The required readings are:
• Dixon Gottschild, Brenda. “Crossroads, Continuities, and Contradictions. The Afro-Euro-Caribbean Triangle.” Caribbean dance from abakuá to zouk : how movement shapes identity, ed., Susanna Sloat (Gainesville Fla.: University Press of Florida, 2002), 3-20
• Birenbaum Quintero, Michael. “The Poetics of Sound in the Black Southern Pacific World.” Rites, Rights and Rhythms: A Genealogy of Musical Meaning in Colombia’s Black Pacific. (Manuscript), 9-24, 32-40
Note that you only need to read pages 9-24 and 32-40 in my piece. Please post as comments your answers to the following question:
How do the musical forms described in the Birenbaum Quintero piece exemplify some of the aspects described in the Dixon Gottschild piece? Which ones? How can musical practice in general be understood as inculcating ethical behaviors?
Also, I will be lecturing on music in Colombia, If you have a special interest, you might want to check out the suggested reading, also linked on Blackboard:
Suggested:
• Gerard Béhague, et al. "Colombia." Grove Music Online. Oxford Music Online. 8 Feb. 2011
II. 1 The Atlantic Coastal Region
II. 2. The Pacific Coastal Region
III. Popular Music
And, tangentially,
II. 3. The Andean region
Charlotte Beach
ReplyDelete2/8/11
Many of the musical forms described in the Birenbaum Quintero piece are aspects that are also described in the Dixon Gottschild piece. Birenbaum Quintero describes how during a performance, cantadoras do not face an audience (11). This idea of multiple foci is also described in the Dixon Gottschild piece. The writer states that there is no separation between the audience and the performers. Instead, the performers can choose where they perform and the audience chooses where to focus their attention. This is very different from the European form of proscenium in which “it is very clear who is audience and who is performer” (9). Similarly, Birenbaum Quintero discusses how rhythmic density and improvisation play an enormous role in Latin American music. Dixon Gottschild makes a similar observation when discussing polyrhythm and improvisation. The writer notes the importance of improvisation when commenting that “No one Vodou ceremony is like another” (9). Gottschild’s “Aesthetic of the Cool” is also exemplified in Birenbaum Quintero’s piece. Birenbaum Quintero describes how a drummer will “jokingly show off by playing fast passages while simultaneously making gestures with the raised hand” (13). This is exactly what Gottschild means when he writes about combing “hot/engaged with cool/detached” (11). In these ways, the musical forms that Birenbaum Quintero describes certainly exemplify the aspects in the Gottschild piece.
Dixon Gottschild describes how music forms are very different from European styles. This demonstrates the different ethical behaviors held by these two groups of people. For example, European styles have a clear distinction between audience and performer while Latin American styles have multiple foci. Similarly, Europeans often believe that African music styles use such a high level of juxtaposition and contrast that it is distasteful. These difference in musical forms show the ethical differences in behavior between African and European cultures.
There are many similarities between the musical aspects described in Birenbaum Quintero's and Gottschild's articles. Most prominently, both articles describe the role of improvisation and "heat" in African derived Latin American music and dance. Birenbaum Quintero explains that "individual musicians diverge from their base patterns to execute fills...only understood to make sense within the larger context of a particulare moment in relation to what the others playing". He explains that improvisation, though giving the artist creative liberty, must fit in with the larger scale of the rhythm. The type of improvisation that Gottschild explains is fundamentally the same, though it incorporates subtle differences. She explains improvisation to be the performance of the same steps but in the individual performer's own style. Therefore, she explains that "no one Vodou ceremony is like another". "Heat" is another topic explained in both articles (contrasted with "cool" in Birenbaum Quintero's). Both authors explain that heat is the ultimate gift to the spirits. Characterized by the building of energy generated by boisterous musical atmosphere, "heat" is a welcomed outcome of music-making.
ReplyDeleteEdie Leghorn
ReplyDeleteDixon Gottschild’s piece outlines what he describes as “a constellation of African elements that are manifested in many forms of diasporan African dance” and culture. Among these are polyrhythm, high affect juxtaposition, ephebism, the aesthetic of the cool, marathoning, the presence of multiple foci, improvisation, communal trust, hybridization, and the idea of embracing opposites. Many of these elements are elaborated on in the Birenbaum Quintero piece and are indicative of the cultures that observe them.
