The term tumtum refers to all objects used as percussion instruments, including spoons, dishes, bottles, hammers and gourds. There are two ways of playing these instruments: either the object is beaten with bare hands or they are struck together. Dishes, bowls and gourds are beaten with the hands. They are turned upside down and placed on the ground, or they are held between the legs; this means that they are not completely closed off at the bottom and therefore produce a sound that is less dull. The tumtum is played mainly with the fingers held straight and usually with the fingertips. Since the player uses both hands, fast complicated rhythmical patterns are produced. As for the objects that are played by striking them together, all kinds of utensils are used, but sugar hammers, glass bottles and spoons are the most popular. This second way of playing produces a sharper sound. The rhythmical variations are more limited and so, simple repetitive patterns are played that are less fast (two beats per second at the most).
The term tumtum, which is in fact onomatopoeic, has three meanings: it refers to a group of instruments that are played but also to the occasion on which they are played, such as gatherings of prostitutes who sing and provide their own rhythmical accompaniment using all kinds of objects; and then it is also a common song played on the lute. The tumtum has no set repertoire; the singing simply determines the rhythms that are played.
The introduction of the tumtum, as an instrument and as a phenomenon, is thought to date back to after the arrival of the Europeans. According to the Teda themselves, the instrument comes from the South, from Faya-Largeau. It is popular mainly in prostitution circles, where people gather and sing in the afternoon from 5 p.m. until dusk. The women gather near the houses, shielded by reed screens and palm branches tied together. Visitors come and go, some simply to say hello, others stay longer. Sometimes the visitors join in with the music making. What is important on these occasions is the happy atmosphere, and this does not necessarily lead to the licentiousness with which the tumtum is usually implicated.
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