Introduction: a historical overview

Singing as a group activity existed in Africa long before colonization. A few anthropological and archeological sources as well as analysis of oral history recordings provide clear evidence of a long-standing quasi-choral music culture in Africa. For instance “an African style of singing based on vocal homophony or polyphony has been demonstrated for many years” by communities such as Ijesha-Yoruba of Nigeria, Nguu of Tanzania, Zulu, Xhosa, and Swazi of South Africa. Nketia argues that although there is no information on how this style of singing originated and developed, it seems clear that it existed before Western influence. The use of polyphonic and homophonic choruses among the Maasai people of Kenya is further evidence of the existence of choral singing in Africa before the colonial establishment. These group activities were and still are primarily part of the social activities of the African communities where music making is generally social. The presence of choral forms of African traditional music is exemplified by its social and communal aspects. Indeed, in most indigenous African communities, music making was and still can be conceptualized as choral. Euba notes that “choral music in African traditional cultures was utilized as a strong indicator of communal approach to music making and its importance in modern culture shows a bond with [African music] tradition.”