Fontomfrom

Fontomfrom
	Fontomfrom ensemble; Department of Music Ethnology, Ethnological Museum of Berlin in Berlin of Germany.
Classification	Hourglass-Shaped Drum
Inventor(s)	Bono people
Builders
	Bono people

Fontomfrom is a Bono type of hourglass-shaped drum mostly used in a royal music ensemble of Bono people in order to relay Bono monarchy messages within a Bono people ethnic group setting. The Fontomfrom ensemble provides music for ceremonies honoring Bono chiefs and Bono monarchy royal processions. The Fontomfrom is also used to recite proverbs or replicate patterns of speech at most Bono monarchy royal gatherings or a Bono monarchy royal durbar.^[1]

The Fontomfrom evolved from the popular hourglass-shaped drum (talking drum) of the 7th century. Shortly after the evolution, a few more non-hourglass shapes such as the Dunan, Sangban, Kenkeni and Ngoma drums were produced.^[2]^[3]

Prior to the Fontomfrom becoming part of the Bono royal music ensemble as it is today, it was first introduced into Bonoman by Bonohene Akumfi Ameyaw I and Bonohemaa Owusuaa Abrafi circa 1320s, from North Africa. As they love dancing and music, the Bono people introduced this drum to entertain themselves.^[2] Since its inception and use, the single, large Fontomfrom drum has grown to become an ensemble of several drums, and given its formidable size (up to 2 meters in height or more), its image can be used to symbolise the grandeur of traditional African cultures.^[4]

References

^ "ASHANTI FONTOMFROM DRUM ENSEMBLE SET". djembedirect.com/. Djembe Direct. Archived from the original on 4 March 2016. Retrieved 19 March 2015.
^ ^a ^b The Akan of Ghana: Their Ancient Beliefs. Faber & Faber. 1958.
^ "The History of the Drum – Early History". makedrums.com/. Make drums. 18 October 2011. Retrieved 19 March 2015.
^ Kaminski, Joseph S. (2014-12-01). "Sound Barrage: Threshold to Asante Sacred Experience through Music". International Review of the Aesthetics and Sociology of Music. 45 (2) (published 27 October 2014): 345–371. ISSN 0351-5796. Retrieved 27 September 2017 – via International Review of the Aesthetics and Sociology of Music, JSTOR Arts & Sciences III Collection.