Saturday, August 1, 2009

The Baka Pygmies of Cameroon

The Baka Pygmies of Cameroon
By Jamie Stone




A race of hunters and gatherers, the Baka Pygmies, found in Cameroon, live together with various ethnic groups of Bantu farmers, with whom they exchange goods.
With an average height of 1.5 metres, the Baka are, strictly speaking, pygmoids rather than pygmies. Nevertheless, in everyday usage, the term "pygmy" is employed.
The exact numbers is difficult to determine, as a semi-nomadic group, they roam the rain-forest taking up temporal residence in specific areas that offers rich games and natural resources, but estimates range from 5,000 to 28,000 individuals.



They occupy forest ecology and they exploit the gifts of nature or the ecosystem. Over the years important exchange relations have developed between the hunter-gatherer Baka and the neighbouring Bantu cultivators. However, this relation has been one of tolerance and characterized by hostility. The situation has been caused by the condescending attitude and derogatory comments with which the Bantu describe their Pygmy neighbours, looking upon the Baka as goods belonging to them, they are victims of racism and exploited in plantations as cheap labour.



One of the most important differences between the Baka pygmies and their Bantu associates is the fact that they owe their total existence to the natural resources which nature has endowed on their habitat, the rain forest.



Like other pygmies the Baka are culturally, linguistically and physically different from their Bantu neighbours.
They live in huts they call mongulu which are one-family houses made of branches and leaves and nearly always built by the women. After a frame of very flexible, thin branches is prepared, recently-gathered leaves are fit in the structure. After the work is complete, other vegetable materials is sometimes added to the dome in order to make the structure more compact and waterproof. Besides the mongulus the Baka also build rectangular huts made of leaves or bark, just like the other ethnic groups do, only they use mud and wood.



The Baka, know the variety of forest foods, animals and the specific seasons when these products can easily be found. Of the different seasons which these pygmy people experience each year, the three-month period of prolonged heavy rain is the most important. During this period when the forest is in its abundance the Baka leave their permanent villages for the deep forest and for several months roam gathering food. The men perform the more prestigious but undoubtedly more hazardous job of supplying meat for the group through hunting and trapping. The women carry possessions in baskets and follow their husbands.



Types of hunting performed in the rainforest are with bows, poisoned arrows, crossbows, spears and traps. Contrary to what occurs in other pygmy cultures, the Baka do not know the use of hunting nets. The forest animals killed are a various species of primates, artiodactyls, rodents, etc, which are hunted at night. They place traps near watercourses to hunt crocodile, which is usually killed by spears.
Looking for food in the forests is one of the most important activities for the survival of the group, gathering yam, fruit, mushrooms, but in some seasons of the year it's possible for them to find small animals, such as termites and caterpillars.



Carried in baskets by the women, the products come to camp and are shared by all the families.
Hunting is one of the most important activities, not only for providing food but for the symbolic meanings and prestige traditionally attached to it. Skilled Hunters are very respected and taken into great consideration, especially if they specialize in the most rewarding and significant game activity: The Big Elephant Hunt.



Massive deforestation these days deprives the pygmies of the natural resources essential for their biological and cultural survival. Unfortunately, due to the diminishing number of prey and less frequent expeditions in the forest, today, hunting does not provide the Baka an adequate supply of animal proteins which causes serious nutritional problems especially in the children.
With inadequate diet and health problems, many live a quiet life keeping a strong cultural identity and marking the boundaries between their form of culture and that of the other ethnic groups in the forest.



Of all the aspects of nature which surrounds the Baka pygmies, they perceive the tropical rainforest as the most valuable force with which they interact.
The typical Baka pygmy will not leave his home in the forest even in exchange for an ultra modern palace in the city.
They have a thorough knowledge and understanding of the forest and its products, including the healing power of plants and are in fact, guardians of a huge natural pharmacy. Thus their whole life is occupied with the welfare of their forests.



"We are born and grew up in the forest; we do everything in the forest, gathering, hunting and fishing. Now where do they want us to make our lives? "
Mbeh: Baka guitarist



Baka Beyond/Baka Gbine
Music has a central role in the life of the Baka. From an early age they have a keen sense of rhythm, as soon as a baby is able to clap it is encouraged to participate in all the communal music-making. There is music for ritualistic purposes, music for passing on knowledge, stories and the history of the Baka people, and music for pure enjoyment. This communal music-making constantly helps to strengthen the bonds between the individuals in the groups.



