A few months ago our family moved from our longtime home at the Ecology Retreat Centre in Hockley Valley, right into downtown Guelph.  What an immense shift this has been!  With each great change in life comes some loss and some gain.  I have been fortunate enough to gain friends and community in this shift, and felt supported enough to feel ready to start teaching classes here in my new home town. 

Last night I hosted my first class at my new house of Rhythm, Guelph Black Heritage Society. A wonderful stone church constructed by Underground Railroad freedom riders, in the late 1800's (1875). I feel blessed and very warm about this new chapter in my life of creation. Many thanks to my partner Melissa for inspiration, and the odd foot in the butt! And Big John here in Guelph, for a quick chat at Hillside, that very well may have a
tremendous impact on my life and our community.

So we had to wait for the key, I didn't quite have all my beans in the basket (I do now). But we got in, and the rhythms began. Not before a little Bolonfo therapy..

We were learning Sofa, everyone (for the most part) was able to learn each part on each of the bass drums (Dunduns) it was very easy, with some folks learning the parts tapping on the side of Jembe for the bell. And playing the bass note
for the part being co-operatively shared. I was not giving Cathy and Melissa the kind of lava it looks like, we had fungoodtimes! Really... (500 ml of sweat later...)

As well we shared the accompaniment rhythms on Jembe. I was blessed to be joined by
a number of folks who haven't taken my class before. A truly blessed moment occured when the onlookers (we had some locals pop their heads in to listen and
jive, gravity and the blessed spirit of community did the rest) were convinced to join us and try some simple bass jembe accompaniment parts, aided greatly... by KathLEEN!  who kept him rolling with it. At
the end we learned a small rhythmic passage to integrate between the song and the rhythm, culminating in a complete peice of music. To finish, pulled out the Bolon, and revealed the more ancient form of Sofa, which was originally played in Bolon, by Warrior Griot (Song/history keepers, story tellers and moderators of social functions by tradition) to share the histories of the nobility they had protected and fought on behalf of, and relay the histories of past triumphs. 


Keep the spirit alive my friends. Respect tradition always. Give thanks and
praises everyday for everyone, and everything that has and will continue to
bless us all furthermore. In the name of Rhythm...Blessed be,
everyday.

This is a Bolon.  The Bolon finds its roots in West Africa, in the Malinke influenced areas, mainly Mali and Guinea.  The most contemporary versions have four strings. 
The more original form of this instrument contains three strings. A two string version is played as well in Ivory Coast, called a Boro-Boro.  

This instrument was made by hand, using no tools except for a
file and a knife. Any electricity could harm the spirit of this instrument.  This was made with a Calabash gourd, a curved length of cedar wood, a piece of Hare wood for the bridge, a goat skin, four pieces of twisted goat skin, rope and a metal resonator (Kse-Kse). 

I found one of the biggest challenges in producing this piece,
was finding the right curvature in a piece of wood.  The wood had to be relatively harmonious with the gourd, so as to create an instrument that is proportioned well, and doesn’t feel like it wants to fall over when you are playing it. 

These instruments  are made for playing rather than decor, the overall performance is of the highest priority to me.  The player must feel comfortable and undistracted, like the instrument is an extension of  themselves, an extra body part.

About the Bolon
The bolon is a string drum, and its rhythms are made by plucking the strings with the thumbs. Counter and complimentary aspects of the rhythms are struck on the gourd with a flat relaxed hand between the main rhythm being kept on the strings. The Bolon’s origins are very ancient. Some say its birth occurred thousands of years ago, some say one, some say two, some say four. It is very difficult to trace, as most historical documentation in this area existed in the human form. A written language did not exist in most parts of the region until Islam arrived. What written documentation that did exist, was destroyed in the following years of reformation in the Mali Empire. However it is widely spoken that the Bolon was the original percussion instrument of West Africa, drums came many years after.

Playing the Bolon requires a strong foundation in the rhythms that are indigenous to its area. It is an instrument with a very well established base of repertoire.  To invent rhythms on the Bolon could be likened to building a house on a
loose gravel foundation. The time and effort involved in the learning process, is more than worth it! It is incredibly beautiful as it is, and worth approaching with our western minds, as it always has been.

In its homeland, the Bolon was played historically only by people
who belong to the agricultural class, known as Jon (pronounced like the name Joan).  These were farmers who were at service to the king. When needed, they acted as the kings soldiers. 

Each different class of this society (Horon, Djeli, Numu, Dyoula, and Jon) had its own traditions, in regards to trades, musical instrumentation, clothing,
 food, spiritual and social customs and practices. This was the customary structure of society in this region for many years.  It was uncommon to find 
people stepping outside of these complex social boundaries. These customs are still observed in the rural areas,  they  provide identity and maintain pride in one’s lineage, heritage and culture.

The Bolon was specific to the Jon. There existed no reason for people other than Jon to play Bolon. It was played for their ceremonies and magic practices, centering around themes of warfare and spirtual protection. This instrument was played in times of war, in later times it came to pronounce the Kings arrival or impending passage through a region. When required, the death of a king was pronounced through the Bolon, to his former subjects.

To enquire about having a Bolon, or to incorporate this amazing instrument into a performance, contact Jamie at jembesolutions@hotmail.com