Gottschild writes in his piece that “performances, festivals, holidays, celebrations, and rites, whether ritual or social, frequently involve dancing beyond natural capabilities” (8) – what he refers to as “marathoning.” We see this aspect of the culture exhibited in the Birenbaum Quintero piece, as the author discusses a celebration that included three days of dancing. Also, the concepts of polyrhythm and improvisation are considered in his discussion of marimba, as he describes the ways in which rhythms need to fit together (complement, not overpower one another) and improvisation likewise must fit with the rest of the music. Birenbaum Quintero describes this as a “constant tension between blending into the collective and differentiating a particular voice within it” (13); this illustrates the “principle of contradictions” (5) that Gottschild asserts dominates African tradition and musical form. We see such rivalry and conflict in Quintero’s description of the interactions that occur between performers, each one egging on the other musicians. Also demonstrated here is the concept of multiple foci, as the performers are all dependent on each other, and while one may have a predominant role, each performer makes up an essential component of the whole ensemble. Birenbaum Quintero also discusses the importance of ephebism, writing that a “saint is most pleased by a joyful arrullo” that can only be generated when the rituals mentioned above are undertaken with energy.
Dixon Gottschild also discusses the difference between what is aesthetically appealing in the African tradition and what is pleasing in the European musical tradition. A community’s forms of music and dance are very indicative of its values. In European tradition, there is a clear distinction between those on stage and those in the audience. In the African tradition, as Gottschild puts it “the circle reigns,” and the boundary between audience member and performer is obscured. This is telling of the ethics of the community, as we see that in African cultures religion and ritual involve everyone and are very much a communal affair.
The musical forms described in Quintero’s piece provide numerous examples of the aspects talked about in Gottchild’s piece. For example, marathoning is a technique Gottchild describes as performances, celebrations, and rituals that involve dancing beyond a person’s natural capabilities and “normal” physical limitation. This is because the performance takes time and they don’t measure this by “normal” time, but spirit time. An example of marathoning described by Quintero involves marimba dances that celebrate The Day of the Innocentes. During this celebration participants danced for the three days straight, and after some time dancer’s bodies were scattered on the floor after dropping from exhaustion.
ReplyDeleteImprovisation, an aspect that makes no dance or ritual quite like another is another characteristic seen in Caribbean dance performances and rituals. Improvisations are also observed in marimba songs. These songs have strong rhythmic improvisations. Musicians can abandon the regular basic pattern and include fills. What is played depends on the context of the song and environment, therefore no two fills or improvs are exactly the same.
Musical behaviors can inculcate or influence ethics, because of the strong continuity between music and ethics in the Caribbean. The characteristic one portrays in a music or dance performance might not be far off from what that person stands for in reality. In general Caribbean communities implant ethical characteristics in their community into their music, therefore a strong resemblance or influence of music and ethical behaviors is noticed.
Sarah Nelson
ReplyDelete2/9/11
Gottschild’s article serves to outline a broader concept that Birenbaum Quintero then highlights through specific case examples in dance and music. Gottschild talks about how the culture in Latin American and the Caribbean is a physical representation of how the citizens of this region view the world around them; a view that states that the universe is constantly in motion and highly dynamic. This movement lends itself well to the kind of contradictions we have already observed in class, whether they are contradictions in the personalities of spirits or in the polyrhythm we hear often in Latin American and Caribbean music. I think this article summarizes it perfectly when she says, “It is the principle of ‘and’ rather than ‘either/or’” (Gottschild).
Birenbaum Quintero makes Gottschild’s interpretations much more real by providing practical examples of this duality that is seen in Latin American and Caribbean culture. In the Marimba he notes that there is constant improvisation, but this improvisation stays within a larger structure. In this manner there is chaos within order, a contradiction in terms. It is as if the musicians are constantly testing their boundaries and challenging one another, but they still manage to keep a sense of organization. These sorts of contradictions are ever present in the music we study and illustrate the concept of which Gottschild is speaking.
Music can help us understand the ethical practices of Latin America and the Caribbean, because music is an expression of these people’s worldview. Birenbaum Quintero talks of some particular examples of how music demonstrates gender roles in the community and the importance of family. In the Marimba the males and females have specific duties that represent their social roles. Along with this, all music involves the entire community and is highly participatory, which exemplifies the importance of family and reciprocity in Latin American and Caribbean societies.
