"Drum”: The Dinka Engagement Party
Floyd Omondi
As the skies give way to the most spectacular of sunsets, the Marol community ushers the night in style. One cannot help but notice the herds of the Dinka: cattle and goats trotting back into the homesteads. The women, apparently slave driven, dash to gather firewood and fetch water from the borehole, to prepare the single meal of the day. Custom forbids men to take up any domestic chores. Darkness soon kicks in, perhaps a clear reminder of life in the bush, this part of the world seems to be cut-off from civilisation with no electricity, proper roads, name it. By this time, the families disappear back into their tukals (mud huts) where smoke can be seen curling upwards, the evidence of a meal under preparation.
This night is unusual. Looking back, the seasons were rich. Maize, sorghum and groundnuts were gathered and put aside against uncertainties of the future. People are happy and there is much rejoicing everywhere, thanks to the bountiful harvest from the sufficient rains. Supper gives way to the night life and before long, rhythmic "drum” beats are heard from the horizon, an invitation for the night "drum" dance...
The "drum" is held in high regard among the Apuk Dinka. It is not just another instrument, it means so much more: an equivalent of the urban discos where engagements take centre stage, “Lor" is the popular local name. Once the cue is given, the young girls and men alike head for Malual or Yiik Adoor, the popular meeting joint for the open air night "drum" dance, using beaten paths with bushes thick and mysterious marking every turn. During these night outs, men and girls come to dance and interact. It is not surprising to see men of all ages whereas the only female
counterparts around are the unmarried, perhaps waiting for prospective suitors.
The dance is held in an open-air ground. Whistles, horns, sticks, the "drum” and who knows what else, anything that comes in handy, are taken and beaten to the rhythm of the song and dance. Everybody then goes into a frenzy of excitement, looking beautiful and happy under the dim moonlight. Old and young, girls and men, all are there losing themselves in the magic motion of the dance. All shriek and shout and jump into the air as they go round in a circle, singing perhaps about their cows; their source of wealth. For them, this is the moment. This is the time. All are free.
It's past midnight, and by now the singing decreases in volume and excitement. Couples appear on the scene sat on the vast ground on bed sheets. You wonder what they are talking in those wee hours. The missionaries would condemn this. Then, from the centre, the frenzy and shrieks are up again this time round with a mad intoxication of ecstasy and pleasure, particularly if you met your perfect match. It is that feeling that you found someone or something you were yearning for, a strange kind of elation.
In the final hour, the "drum" dance climaxes in a happy feeling or in low waves of loneliness and sadness that will not let you sleep.
And as the "drum" beats fade away it's time to go back home.
This night is unusual. Looking back, the seasons were rich. Maize, sorghum and groundnuts were gathered and put aside against uncertainties of the future. People are happy and there is much rejoicing everywhere, thanks to the bountiful harvest from the sufficient rains. Supper gives way to the night life and before long, rhythmic "drum” beats are heard from the horizon, an invitation for the night "drum" dance...
The "drum" is held in high regard among the Apuk Dinka. It is not just another instrument, it means so much more: an equivalent of the urban discos where engagements take centre stage, “Lor" is the popular local name. Once the cue is given, the young girls and men alike head for Malual or Yiik Adoor, the popular meeting joint for the open air night "drum" dance, using beaten paths with bushes thick and mysterious marking every turn. During these night outs, men and girls come to dance and interact. It is not surprising to see men of all ages whereas the only female
counterparts around are the unmarried, perhaps waiting for prospective suitors.
The dance is held in an open-air ground. Whistles, horns, sticks, the "drum” and who knows what else, anything that comes in handy, are taken and beaten to the rhythm of the song and dance. Everybody then goes into a frenzy of excitement, looking beautiful and happy under the dim moonlight. Old and young, girls and men, all are there losing themselves in the magic motion of the dance. All shriek and shout and jump into the air as they go round in a circle, singing perhaps about their cows; their source of wealth. For them, this is the moment. This is the time. All are free.
It's past midnight, and by now the singing decreases in volume and excitement. Couples appear on the scene sat on the vast ground on bed sheets. You wonder what they are talking in those wee hours. The missionaries would condemn this. Then, from the centre, the frenzy and shrieks are up again this time round with a mad intoxication of ecstasy and pleasure, particularly if you met your perfect match. It is that feeling that you found someone or something you were yearning for, a strange kind of elation.
In the final hour, the "drum" dance climaxes in a happy feeling or in low waves of loneliness and sadness that will not let you sleep.
And as the "drum" beats fade away it's time to go back home.