The Banjo as a sacred instrument

[Austin]

The Banjo started life as the m'Banza, A Kikongo word describing a communal gathering place. This word was first documented by the Portuguese when they were told the name of the Capitol of the kingdom of Kongo, M'Banza of Kongo. This word traveled to Jamaica but lost its prefix and became Banza when named by travelers like Hans Sloane. That's the origin of the word banjo as far as I know. It was sacred, as observed by Sloane during his stay in the Caribbean. It was used specifically in the ritual dances. 

Why am I prefacing with this?

Well, this is where I have based my goal of true transcendence for the Banjo. Why it deserves to be able to fully express itself. It was never just an instrument; its design was based on an altar for prayer. A bridge between this world and the world of the ancestors.

The following is a hunch, but there could have been an ancient technique (What we call clawhammer or stroke style) gatekept by its difficulty and unorthodox playing method by Griots. The gourd with skin made overtones bloom. A living companion rather than an artificial box of sound or a simple rhythm driver. 

It's why I tend to get a little heated when people say the instrument was already taken seriously at one point. That it's potential had already been realized to its full extent. It is and has never been treated as seriously as the people who made it intended it to be. The so-called concert culture surrounding the banjo was made to appeal to genteel Edwardian/Victorian sensibilities in the U.K and American sensibilities in the U.S. Doing light selections for arrangements rather than pure devotion to the art form with 20-minute arrangements of sonic cathedrals that were being crafted across the ocean. America never did respond well to Romantic/20th century European ideals. Mahler was lambasted as too emotional with not enough structure when he premiered his symphonies in the U.S. Liszt was seen as piano banging. Concertgoers wanted to feel elevated not challenged. 

The banjo may be a drum on a stick to most people, but I want to show them the artistry the banjo can truly express. It's 100% capable of Orchestral color yet hardly anyone paints it as such. Then comes the subject of my music. My music is not about melody, but texture. Bringing out all the different timbres with every technique at my disposal. This means a floating hand with true finger independence with polymetric or rhythmic capabilities. The illusion of multiple voices with hidden melodies in inner voices within the chaos that are left to the player to bring out. The manipulation of overtones. 

Somewhere along the line, Classic banjo forgot it was alive. Capable of growing. It became a museum piece rather than something that could evolve or transcend technique as it was known. I follow not in the footsteps of classic banjo as it exists today, but in what it could become if it was treated as a dialogue between centuries and not something frozen in time. 

There is a place for both transcendence and keeping the history, the only difference is one is the path I've chosen. The Former rather than the latter. I seek control and mastery the likes of which have never been seen before. 

[IAN SALTER]

https://m.youtube.com/shorts/z0IVIOlnRU8

[Austin]

Indeed. It's an exploration of the timbral properties of the banjo. It's a study of texture rather than Melody. My approach Is attempting to shape that chaos into something. It proves what's possible and I will not stop until I have that level of control. When I throw Melody out the door for the most part, I'm asking the question, can I shape this chaos?

IAN SALTER said:

https://m.youtube.com/shorts/z0IVIOlnRU8

[IAN SALTER]

OK then.