ABSTRACT
This project report is focused on a mixed media direct cement and metal sculpture titled “KAKAKI: THE AFRICAN VOICE”
This research is by the historical details and background of the kakaki trumpet, the relationship between the kakaki of Nigeria and that of other African countries.
The significance of the trumpet and its uses, detail, explanation is further given of the use of metal and direct cement as a medium employed in carrying out this project; the techniques and skills involved in achieving the desire realistic form.
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TABLE OF CONTENTS
Title Page…………………………………………….………………. i
Certification………………………………………………………… ii
Dedication………………………………………………………. ….. iii
Acknowledgement……………………………………………… …… iv
Abstract…………………………………………………………. …… v
Table of Content…………………………………………………….. vi
CHAPTER ONE: INTRODUCTION
1.1 Background of Study………………………….………… ……. 1
1.2 State of the Problem……………………………………………. 5
1.3 Significance of Study……………………………………….…. 5
1.4 Purpose of Study……………………………………………… 6
1.5 Research Question……………………………………………. 6
1.6 Scope of the Study…………………………………….……… 7
1.7 Limitation of Study……………………………….………….. 7
CHAPTER TWO
2.1 Review of Related Literature…………………………………. 8
2.2 Similarity between Kakaki (Trumpets)
And Other Musical Instruments………………………………. 11
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CHAPTER THREE 3.1 Methodology…………………………………….…… 15 3.2 Materials……………………………………………… 16 3.3 Tools Involved in the Project………………………… 18 CHAPTER FOUR 4.1 Stages of Production…………………………………… 20 CHAPTER FIVE 5.1 Observation/Analysis of the work…………………………… 28 5.2 Problems Encounter…………………………………………… 30 5.3 Recommendations…………………………………………… 31 5.4 Conclusion……………………….…………………………… 32 References………………………………………..……………. 33
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CHAPTER ONE
1.1. BACKGROUND OF THE STUDY
The kakaki is a two to three meter royal trumpet utilized in traditional African music, It is referred to as a “kakaki” in Nigeria, Niger, Chad, Burkina Faso, but called a “waza” in parts of Chad and Sudan, and a “malakat” in Ethiopia.
The kakaki is blown only by men in Hausa societies and it is generally reserved for specific occasions such as ceremonies at the Emirs palace.
It originally comes from Songhai cavalry around 15th century when the one-imposing empire founded by Askia Muhammad ruled over the Hausa state of Kano, Zazzau, Katsina, and Gobir.
The kakaki sound is associated with royalty and it is only played at events at the palace of the Emir or chief in Hausa societies. It is used as part of the sara, a weekly statement of power and authority, usually on Thursday evenings
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The kakaki alongside other side-blown ivory or horn instruments such as algaita, farai, and kakaki transmit verbal praise of chiefs and emirs. All these instrument fulfill this role in combination with drums.
During coronations and high-caste ceremonies the kakaki is blown as a talking trumpet at the palace to herald the arrival of some senior council members, district heads, Princes and to palace officials or serve for signaling the entry of the Emir and his retinue.
Ostensibly, this metal instrument which is a bequest from songhay to the people of Northern Nigeria over six centuries ago had found its abode in the ancient city of Zaria, the head-quarters of Zazzau Emirate.
The Kakaki quarters, an enclave within the ancient city, has been existing for over six hundred years, nearly as old as the city itself. It was originally the place of residence for sarkin kakaki (chief of the trumpeters) and other royal trumpeters and praise singers during the reign of Habe dynasty. But kakaki quarters witnessed a huge transformation after the settlement of Madakin Zazzau Albarka, son of Mahammadu Makauu and Malam Ibrahim Mai Borno, a kanuri man, who came from
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kukawa via Albarkawa. from the lineage of Malam Ibrahim Mai Borno, a Kanuri man who came from kukawa via kajuru.Shortly after
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