There are many similarities between the Birenbaum Quintero piece and the Dixon Gottschild piece. One of the main similarities is that the BQ piece talks about the role of the dancer as listening to the music and reacting accordingly. The combination of the music with the dancers, both of which are improvised, are supposed to be pleasing to the spirits and satisfy their desires. The DG piece also speaks about the role of the dancers and states that if “a dancer goes beyond the hot or the cool and performs in an ‘uncool’ way, there is the communal voice to remind her that she has traveled beyond the fringe.” In this way the significance of the dancers is exemplified. Both pieces also talk about the process of “heat” which is supposed to be a deepened form of dance and song that speaks to the spirits. The BQ piece states that “’heat’…refers to the natural life force of humans that differentiates the living human world from the chill of the divine” and the DG piece talks about “the cool” which can be characterized as “soul force, energy…fiber…spirit and flair” In this sense both pieces recognize the type of energy that results from the cultural dances which is significant to both the religions and the customs of the people performing the dances. Finally, musical practice in general can be understood as inculcating ethnic behaviors because these practices are driven by the religions of these people. All people have different ethnic backgrounds and traditions and by expressing themselves through song and dance the strongest sense of the ethnic groups connection and way of life can be understood. In this case, the ethnic people that practice the vodou religion can be understood as highly devoted people who believe in the power of energy. They themselves have admitted to having outer body experiences and feeling as though they were in a trance like state which proves their dedication and devotion to their religion truly does define their way of life.
ReplyDeleteColantuno says
ReplyDeleteGottschild introduces Crossroads, Continuities, and Contradictions with an explanation of the exchange rates between ‘Europeanist and Africanist (continental and diasporan African’) culture. More specifically, Gottschild emphasizes the visible and audible aspects of Africanist aesthetic standards that have been integrated into Caribbean performance and dance. A critical point made by Gottschild is that the constructs are discrete and are interdependent on one another.
Musical practice may be seen as inculcating ethical behaviors in many of the ceremonies explained in Gottschild’s piece. The use of polycentrism with the concurrent bodily movements; ephebism, “the phrasing of every note and step with consummate vitality” (Thompson 1974, 7); and the use of improvisation are popular aspects of modern music and dance. (These are just some of the many examples to which Gottschild refers.)
The word inculcation initially brought the idea of brainwashing to my mind, however, after looking up other definitions, I found the following as the best definition for explaining ‘inculcating ethical behaviors’: “to teach and impress by frequent repetitions or admonitions” (Merriam Webster).
The symbolic and spiritual elements of the musical practice are maintained through syncretism. The meshing of ‘African-based cultures of the Motherland with African cultures in the Diaspora’ have created a community that continue to respect traditional behaviors, to ‘embrace the conflict of opposites and oppression they have overcome, and to celebrate the rooted power of music and dance. Quintero references Nancy (2001), by reiterating that community is not inherent but is a continuation of renewal through social interaction, assimilation, and cultural behaviors and ideologies.
Quintero explains further that musical co-participation is a step towards consolidating community but it is the music itself that promotes harmony, trust, and unification through the “ethical deportments” engraved within the musical practice. (9) For example, the harmonization by women singers (Cantadores) at Marimba dances in collaboration with the instrumental musicians meshes the timbres of every sound together to make music. A musical form illustrated by Quintero (12) is created through “instruments interlocking in that such a way that no individual instrument has a basic pattern that exemplifies the entire rhythmic cell…thus each depends on the others for a more complete articulation of the basic rhythm.”
