| Hira Gasy |
| Music In
The Highlands Of Madagascar |
| November
2004
Antananarivo,
Madagascar
Malagasy
people like dancing and singing. From the North to the South, from
the East to the West, by the way of the high plains, Madagascar sings and
dances. Not only to modern rhythms, nor necessarily to world music. Like
the other countries in the world, Madagascar has its own culture and tradition.
This tradition is alive and kicking throughout the country in many guises.
Popular culture needs no electricity, stage or professional artists. In
a country so impregnated with the memory of its ancestors, songs and dances
remind us of the depth of our roots whilst at the same time entertaining
the community. |
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Such diversity
is in keeping with the size of the country which comprises 18 ethnic groups
that are very different but share a common culture. As I said, there are
many kinds of traditional music here in Madagascar because of the size
of the country but among them I’m going to talk about the Hira gasy literally
meaning Malagasy Arts.
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According to
the ancestors, the origin of hira gasy is in the construction of the kingdom
of the Merina by the powerful Andrianampoinimerina (1789-1810). In fact
at that time and until now, Mpihira gasy is one of the most important musical
performances and takes place in ceremonies during which the singers play
traditional dances and songs. |
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| It is also
called a theatre in the round because of its choreography and development:
it is a most interesting theatrical spectacle which can often still be
seen in the Highlands.
Indeed Andrianampoinimerina
needed to inform millions of workers employed in public works (roads, aqueducts,
etc) of the royal directives. So he sent out the best Mpikabary or orators,
singers and dancers who came from the various Highland villages. Each assembly
became the occasion for listening to the best compositions and the best
acrobatic dance displays until norms where established regulating the Mpihira
Gasy: Renihira, Zanakira, Sasitehaka. The spectacle takes place under the
direction of a professor of music and elocution.
The texts of
the Mpilalao(hira gasy actors)impertinent troubadours are heavily inspired
by Malagasy tradition of hain-teny. |
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Offshore
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| A veritable
poetic art, the hain-teny plays with words, metaphors and parables to express
the feelings of love or misfortune, demands and criticisms. The structure
of a hira gasy performance is very precise, constructed on the basis of
former royal kabary. It is generally made up of three parts of equal length,
corresponding to three themes chosen by the company. Each part invariably
begins with the entry to music of men. They warm up the audience before
the entry of women, following the introductory speech given by the main
orator, often the oldest actor. Then, the theme is taken up in various
songs and addresses more or less improvised. Then come the dances, individual,
in pairs or in groups, before the final scene, in which the youngest members
are invited to display acrobatic talents. Often, two companies oppose each
other within the same show, each performing its part in turn. The tension
mounts in the audience, grouped around the actors. Each company vies for
the audiences favour, whether it be applause or coins, in order to prove
its superiority. The atmosphere is feverish, during the last acts, after
several hours of performance.
The hira
gasy owes part of its success to the artists’ stage costumes: red coats
and large straw hats for the men, and long dresses for the women, but after
coming into contact with the court, the women strive to dress like courtiers. |
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| Radama
II, the liberal king, authorised this practice during his short reign
(1861-1863). Since then, no company would ever dream of changing a single
detail of their costumes! To this day, dozens of hira gasy companies (mpihira
gasy) abandon their villages and their fields to wander the high plains
during the dry season, when major family celebrations take place: exhumations,
circumcisions, etc. The most famous companies are even requested to go
to the distant coastal regions which are seduced by their art, which knows
no borders.
The Sasitehaka
or prelude lasts around 10 minutes during which drums clapping and little
calls accompany the entrance of the actors, musicians and dancers onto
the stage. The artists wear costumes that go back to the time of the royal
palace during the XIX century, a mixture of traditional Malagasy style
and that imported by the Europeans of tha period. |
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| The Kabary:
speech in which the Mpikabary pronounces the opening of the session by
raising his hat to announce the opening of the show, inviting the ladies
to take their places on the stage. Their entrance is accompanied by music
and by a kabary lasting fifteen minutes that introduces the subject matter.
The Renihira
or main song is the basis of Mpihira Gasy and develops the theme of the
show, the Indray Miditra: which ususally revolves around a main theme:
marriage, agriculture, commerce and so on. The artists, who are accompanied
by musicians, sing and interpret the theme through mime.
During the
Dihy or dance, the troop sits on the ground while the musicians play following
the dancers who could be one (dihy) or two (tsikandihy). The dance lasts
about fifteen minutes, and is followed by a kabary (final speech) or summary
of the end which comes back to the theme of the day and introduces the
end of hira gasy.
The Zanakira
is a show lasting fifteen minutes and is performed before the troop leaves
the stage. In order that the show is a success two troops face each other
and demonstrate their skills, and taking turns.
The first is
called the Vakisehatra in which each troop presents a well defined theme
in order to lead into the second scene which is the Adikira, identical
to the first but with a more aggressive theme in order to liven up the
proceedings. The third scene is the Vakodrazana with which the show comes
to an end. Information about these Hira Gasy shows, which are normally
performed in the capital on Saturday afternoons, are announced in the newspapers.
If you really
want to listen to the local music and admire the incredibly rhythmic and
spontaneous dancing of the Malagasy, similar to that of the Africans and
Asians, then you’ll need to visit the small, local night clubs which are
only frequented by the Malagasy. It is only in these places that you will
listen and dance to the real sound of Malagasy music. The most local
colour night club are the Zazaclub in Tulear, the Papagayo
and the
Vieux Port in Nosy Be, the Indra, the Bus,
the Glacier, and the Cahïba in Antananarivo.
The following
is a list of articles that Nia has written for the magazine:
To contact Nia
Click
Here
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