Our Cultural Icons: Pa John Fonya

Title:
Our Cultural Icons: Pa John Fonya

Description:
Pa John Fonya of Njeh Fontem is one of the remaining traditional percussionists of the old school. In this interview he explores the role of the small wooden gong (called ndih in Bangwa)in the production of ntoeh music. He was interviewed by Nkezeah Kennedy Mbiaoh. Here is the transcript: Nkezeah: Pa, I would like you to introduce yourself and then tell us how you became a popular ndih player. Pa Fonya: My name is John Fonya, the son of Mbe Wednjeh. I am also known as Nkwetta Mbe Wednjeh. I was born in 1939. At that time our village had different types of traditional dances like ku'ngang, ntoeh, njong, asamba. I used to take part in these dances and thus learned how to play. It is in taking part in ntoeh that I learnt how to play ndih. And so through the years I became an expert. Nkezeah: Pa, was there anybody from whom you learned how to play or you just acquired the skills on your own? Pa Fonya: I used to hear about Mbe Atem Antangah. However, I developed my skills by myself. First of all I am a technician who grew up with inborn musical skills. I can hold my own even in abanda music. I am up to the task in almost any traditional dance. I did not learn much from others. I used mostly my personal initiative. Nkezeah: Have you trained any children who can take you place tomorrow? Pa Fonya: For now I have not trained anybody specifically. But I hope in the nearest future I will be able to have somebody. Nkezeah: During celebrations you often play for almost every aluachaba, nkang and ntoeh dance group. What is your pay for this service? Pa Fonya: Usually when people have a celebration they will send someone to come and invite me to help them play the ndih. I don't just go to celebrations uninvited. People know my skills. During the dry season I often receive tens of invitations. Nkezeah: In the case of traditional medicine, before the medicine man goes to someone's home he must first of all be paid and invitation fee. In your case, how much are you paid? Pa Fonya: There is a custom. We charge no fee. We go to the compound where the celebration is taking place on the eve for the mpih (vigil dance). Upon our arrival the organizers would rally all the players together and give them a 12 bottle crate of beer, ten liters of palm wine, a packet of cigarettes, the neck of a pig, some fufu and delicious soup. After eating, the players will start playing the mpih. As we play, the organizer will come round and give us money. He can give you ten francs as he can give you 100 francs. You cannot dictate how much they should give you. If you do that not everyone would be able to afford to invite players for an event. We depend on their honesty. The playing goes on until refreshment time. The organizers then offer food to all guests present at the mpih after which the playing resumes. Towards dawn the organizers bring food and drinks again for the guests. After that the mpih disperses. In the morning we take our bath and then the organizers give us breakfast. Later on we move to the arena and sit on the instruments. As we play people constantly come and give us money. Meanwhile some other celebrants who brought dance groups may invite us to their personal ajang (tent) and give us food and drink. Nkezeah: What is the average sum of money you can receive by the end of the day? Pa Fonya: In very big celebrations I can be given a much as 7000 francs. In big celebrations like the celebration of the death of Fontem I can have as much as 10,000 francs. Nkezeah: That is the total collection from what people throw into your ndih? Pa Fonya: Yes. Stirred by my playing people come forth to give me money. It may be 1000, 2000, 3000, 500, or even 50 francs. Nkezeah: I hear that in a dance every piece of percussion is played in a unique way; the player on the edge of the ntoeh (big wooden gung), the one playing at the center of the ntoeh, the nkwidim player -- each is saying something unique. What is your role on the ndih? Pa Fonya: The ndih player backs up the ntoeh, nkwidim, drums and the singers. In the nkwih dance it is the ndih player who helps to keep the timing. However, it is the man on the edge of the ntoeh (big wooden drum) who maintains the pace of the music. All the other players and singers depend on him for the pace and rhythm. The music dies if he slows down. Nkezeah: What is the language of ntoeh? Pa Fonya: It is akap (Bayang) language. Ntoeh was imported from akap country. Nkezeah: What about people who do not understand akap language? Pa Fonya: Those who do not understand the language just dance to rhythm of the music as they feel it stirring their senses.

Author:
Awung99er

Tags:
cultural, icons, lebialem, fontem, mbecha, nkezeah,