With some slight differences these men may be found throughout Africa; almost everywhere they are sought for and their talents enjoyed, but they themselves held in contempt. Among the Nyam-Nyams, their appellation in itself (“Nzangah”) implies contempt, being similar to that which is applied to despised and outcast women.
Contrary to the custom of almost all other savages, the Nyam-Nyams delight most in gentle music; some of the minstrels sing so softly that it is impossible to hear them a few yards off. The light Mandolin accompaniment is in good accord with this pianissimo style of music.
Their dances, given by male and female performers, are wonderfully swift, intricate and pleasant.
A great “Congo” or dance was given by some of these people to Col. C. Chaillé Long, an American officer on the staff of the Khedive of Egypt, who made a very interesting expedition to the Makraka Nyam-Nyams, and Lake Victoria Nyanza in 1874. He thus describes the scene:—[214]
“Invitations had been sent to all the Nyam-Nyam lasses, who came even from as far as Parafio, and did honor to the occasion by brightening up their copper and iron fastenings, and in putting on fresh fig leaves. The loose bands that encased their ankles, kept perfect time in loud clanking sound to music really euphonious, and of a symphony that my unmusical ear I regret cannot translate here, evoked from a Sinon-like wooden horse, that was beaten on its sides with drum-sticks, or by parallel banana trees that were traversed by different sized pieces of dry wood, upon which several performers beat successively.
This musical instrument, as well as drums and horns, the latter made of Elephants’ tusks, were very similar to those I had seen at Ugunda....
The Sheik, a robust, powerfully developed man, led his brave warriors in the dance, holding in his hand, a curiously-shaped sword, his insignia of office, whilst the round little forms of hundreds of Nyam-Nyam maidens followed, each with giddy swiftness as the “cancan” fantasia became fast and furious. The festivity continued until the ‘wee sma hours’ of the morning.”
The trumpets of the Nyam-Nyam are more generally used as war signals than as musical instruments; they are blown through a hole in the side, and not at the end; therefore the mode of performing upon them, rather resembles our style of flute playing.[215]
Another musical nation of Central Africa is the Karague; travellers who have visited them have given more or less detailed accounts of their instruments and festivities. Capt. Speke had the unusual honor of a serenade from the royal court band. The king after receiving a present of some beads, cloth wire, and a tin box, was so delighted that he sent his own band to give Speke a tune.
The performers used reed instruments (made in telescopic fashion) and marked the time by hand-drums. At first they marched and countermarched, playing meanwhile much in the manner of Turkish regimental bands; but this was soon changed to a species of “horn-pipe,” which all the musicians danced, playing furiously meanwhile.[216]