perform without a bell attached to its waist, the Ekpe people borrowed their bell to the Abakua people as a sign of solidarity. This highlights how diasporic Africans have preserved various elements of their cultural roots, even through the hardships of slavery.
Returning to the Surinamese group, I noticed that one element was missing from their performance: dance. I found this intriguing, as dance is a significant aspect of many Nigerian regions. The absence of dance leaves me curious about how much cultural change has occurred over time.
By the way, you can watch my Trio performance on YouTube: