Ritual dance sequencing and audience etiquette regarding particular movements and actions are two of the most important activity components of the piece “Mwi Bishiru”, which is displayed by call/response and a strong repetitive melodic and rhythmic structure.
Many of the original nomadic tribes in Western Kenya have dispersed and spread into the urban society. Of course, there are also many tribes that have carried on the traits of their ancestors and strive to live the ways of the past. This is shown through their dedication to keep certain rituals and ceremonies in tact to preserve their way of life. The Bombas tribe in Kenya, is such a tribe. Through their discourse and use of traditional methods, they are able to embrace their past. They use many of the methods that were used by their ancestors, including their use of music for ceremonies (Fink). The reason for ceremonies range from a variety of reasons: marriage, birth, death, ect. This particular song “Mwi Bishiru” is a song for a grieving/mourning ceremony that is about a woman leaving a man she is dedicated to. This is a community song, meaning all are welcome to join in to the song, which most do by the specific activity of movements or dance sequencing. Dancing and movements are very important in the tribal culture, as it is used as a way of communication and story-telling The use of the specific trait of a strong repetitive melodic and rhythmic structure makes it very easy for these people to learn the dance movements. Through the use of strong rhythmic structure, even young children learn the dance movements, creating a tradition that is passed through many generations.
Of course, not everyone in the tribe participates directly in the song, some are considered ‘audience members’ and enjoy the song/dance from the sidelines (Umbima). This crowd may also contribute obliquely to the performance by use of etiquette. Etiquette in reference to musical performance includes all participation that adds to the music: hand clapping, singing along, or perhaps simply tapping one’s foot to the rhythm. In the song ,”Mwi Bishiru”, the audience was involved in in the production by singing/dancing along. The etiquette was reinforced through strong musical traits such as call and response. The call and response allowed the audience to catch on quickly to the lyrics and be involved with the emotional ‘pain’ this man was experiencing. It also created an open atmosphere for the entire community, because everyone could be associated in the ritual song.
Activities during the course of the song “Mwi Bishiru”, is very important to the society the Bombas tribe has strived to maintain. Through the use of Call/response and Repetitive rhythmic timing, activities such as dance sequencing and audience participation were both highlighted. One could assume that the incorporation of such musical traits is not only important for the performers, but detrimental to how their society is viewed on a larger scale.
Works cited
Finke, Jens. “Kenya.” World Music: The Rough Guide. Volume one. England: Rough Guides, 2005. Print.
Umbima, William . “Republic of Kenya.” Dictionary of Music and Musicians. Second ed. Volume 13. New York: Macmillian Publishers Limited, 2001.
