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SYMBOLIC MEANINGS AND VALUES BEYOND MAKING LONGEST WIND MUSIC INSTRUMENT: INQUIRY ON DINKA- AN INDIGENOUS MUSIC INSTRUMENT OF DAWURO SOCIETY [Abstract ID: 0208-03]
This study was conducted on Dinka, the longest indigenous wind instruments of Dawuro society in Southern Nations, Nationalities, and Peoples' Region. Its objectives were to examine symbolic meanings, creativity and production of Dinka music instruments and how it is linked with socio-cultural and environmental domains and to discuss the dynamics which caused to devolve its artistic values from both practitioners individuals and social organization. Data was collected through fieldwork observations, interviews, and document analysis. In the meantime, music instruments, its rhythms, folk songs, and dances were digitally (video and photos) and textually documented. The term Dinka also refers to a traditional music band (kocha dinka) composed of four different sizes (ranges from 2.50-5m) of wind instruments (locally named as Lamiya, Hesiya, Oyitiya and Mara) and a drum/Darbiya. Wind instruments are made from a bamboo stalk topped with antelope and cattle horns and the neck of each one is tied with skin nick tie called chala, which has symbolic meaning. It produces a well patterned, rhythmic music sound that is grouped in seven playing styles locally named as Tata, Konashiya, Karchiya, Yeda, Gadiliya, Aeqa and Lomatsuwa. Distinctively, some of these playing styles are labeled to accompany the funeral ceremony and considered as the main entertainer in the rituals in Dawuro society. The burial ceremony was accompanied by music, dance, and chant. So, it was thought that to “mourn without Dinka is like eating food without salt.” Therefore, this paper tries to address questions like why was the Dinka made to be longer? Are there any social-cultural constructed meanings embedded in the instrument for representation purpose? Why was it performed at funeral procession? How much time is spent to train the instrument? The author is optimistic to bring Dinka instrument players and dancers to accompany the conference event, in which its indigenous creative value will be presented to it's larger stakeholders (researchers, musicians, students) and to sustain the linkage between local community in “periphery” and higher research institutions (specifically with the Mekelle University - Department of Music and the Museum).