Hindewhu is a style of singing/whistle-playing of the BaBenzélé pygmies of the Central African Republic. The sound cannot exist entirely in water, since it requires the air-water boundary as a surface to be struck, so the sound is not hydraulophonic. The sound is produced by persons standing in water, and hitting the surface of the water with their hands, such as to trap air in the hands and produce a percussive effect that arises by sudden change in air pressure of the trapped air.
Liquindi is water drumming, typically practiced by Pygmy women and girls. The Gyele/Kola, Great Lakes Twa and Southern Twa have very different musical styles. Polyphonic music is only characteristic of the Mbenga and Mbuti. The Pygmies themselves do not learn or think of their music in this theoretical framework, but learn the music growing up. As in some Balinese gamelan music these patterns are based on a super-pattern which is never heard.
This creates a detailed surface and endless variations not only of the same period repeated but of various performances of the same piece of music. It is based on repetition of periods of equal length that each singer divides using different rhythmic figures specific to different repertoires and songs. Mbenga–Mbuti Pygmy music consists of up to four parts and can be described as an " ostinato with variations" similar to a passacaglia in that it is cyclical. The polyphonic singing of the Aka Pygmies was relisted on the Representative List of the Intangible Cultural Heritage of Humanity in 2008. Simha Arom says that the level of polyphonic complexity of Mbenga–Mbuti music was reached in Europe only in the 14th century. The Mbenga ( Aka/Benzele) and Baka peoples in the west and the Mbuti (Efé) in the east are particularly known for their dense contrapuntal communal improvisation.
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