The Ancestral Possession. The Tromba Cult on the Island of Saint-Marie
Interdisciplinary Studies in Musicology May 18, 2026 DOI: 10.14746/ism.2025.25.3 via Semantic Scholar
Summary
AI-generated from the abstractThe article examines the tromba cult, a spirit possession ritual practiced in Madagascar, particularly on the island of Sainte-Marie (Nosy Boraha). Based on ethnographic fieldwork conducted in July 2024, it explores the cultural and religious context of ancestral possession, the structure and performance of tromba ceremonies, and the essential role of music in facilitating spirit possession. The study discusses the Malagasy belief system concerning ancestral spirits (razana), the historical origins of the tromba cult among the Sakalava people, and its contemporary manifestations. Special attention is given to musical elements, including traditional instruments such as the valiha, accordion, and kaiamba rattles, and their function in inducing and sustaining trance states through polyrhythmic structures and vocal invocations. The article also addresses the performative nature of tromba.
Study at a glance
| Characteristics | Ethnography Peer reviewed |
|---|---|
| Population | Tromba cult practitioners on Sainte-Marie, Madagascar |
| Keywords | History Sociology |
| Key finding | The tromba cult is a living spirit possession ritual in Madagascar where music, using instruments like the valiha and accordion, plays a central role in inducing and sustaining trance states. |
Abstract
The article examines the tromba cult – a spirit possession ritual practiced in Madagascar, with particular focus on the island of Sainte-Marie (Nosy Boraha). Drawing on ethnographic fieldwork conducted in July 2024, the study explores the cultural and religious context of ancestral possession, the structure and performance of tromba ceremonies, and the essential role of music in facilitating spirit possession. The research discusses the Malagasy belief system concerning ancestral spirits (razana), the historical origins of the tromba cult among the Sakalava people, and the ritual’s contemporary manifestations. Special attention is given to the musical elements of the ceremony, including the use of traditional instruments such as the valiha, accordion, and kaiamba rattles, and their function in inducing and sustaining trance states through polyrhythmic structures and vocal invocations. The article also addresses the performative nature of tromba.