Atumpan (drum)
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| Classification | Membranophone |
|---|---|
| Inventor(s) | Akans, Asantes |
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The Atumpan is a type of Asante talking drum.[1][2] Played in pairs, these drums provide the bass part in Adowa dance ensembles. These drums are also found in Fontomfrom ensembles.[3]
Construction and functionality
The body of the atumpan is made of wood, with a hollow interior. Its bottom is open, to increase its resonance. Its drumhead is made of animal hide that is stretched out to cover the top of the drum's body. There are several pegs near the top of the drum's body, which tension cords attached to them. These cords extend to the drumhead, holding it in place.[4] Most atumpans are about 25 centimeters (8 inches) in width, and almost 60 centimeters (22 inches) high.[3]
Playing Techniques
Some groups, including the Sissala, anchor a pair of drums to a ground stake with rope. Carved from a single block of wood, the atumpan has a narrow, open bottom and a much wider main body. When marching in processions, it takes two people to operate: one to carry the drum on their head and another to beat it from behind.[1] The pair consists of a higher-pitched "female" drum and a lower-pitched "male" drum. Played while standing, the atumpan heads are struck with hooked sticks, hands, or fingers to generate sound.[4] The atumpan is played either with one's bare hands or L-shaped sticks.[4]
Gallery
ATUMPAN (MALE)
ATUMPAN (FEMALE)
man carrying Atumpan
History
The atumpan or ntumpane talking drum are used by Asante and Akan to communicate/send messages and are mostly found in Ghana.[5][6]
References
- 1 2 "Atumpan". DEKKMMA. Retrieved 13 May 2018.
- ↑ Antoniou, Tony. "A pair of Asante atumpan drums from Ghana". The British Library. Retrieved 13 May 2018.
- 1 2 "Atumpan | Ashanti (Asante)". The Metropolitan Museum of Art. Retrieved 2018-05-13.
- 1 2 3 "Atumpan". Instruments of the world. Retrieved 13 May 2018.
- ↑ Atumpan Ashanti (Asante) 19th Century. The Met Museum. 1940.
- ↑ Atumpan Ashanti (Asante) 19th Century. The Met Museum. 1940.