Baka Music is perhaps best described as bursts of harmonic yodeling, intertwining in a dynamic, rhythmic fashion. It is quite hypnotizing and the environmental forest setting makes the overall effect fascinating.
Inspired by the magical rhythms and melodies of the Baka people, British musicians Martin Cradick and Su Hart founded Baka Beyond in 1993 after they had visited the tribal people.
They recorded an album "Spirit of the Forest" under the name Baka Beyond which pushed them into worldwide recognition. The band has since then evolved into a multicultural, dynamic live stage show with album sales of over a quarter of a million copies.



They have played at WOMAD in the UK, USA and Czech Republic and on the Jazz Stage at Glastonbury; Musica Mondial in Sao Paulo, Brazil and many more festivals in the UK, USA, France, Holland, Belgium, Germany, Italy, Spain and Portugal as well as headlining the Vancouver Folk-Roots Festival. Their tracks are often heard on TV soundtracks, particularly in nature programmes on BBC and have been nominated for the BBC Radio 3 World Music listeners awards.



Su Hart says, "It was the amazing bird-like singing that first attracted me, the women will get together before the dawn to sing, enchant the animals of the forest and ensure that the men's hunting will be successful. Song and dance is used by the Baka for healing, for rituals, for keeping the community together and also for pure fun!”



With ongoing help from Martin and Su, they were then being invited to play at local feasts, weddings and funerals in Cameroon. After recording their album "Gati Bongo" in 2000, they decided upon the name "Baka Gbine" (Gbine translated means 'help').
The band includes guitarists Pelembir, Mbeh and Zow, percussionist Masekou, two women - Ybunga and Lekeweh, who bring the phenomenal singing to the concerts, and traditional music.



Giving it back to the Baka
Baka Gbine is one of the few groups who ensure that they put as much back into the culture as they take out. Royalties earned by the sale of the albums are channeled back to the Baka Pygmies through the UK based charity Global Music Exchange - or as the Baka call it, 'One Heart'.
This ongoing relationship with the Baka community has helped them to win land rights and recognition as Cameroonian citizens, as well as the funding of their own medical centre and a Music House. These steps all help to protect the Baka's culture, forest environment and unique hunter-gatherer way of life.



Roger Harrabin reports-
The biggest threat comes from a road into the rainforest which has been upgraded by Cameroon's government with funds from the European Union.
The World Bank and the African Development Bank refused to finance the upgrading.
They said it would accelerate logging and the hunting of endangered species. But the EU handed out the money without making any environmental assessment.



Steve Gartland, the World Wildlife Fund's man in Cameroon, says the inevitable is now happening.
"Road-building programs tend to bring development into the forest areas. As soon as you get the forest areas opened up you get the poachers going in, leading to depletion of wildlife and deforestation," he said.
Sixty per cent of Cameroon's forests are already being exploited.
Some firms wreck the forest by bribing their way round laws permitting only selected mature trees to be cut. Others appear to play by the book - felling only the occasional large tree.
Forester Jean Francois Pagot admits that the most valuable species are being depleted because they're not being replanted.



He says:

"The main reason is the long life of the trees. Some take two or three hundred years to fully mature - and no timber license lasts that long - so the diversity of the forest is being eroded."

The Baka are finding it harder to get other sorts of meat since poachers started using the EU's road to sell their catch from the forest reserve.
One Baka said: "They killed elephants, gorillas, chimps, panthers, buffalos, deer - all in the reserve".
European Union (EU) taxpayers are funding wildlife conservation in this reserve as well as paying for the road which makes life easier for the poachers.