Ben Hill-Lam
ReplyDeleteThe musical forms form the Birenbaum Quintero piece exemplify a wide variety of the aspects described in the Dixon Gottschild piece, including marathoning, collective/communal trust, improvisation, multiple foci, polyrhythm, cultural fusion, and the aesthetic of cool. Most practices described in the Birenbaum Quintero piece embody many of these aspects at once, as it is hard to have any piece of music without some form of improvisation or polyrhythm; however, some pieces in the piece emphasize certain aspects over others. The first practice described in the Birenbaum Quintero piece, the marimba dance, clearly embodies both polyrhythm and marathoning aspects from the Gottschild piece. This dance is described in a firsthand account as taking place over three days, and prominently features a cadre of different drumming instruments, clearly invoking the principles of polyrhythm and marathoning. Shortly after this, the article mentions that drumming or playing at a chigualo ritual for the death of a child reaffirms that performer’s status as a family member. I believe, this embodies the aspect of the collective/communal trust, as the act of playing music here strengthens bonds between family and the community and reinforces the idea of community support. Another aspect that the marimba dance described in the Birenbaum Quintero piece displays is that of multiple foci. The marimba dance features multiple drummers, singers, dancers, each with their own flair and soloist tendencies, which all push and pull on each other, challenging the group to perform better. In this medley and crowd, no person can take in the whole scene at once; one must shift his attention between the different foci in the scene. Another distinctive element described in the Birenbaum Quintero piece, the cununeros, embody both improvisation and the aesthetic of cool. These performers not only develop their own style and rhythmic flair within their performance, but they often joke and taunt with the audience, trying to make their job look easy by pretending to comb their hair. Nothing could embody the aesthetic of cool more than a cununero performing a complicated drum solo while making it look as if he isn’t even trying. Finally, the Birenbaum Quintero piece describes the arullo ceremony, a prime example of cultural fusion, polyrhythm, and improvisation. The ceremony includes prayers to the saints, clearly invoking the Catholic tradition; but the object is to inject human vitality to the cold saints through increased intensity of playing generated through more and more complicated polyrhythms and improvisations on behalf of the performers. These dances and ceremonies all do well in displaying aspects mentioned in the Grottschild article.
Laura Connolly
ReplyDeleteImprovisation is a huge part of Vodou ceremonies. In large part, this may be due to the needs of the spirit upon which they are calling. What also drives improvisation is the constant pushing back and forth between the caller and the responders and the dancers and drummers. They are constantly pushing each other to do better and to push harder. The improvisation of the artist, however, must fit in with the established rhythms. Although dancers are executing the same moves, they all have their own embellishments that set them apart from the other dancers (Gottschild). Birenbaum Quintero also remarks on the importance of improvisation of which there is a “good deal […], by which individual musicians diverge from their base patterns to execute fills (12). While improvisation plays a huge role in music and dance, the overall structure of a piece or ritual to a spirit remains intact as it is from these patterns that improvisation is able to spring. Another similarity seen in both pieces is the idea of marathoning. In the Gottschild piece, events may last for hours or even days; the limitations are not the length of time but the amount of time the spirit takes to work. In the Birenbaum Quintero, a three day long celebration of song and dance is highlighted as an important event. Performances do not have a designated time because they are performed with heat and with feeling that dictates how long it must take. Both of these aspects found in Gottschild’s and Birenbaum Quintero’s pieces relate back to the sense of community that is exemplified by music and the rituals to the Vodou spirits. These rituals are entirely about the community and this camaraderie connects the human and spirit worlds through dance and music.
The Gottschild and the Birenbaum Quintero pieces have many similarities specifically involving the communication between the dancers, musicians and the audience as well as the concept of “heat.” The Gottschild piece describes how dancers can lead the audience where they want them to look. They improvise and can choose where they want to perform on stage and the audience chooses what they want tot pay attention to. Birenbaum Quintero describes the different roles of the people on stage for Miramba dances. The singers stand “in a bunch facing one another” while the dancers and percussionists are on a different part of the stage. Regardless of the separation, there is uniformity within the harmony and the audience is completely connected to the piece in that they have more than just one item to look at or listen to.
ReplyDeleteAnother connection between the two pieces lies with the idea of “heat” and improvisation. Birenbaum Quintero describes how improvisation between the drummers can cause them to change beats and intentionally slow it down or speed it up to cool off or heat up. This can be coupled with Gottschild description of improvisation in dance. While, the dancers are essentially performing the same steps, each dancer has their own individual style and it shines through. Through the spirits of the divine music somehow connects body, sound, and the human spirit through heat.
Music can inculcate ethical behavior especially in black music in Latin America because such a large part of what the different societies stand for is represented in their music. Political and religious points of view come out through music. Furthermore, the ways in which dancers and performers embrace their sound and movement give clues into how they feel about certain ideas.
Michael Hendrickson
ReplyDeleteThe musical forms described in Birenbaum Quintero’s piece display many of the characteristics of the music and dance of the Caribbean that Gottschild describes. Birenbaum Quintero describes the marimba dances, exemplifying the co-participation, which Gottschild touches on. The arrullo is also an example of many of the characteristics Gottschild describes. Firstly, the arrullo involves appealing to the saints as a connection to God, which clearly shows continuity between the human and spirit worlds. The arrullo also involves the “heating” of the saints, which connects the saints to the human world (as opposed to the cool spiritual world). Gottschild discusses this heat/cool aesthetic as well. Throughout the majority of the musics Birenbaum Quintero describes, there is also a considerable amount of rhythmic density and improvisation, which Gottschild focuses on.
