A glossary of sega words and instruments

Names for musical practices

Sega tipik refers to traditional Mauritian sega. The nomination also records Sega Tradisionel and Sega Ravann. These terms connect a musical practice with its language and percussion, rather than naming a particular hotel show. Sega tambour needs an island context: the Rodrigues and Chagos practices have separate histories and heritage records.

Seggae names the Mauritian meeting of sega and reggae. Sagaï names Menwar’s own creative direction, documented in his catalogue. Similar spellings are not evidence that these terms mean the same thing. An artist can also work across several forms during a career.

Frame drum, rattle and metal

Ravann, often written ravanne in French-language material, is the circular frame drum familiar in Mauritian sega. Tambour is the drum name used in the Rodrigues and Chagos records. Identify the community and playing context as well as the object; the same broad construction can support different techniques.

Maravann or maravanne is the shaker whose enclosed filling moves as it is played. Triyang, triang or triangle names the struck metal instrument. The sharp ringing and rattling textures help distinguish these from the drum. These are instruments played by musicians with timing and control, not decorative accessories to a dance.

Terms in Rodrigues sega tambour

Bwat refers to the paired tins used as percussion; mayos are wooden clappers. Their sound comes from bringing the objects together. They should not be confused with a seed-filled maravann. Pak-pak is another term encountered for the mayos in practitioner testimony.

Mareshal identifies the leading singer in the Rodrigues nomination. The leader can shape a song spontaneously, cue the drum and be joined by other voices. Sizone is the call documented as a cue to begin the drum. Its role is part of a live exchange among participants, rather than the title of a universal sega rhythm.

People and the passing on of knowledge

Segatie, also encountered as ségatier in French, is used in the nomination for sega musicians and singers. A practitioner may have several roles, including making an instrument, singing, playing and teaching. An artist directory captures only part of those relationships.

Oral transmission means knowledge passes through listening, remembering, observing and participating. It does not mean that music has no structure or that anyone can claim authorship of a remembered song. An apprenticeship adds a direct relationship with an experienced practitioner; a recording preserves one example that can support learning.

The language of living heritage

Intangible cultural heritage concerns practices, knowledge and skills sustained by people. In this setting, the heritage includes more than an instrument kept in a display case. Safeguarding concerns the conditions that allow people to continue practising and passing on their knowledge.

The Representative List and the Urgent Safeguarding List serve different purposes. Chagos sega tambour appears on the latter. Neither list is a ranking of artists or a licence for a website to claim official endorsement. Refer to the precise record when explaining an inscription.

Common questions