Developed and used by cultures living in forested areas, drums served as an early form of long-distance communication, and were used during ceremonial and religious functions.
In Africa, New Guinea and the tropical America, people have used drum telegraphy to communicate with each other from far away for centuries. When European expeditions came into the jungles to explore the local forest, they were surprised to find that the message of their coming and their intention was carried through the woods a step in advance of their arrival. An African message can be transmitted at the speed of 100 miles in an hour.
Among the famous communication drums are the drums of West Africa (see talking drum). From regions known today as Nigeria and Ghana they spread across West Africa and to America and the Caribbean during the slave trade. There they were banned because they were being used by the slaves to communicate over long distances in a code unknown to their enslavers.
Talking drums were also used in East Africa and are described by Andreus Bauer in the ‘Street of Caravans’ while acting as security guard in the Wissmann Truppe for the caravan of Charles Stokes.
The traditional drumming found in Africa is actually of three different types. Firstly, a rhythm can represent an idea (or signal). Secondly it can repeat the accentual profile of a spoken utterance or thirdly it can simply be subject to musical laws.
Drum communication methods are not languages in their own right; they are based on actual natural languages. The sounds produced are conventionalized or idiomatic signals based on speech patterns. The messages are normally very stereotyped and context-dependent. They lack the ability to form new combinations and expressions.
In central and east Africa, drum patterns represent the stresses, syllable lengths and tone of the particular African language. In tone languages, where syllables are associated with a certain tone, some words are distinguished only by their suprasegmental profile. Therefore, syllable drum languages can often transfer a message using the tonal phonemes alone.
In certain languages, the pitch of each syllable is uniquely determined in relation to each adjacent syllable. In these cases, messages can be transmitted as rapid beats at the same speed as speech as the rhythm and melody both match the equivalent spoken utterance.
Misinterpretations can occur due to the highly ambiguous nature of the communication. This is reduced by context effects and the use of stock phrases. For example, in Jabo, most stems are monosyllabic. By using a proverb or honorary title to create expanded versions of an animal, person’s name or object, the corresponding single beat can be replaced with a rhythmic and melodic motif representing the subject. In practice not all listeners understand all of the stock phrases; the drum language is understood only to the level of their immediate concern.