Many of the musical practices Birenbaum Quintero can be understood as inculcating ethical behaviors. First of all, the aforementioned arrullo is a highly religious musical practice, which connects the humans to God through the Saints. Gender roles are also discussed in Birenbaum Quintero’s piece. Men typically play and make the drums (bombos, cununos, and especially the marimba) because these instruments are associated with hunting, combat and protection. Women do the majority of the singing (with the exception of the singing marimbero) because they are often seen as community leaders and the leaders of their “matrifocal households” (Birenbaum Quintero, 22).
Both pieces speak the relationship of the audience and the musicians, as well as improvisation. The Birenbaum Quintero piece speaks about how when the musicians are not improvising the music is “flat” and it can escalate up to a point where disorder occurs when the rhythmic density is high. The Dixon Gottschild piece speaks of how no dancer dances like the other. Both stress the importance of improvisation in the music. In both pieces the writers speak of how the relationship with the audience is very different from the European style, where singers are seen facing each other or there is no clear separation between audience and musician. These differences can be related to the societies these musics come from, where in European culture things are very hierarchical and thus there is a distinction between audience and performer, whereas is African culture is more based on the community. This can be seen in the musical performances reinforcing those values.
ReplyDeleteOscar Pena
The idea of the “cool” seems to be inversely related to the “heat” in Quintero’s piece. The idea of cool seemed to be similar to the idea in a Western setting. Heat, however, seems to be more of an African construct. It was interesting that too much heat could ruin the music. Both pieces mention improvisation as crucial elements to African music. It was interesting that the Gottschild piece mentioned that people are not metaphorically possessed, but actually believe they are. Quintero’s piece touched on how musical practice instills ethical behavior. It was interesting that Whitten calls marimba a “gender rivalry”. This makes sense after learning that only men drum, and only women sing. The Gottschild piece also explained how voodoo elements are intertwined with Catholicism—religion is an ethical practice.
ReplyDeleteThis comment has been removed by the author.
ReplyDeleteWilliam Ho
ReplyDeleteThere are a number of things that Dixon mentions that is exhibited by the Quintero piece such as the Rule of Cool, the two faced nature of the world(in its conflict and symbiosis), ephebism, improvisation, and the nature of family and community.
The way marimberos improvise, play fills, egg each other on and taunt each other exemplifies the aesthetic of being Cool. The harmonies and the power and authority asserted by the entonadoras is definitely exercising the Rule of Cool.
The duality of the world is characterized by the risk involved with the marimba. It is an instrument of power and beauty, yet it can easily summon up the devil or cause a houseful of people to destroy the house they're in. One must risk their own life in a hunt to create the drum that fulfills a great and amazing part of their life.
Not only do the marimberos and the entonadoras complement each other and work together they also taunt, admonish, and compete with each other.
This is all an intricate and energetic reflection of real life and the roles people play. Gender and sexual tensions are displayed, and the relationships between people and an individual and their community are reenacted musically. To express individuality in music and in the community or family is encouraged and admired but only permissible by that family and community and too much individuality can result in chaos and will quickly be rejected or abandoned. This relationship within families and communities are beautifully represented through music. Music is a holy and inviting process through which ethics are passed down.
The way the music is played and sung is a way for the young to learn not just the music itself but what the music represents. The music represents the exchange of goodwill, the strength of the individual supported by a community, the merits of being a woman and of being a man, the proximity of evil and chaos, and the day to day constant amalgamation and separation of rite, tradition, and good old fashioned fun.
Some musical practices that are described in the Birenbaum Quintero piece extend into the Dixon Gottschild reading. Quintero introduces a technique to use called marathoning in which participants dance without bounds. The goal is to push their bodies outside their normal capabilities. Each performance is not measured by standard time measurements but instead by what Birenbaum Quintero calls “spirit time”. Quintero gives an example of one such marathon in which after three straight days of dancing bodies were scattered across the celebration due to over-exertion.