The EU is now funding anti-poaching education projects. But hunting wildlife is too profitable for some to resist. Conservationists say it is a typical problem caused by the EU's aid program. They say aid from Brussels is often poorly administered and damaging to people at the sharp end - like the Baka.




jamiestone4870@hotmail.com
Australian Freelance Writer
copyright 2006



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http://EzineArticles.com/?The-Baka-Pygmies-of-Cameroon&id=341972

Change, Adapt, Innovate, Or Be Lost

Change, Adapt, Innovate, Or Be Lost
By Roger E Lear




Let me set this up before I get into it. If you are prone to pessimism, this could cause you to give up on your dreams of making it big in the music business. Read on at the risk of shattered dreams. For everyone else, this can stimulate the type of thoughts which breakthroughs are made of. Let us begin.



This is not good or bad news; it's just news. Actually, it's not even really news because it's common knowledge to anyone paying attention to the current state of the music industry. Artists, songwriters and producers, please understand this; free is more of an incentive today than ever, figure out how to use it to your advantage. Of course, nothing is really free...except in this case where free really means...well, free.



"Your music is going to be free and readily available to others without direct benefit to you." Think about it. I don't like what I just said because I am still resistant to some of the current changes within our industry.



There are at least two types of free that I'm referring to when I say "your music is going to be free and readily available to others without direct benefit to you."



Pirating
Pirating has been around since one man was able to see another man's work and steal it. Next, he sells what has been stolen benefiting only himself, with no financial benefit to the original creator of the work. Laws and sophisticated methods of disrupting the pirating practice have failed to solve the problem completely. At best, these approaches have only minimized the potential losses.



The global pirate music market is bigger than any individual legitimate music market except for the USA and Japan.



For each artist's name who appears on a song, dozens of others are involved in the writing, recording, mixing and distributing of the music; all of these people suffer when a song is pirated.



The biggest losers here are the original creators.



Free File Sharing
Free file sharing didn't start with Napster, it just got very serious attention after they were so widely touted as the place to go to get free music. In some respects, the value of the "artist" and "artist experience" started to die when it became more about the song and less about the artist and the artist experience.



Some may ask what I mean when I say "more about the song and less about the artist and album experience." Well, what was once considered a great album would be comprised of eight to ten songs which gave you a connected experience with the artist through musical continuity and a few hits. Remember liner notes? Remember track segues and interludes? Maybe not, but these were all part of that artist and album experience.



Remember cassette tape, album and CD collections? These things are pretty much gone along with allegiance to the artist in many respects. Free file sharing is perpetuating an ever disposable musical mindset which means instead of your album creating buzz, it's just your song, or songs. Even if you have 10, 20, or 80, your songs are just a few among millions. How's that for being a little fish in the sea.



Even pirates, comparatively speaking, are making less money than ever before. Why? How many people will buy a bootleg recording when they can get it for free? Online subscription services with monthly fees facilitates easy stealing for redistribution of songs.



According to a recent survey, the average teenager's iPod has about $800 worth of pirated music on it. On average, every iPod or digital music player contains 842 illegally copied songs. The proportion of illegally downloaded tracks rises to 61% among 14 to 17-year olds. In addition, 14% of CDs (one in seven) in a young person's collection are copied.



Illegal copying in some form is undertaken by 96% of 18 to 24-year olds surveyed; falling to 89% of those aged 14 to 17. Nearly two-thirds copy CDs from friends and similar proportions share songs by email and copy all the music held on another person's hard drive, acquiring up to 10,000 songs in one go.



Ask yourself, when was the last time you got a track without paying for it? Do you perpetuate the practice, which in effect, is stealing from yourself?



The biggest losers here are still the original creators.



Perspective
There is a decent living to be made in this industry, even by artists who are and will remain largely unknown. A new business model for the music industry which will be a cure-all for the financial woes of the music giants and the little guys will never come. Going, going, gone! For the few giants that remain, the end of days is in view.



In every area of life, as well as in music, the way things were and the way they are differ greatly. Greater opportunities exist. The proverbial playing field has never been this level. Just as back in the day, a record label's A&R department was swamped with new music submissions; today there is more "free" going on than ever before. The pirates aren't gone and the free file sharing won't stop.



More music is lobbying for the listener's attention and much more poorly written, produced and mixed music is present to wade through. Will you ever be heard? Is it even worth pursuing success in the music business? To both questions, I say yes!



This is vital to remember: everyone must embrace change or experience the consequences of attempting to operate with old tools, methods and ideas while watching the money go to those who adapt or innovate!



