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Contact UsThe Tama is a type of talking drum, known for its ability to emulate the inflections of human speech. Inthe old days, before fax machines and cel phones, this drum was used as a form of communication fromvillage to village. The tama is found in many places in West Africa, but is most predominant among the Walo Walo, a sub-group of the Wolof people of Senegal. For centuries the instrument was reserved for Griots, the caste of musical historians, who often assemble in Tama ensembles, with sometimes up to twenty players. It is a very intricate drum, using the finest craftsmanship, and using the most exotic materials. The tama is so shrouded in mystery and complexity, that its origin is said to be from genies, possessing knowledge of magic from an otherworldly realm. The tama is a graceful, sophisticated instrument, regarded as the most difficult to learn, and to master it commands the highest prestige. Thus, in Senegal the Tama player has become the mark of the most skilled musician.
In Wolof society, it is not just a drum for entertainment, but an important symbol of cultural identity. Households, whether players or not, hang them above their front door for good fortune. Traditionally, all public gatherings, including announcements, political councils and decrees, weddings, childbirths, the arrival of visitors of distinction, or news of important events, would be called for by the Tama. Many of these events have their own specific rhythms. For example, when one morning one hears a rhythm called “Thiet” (pronounced 'Chet'), it is immediately known that a man and his new wife have spent their first night together. They also know that they are invited for breakfast at the house where thedrumming is coming from, to join the celebration, and congratulate the new couple.
The tama is similar to other talking drums found in West Africa, particularly those in Ghana and Nigeria. However, there are a few distinctive differences. For starters, the Tama, which comes in various sizes, is typically smaller and higher pitched. Also, it is played differently. Instead of being heldoff the hip and using your off hand to pull the strings, as done in the other styles, it is held directly under the arm, and the pitch is manipulated by simply squeezing the drum between your bicep and ribs.This technique frees up your off-hand, which allows for a two- handed attack. This two handed playing style, using a curved stick in the primary hand, and an open hand in the secondary, is a trademark of Senegalese drumming, most notably Sabar. Having two hands available allows for endless embellishments and the hybrid stick/hand combination opens up a wide array of tonal possibilities. Because of this, the tama is the lead drum in Wolof ensembles, and translates very well into modern western instrumentations as well. In Senegalese pop music, known as Mbalakh, the tama player is usually the primary soloist, and second only to the singer. Tama players often act as “hype men” too, because their instrument allows them to move freely around the stage and interact closely with the other musicians and the audience. That said, the tama is also an excellent supporting drum, because it is very versatile, and can blend into any setting. It can even be pitched in accordance with the harmonickey of a song. Needless to say, the tama is a truly one of the most unique drums in the pantheon of world percussion.
