The kidi is a membranophone and is also called the "blacksmith's drum" because the blacksmith is the only one who plays the kidi. The instrument is cylindrical and conical in shape and the sound box is carved from a light wood. Goat hide is the preferred material for the membrane because it is fairly supple. This is therefore unlike the nanjara and the kwelli, for which the thicker hide of the camel is preferred.
Eight holes are cut along the edge of each of the two membranes and strips of camel hide are threaded through in the form of an H, which means that the eight strips of camel hide run vertically up and down and they are strengthened by a horizontal strip around the instrument. Sometimes two diagonal bands are added. A small stick is often inserted in the holes; this makes it easier to tighten the membrane.
Before playing begins, a black paste, made from boiled goat's brains (or camel or gazelle) with grated soap added as a thickener, is rubbed into both membranes. A colourful decorated strap is attached to the drum. This strap is worn around the neck so that the drum rests against the player's body at the height of his stomach, held at a slight slant with the largest membrane at the top. The blacksmith stands as he plays, drumming with both hands, stepping slowly to the rhythm of the music. The kidi is often played in duets and sometimes one of the two blacksmiths sings instead of drumming. The kidi is played almost exclusively to one rhythm, the bereberedo.
The kidi, which originates from Faya-Largeau, was introduced at the end of the 19th century, shortly before the Europeans arrived in the massif. The popularity of the kidi has waned as an increasing number of blacksmiths no longer play the instrument. The "blacksmith and his drum" nevertheless remains an important element of society as they are a main feature in dancing and where knowledge is passed on, and they unite and influence the younger generation, thus bringing about a degree of cohesion in society.
See also: BRANDILY, M., Instruments de musique et musiciens instrumentistes chez les Teda du Tibesti, RMCA – Human Sciences, Annals Vol. 82, 1974
© KMMA/Monique BRANDILY