【非洲·科特迪瓦】塔格巴纳的横吹喇叭音乐及文化空间 Gbofe of Afounkaha, the music of the transverse trumps of the Tagbana community（2008年）

“Gbofe主要在Tagbana社区的Afounkaha村表演。Gbofe一词既用于横向角，也用于整个表演，包括音乐、歌曲和舞蹈。Gbofe角由牛皮覆盖的根部制成。其中六个角一起使用，长度从50厘米到70厘米不等s、 它们发出一系列“重现”塔格巴纳语单词的声音。这些词随后被“翻译”“由女性唱诗班伴奏。号角音乐和歌唱由鼓手伴奏，鼓手拍拍时间，赋予Gbofe其结构。Gbofe在仪式和传统仪式上演奏，传达的信息因情况而异：赞美、爱、讽刺、哀悼、道德或教育信息。Gbofe在通过向传统持有者表达尊重，并向社区传达认同感，nt发挥了重要作用。各种各样的Gbofe表演者都是学徒。虽然专业知识通常由父亲传给儿子，但年轻的人才也可以参加培训课程。

由于战争、农村人口外流和工业化，科特迪瓦各地区不再存在Gbofe的做法。虽然它在一些社区被重新引入，但今天它有消失的危险。年轻人越来越不了解这一传统。这导致掌握仪式知识和乐器制作技能的人数大幅减少，同时掌握舞蹈、歌曲和音乐的艺术和技巧的人数也出现了类似的下降。"

2008年度列入人类非物质文化遗产名录。

来源：联合国教科文组织亚太地区非物质文化遗产国际培训中心

The Gbofe is mainly performed in the village of Afounkaha in the Tagbana community. The term Gbofe is used both for the transverse horns and for the performance as a whole, which encompasses music, song and dance. The Gbofe horns are made of roots covered by cowhide. Six of these horns are used together, ranging in length from 50 to 70 centimetres. They emit a range of sounds “reproducing” the words of the Tagbana language. These words are then “translated“ by female choirs. The music of the horns and the singing are accompanied by drummers who beat time and give the Gbofe its structure. The Gbofe is played at rituals and traditional ceremonies, and the messages conveyed vary according to the circumstances: praise, love, satire, mourning, moral or educational messages. The Gbofe played an important role by conferring respect towards the holders of the tradition, and by conveying a sense of identity on the communities. The various Gbofe performers follow an apprenticeship. While the know-how is most often passed down from father to son, young talents can also join in the training sessions.

The practice of Gbofe has ceased to exist in various regions of Côte d’Ivoire due to war, rural exodus and industrialization. Although it has been reintroduced in some communities, it is today in danger of disappearing. The young are less and less aware of this tradition.This is leading to a considerable reduction in the number of people who possess the knowledge of the rituals and the skills to make the instruments, along with a similar decline in the number of those mastering the art and techniques of the dance, songs and music.

Included in the list of human intangible cultural heritage in 2008.

Source: UNESCO International Training Center for intangible cultural heritage in the Asia Pacific Region