Yewevuin the Metric Matrix

Abstract

Yewe[4] The word "Yewe" names a religious system of the Ewe people of the Guinea Coast of West Africa (see Agbodeka 1997 for an introduction to the cultural geography of the Ewe people).(5) The word "vu" literally means "drum" but in this usage it inclusively subsumes such modes of expression as singing, dancing, instrumental music, dramatic presentation, and rhetoric. Yewevu, literally Yewe Drum, is the music of the Yewe religion.[5] Yewe may be compared to other religious systems of the Black Atlantic world (see Gilroy 1993), such as Gorovodu (see Friedson 2009 and Rosenthal 1998) or Vodou (see Fleurant 1996), that are all subsumed in the catch-all classificatory category "traditional African religion" to distinguish them from Islam and Christianity (see Mbiti 1990). Little scholarly writing exists on Yewe but curious readers may consult the limited information that is available in secondary literature (see Akyeampong 2001 and Greene 2002). Suffice to say here that Yewe affiliates to the natural forces of sky and ocean. Within the affairs of people, Yewe enforces ethical conduct, most notoriously by striking transgressors with deadly lightning bolts. Although presumably part of a centuries-old cultural continuum, Yewe itself is not "ancient" in the sense of being a static remnant of a by-gone era (see Fabian 1983 for a critique of the concept of time in cross-cultural studies). The religion is vigorously "practiced" in the contemporary world (see Bourdieu 1990 on the idea of "practice" within the concept of "culture").[6] In the local context, Yewe is shrouded with secrecy and mystery. Knowledge is withheld from those who have not joined a religious order. Practitioners of Yewe zealously guard their cultural heritage and resist sharing information with the uninitiated because congregants wish to maintain the efficacy of their religion against the contaminating impact of Islam, Christianity and modern Western civilization. They rightly worry that opening Yewe to the scrutiny of the wider world likely will have negative consequences on its integrity and may weaken the power of its spirit to act in the world. Furthermore, the deadly danger associated with Yewe is taken so seriously that even disbelievers and skeptics prefer not to risk misfortune by sharing information about Yewe. Many musical experts refuse to teach it. When I studied the music with Godwin Agbeli (1975-1977), we agreed that I would not seek deep knowledge of Yewe as a religious system. Frankly, I did not want the obligation and responsibility that such knowledge would entail. This paper divulges no secrets.[7] The spatial distinction between "inside the shrine" and "outside the shrine" helps characterize the nature of the music presented here. In Africa, the shrine compound is physically separated from the outside world with a system of fences, walls and buildings. Sacred objects and rituals are sequestered from the secular domain. Yet there are spectacular occasions when the general public gets to witness the music and dance of Yewe. These performance "festivals," which often stretch over several days, demonstrate the vitality of the religion, capture the fancy of onlookers, and recruit new members. Played outside the shrine, the music presented here is openly heard by the general public during worship experiences. When I attended Yewe ceremonies in Eweland, I primarily was witness to its artistic aspect, i.e., Yewevu. In Ghana and the USA I have participated in performance troupes coached by Mr. Agbeli that presented theatrically staged versions of Yewevu. While respecting the power of the religion and the sincerity of its believers, Agbeli was a modern artist who believed that this beautiful heritage could and should be appreciated for its aesthetic force. As an ethnomusicologist, I believe that significant non-verbal information about Yewe as cultural practice is embedded in the "affective presence" of Yewevu (see Armstrong 1971). …