Artists, producers and entertainment companies are working on new approaches to dealing with decreased overall music sales. What will never change is the necessity to connect with the listener. The more you connect, the easier it will be for someone to make a decision to pay for your work as opposed to stealing it.



In the June 2009 edition of Mix magazine I saw this: Lil Wayne sold 9.1 million units of "Lollipop." This was the top-selling digitally downloaded single of 2008. These were paid for and people are still buying! Some folks will always be buying and others will continue stealing, but you will have to make a real connection with your audience and change, adapt, or innovate to stay relevant to those with short attention spans and an overabundance of choices.



Change, adapt, innovate or be lost!




Roger E Lear, also known as REL, has been creating and producing music for over 22 years. He has helped many new as well as established artists create money making music. He has built his career as a full time music producer by providing excellent quality music production and song writing services.



REL publishes a free weekly newsletter with helpful tips for aspiring artists at http://www.BanginBeatsByREL.com Included with all subscriptions are free sample beats. You can learn more about REL at http://www.banginbeatsbyrel.com/about-rel.html



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http://EzineArticles.com/?Change,-Adapt,-Innovate,-Or-Be-Lost&id=2494788

The Harmonized Major Scale - What is Diatonic Harmony?

The Harmonized Major Scale - What is Diatonic Harmony?
By Larry Allen Brown




The importance of knowing and understanding the harmonized major scale is vital to any musicians ability to communicate something melodic when soloing over a chord progression or in composing music that makes sense.



What is the Harmonized Scale?
Most people who had some kind of basic music in grade school are familiar with the sound of the do, re, me, fa, sol, la, ti, do construction of the major scale. Those individual notes are built on a series of whole steps and half steps. If a person were looking at a piano keyboard and located the note C, he would notice that it was a white key. The very next key would be a black key a half step away, followed by another white key then another black key. Each step from one key to the next is called a half step. To go from one C note to the next C note would require 12 steps known as the Chromatic Scale. There are two places where a white key is followed by another white key. The notes E to F, and the notes B to C. If a person wanted to play a C major scale, he could play all the white keys starting on C, and the construction would be; whole step, whole step, half step, whole step, whole step, whole step, half step. That would be 7 notes ( no black keys ) with the 8th note being the starting point of C once again and bringing the player to the next octave.



A person could take every other note and play them together and arrive at the chords that would be diatonic to the family of whatever key he was playing in. For example, in the key of C, one could play the C, E, and G, and he would have a root position C major triad. Following that same formula, he could then play every other note starting on the 2nd note, D, and play D, F, and A which would give him a D minor triad. Applying this same formula with each successive note will present the scale in harmony.



Breaking this down it would look like this:



Major triad - C E G
minor triad - D F A
minor triad - E G B
Major triad - F A C
Major triad - G B D
minor triad - A C E
diminished - B D F



These are the fundamental building blocks of chord construction. It is how chords are built. All chords are derived from the major scale. Those chords can be altered in a variety of ways by adding additional notes called tensions, or "color tones". Those are the salt and pepper notes that make things interesting. Sometime notes that are not diatonic to the key can be added to stretch the harmony even further. Ones own ears are the final judge when it comes to what works and what doesn't.



Sources
Berklee College of Music.




Larry Allen Brown

Writer



A professional musician and teacher, with progressive political views.



Larry; an alumni of Berklee College of Music in Boston, is an accomplished guitarist, and composer, with two CD's ( Cobb Lane, and Music for the High Country..the Soundtrack of Blowing Rock ) of acoustic fingerstyle arrangements of both original music and ancient Celtic melodies. A third is currently in production. His music is published by Global Graffiti Music ( ASCAP ) and can be heard on NPR radio and as soundtracks in film and video documentary's, as well as on various internet web sites. The music is available online through digital distribution from 46 different outlets.



He lives in Birmingham, Alabama along with his wife Kathryn and their two dogs, Murphy and Dipstick.

Larry's website is http://Larryallenbrown.com



Article Source: http://EzineArticles.com/?expert=Larry_Allen_Brown
http://EzineArticles.com/?The-Harmonized-Major-Scale---What-is-Diatonic-Harmony?&id=2019952

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