ReplyDeleteMarathoning is a type of improvisation because there are no set rules or techniques that the event must be carried out by. In the reading Dixon explores the importance of polyrhythm and improvisation. He describes vodou celebrations, and notes that no one performance is identical to another. Dixon Gottschild also discusses multiple foci, which entails that there is no separation between the audience and the performers in the heat of the music. Thus, the performers are free to direct their music as they choose and the audience is free to direct their attention as they choose. This musical technique, which can be found in Latin America is much different that the standard norms represented in European practices.
Musical practice can be understood as inculcating ethical behaviors because of the strong association that lives on between the Caribbean people’s music and their culture. Music in Latin America has strong ties to the agenda’s of both those that produce and listen to the art. Political views, morals, and ethics are all aspect that can be understood through the lyrics, rhythms, and performances of Caribbean music. The bond that the Latin American people share with their music extends to all aspects of their lives.
The two pieces touch on the relationship of the performer and the audience member(s). Birenbaum Quintero mentions the call and response between the dancer and musician in marimba and this reflects how both authors believe that improvisation is important in preventing the performance from becoming flat. There are different uses of the marimba dance in addition to entertainment and this reflects how song and dance are inculcated into the culture of LA and the Carribean to a certain degree. Gottschild particulalary points out the comparisons of performer audience relationship between European and African styles - the former reveals that there is a distinct boundary while the latter maintains a more community oriented focus and audience/performer boundaries are not so prevalent. This highlights differences between the cultures and really indicates how the influences are spread beyond just music and dance. Birenbaum Quintero seconds this idea and additionally reinforces the heat/cool concept of the artist. The heat is kind of a physical quality in the music, tying it back to human tendencies, while the cool is more of an airy, mystical quality that remains in balance with the heat. The performer cannot wander off too far in either direction lest the performance be destroyed.
ReplyDeleteMackenzie Schleicher
ReplyDeleteBlack Musics in Latin America
Blog #3
The musical forms described in the Birenbaum Quintero piece exemplify many of the aspects described in the Dixon Gottschild piece. The Gottschild piece discusses the following aspects: embracing the conflict, polyrhythm, high affect juxtaposition, ephebism, aesthetic of the cool, marathoning, multiple foci, improvisation, and communal trust. In the Quintero piece, conflict (unsophisticated, uncoordinated, or ungraceful) is expressed when “an excess of energy, heat, or individuation from the collective can result in disorder that not only undermines musical coherence, but is also a deeply social disruption” (Quintero, 16). Another related topic discussed in the Quintero piece is ‘heat’, also termed as the aesthetic of the cool in the Gottschild piece. Heat is thought of as human and natural energy, and according to Gottschild, has been characterized as the soul energy with fiber, spirit and flair (Gottschild, p 7). Another musical form described in the Gottschild piece that was also discussed by Quintero is improvisation. When mentioning the marimbas, Quintero talks about how there is a good deal of rhythmic improvisation. This practice includes denser and more intense textures of music as the tempo quickens. Shorter and more “insistently repeated refrains by the chorus form the rhythmic counterpart to the flights of improvisation of the various musicians” (Quintero, p 12). The improvisation included in the musical work exemplifies a musician’s personal style and a projection of self (Quintero, p 12). Gottschild also discusses improvisation as the musicians and dancers performing in unique ways with their own special embellishments (Gottschild, p 9). Another important musical form expressed in both works is the aspect of communal trust. The community establishes continuity and respect for its cultural traditions even though there seems to be some conflict and incoherence in the music according to those who see linear structure as superior to other various forms. For example, “where the circle rules, there is an abundance of energy, vitality, flexibility, and potential,” all components which emulate the culture of the black Pacific (Gottschild, p 9). The musical practice in general can be understood as influencing affective relationships and similar expectations of reciprocity. For example, there is a mutual exchange that often occurs when someone in the audience is drawn into the action and becomes a performer, thus including everyone in the community in the performance. All of the characteristics described in the Gottschild piece and the Quintero piece serve as prominent examples of the unique ways in which music “models the ethical comportments that community requires and the place of the individual within the community, a modeling of collectivity through musical practice” (Quintero, p 11).
Brendan McDermott
ReplyDeleteI found both of these articles to be very interrelated as they discuss many of the same characteristics of Latin American music and dance. Gottschild outlines many elements of performances based on African heritage. He puts an emphasis on improvision. No two dancers are alike just as no two ceremonies are the same. Much of the performance is created on the fly in the heat of the moment. In Quintero’s article he discusses how improvision plays a major part in most of their music and often they improvise off of the other performers in the group. So while they are creating on the fly there are rhythms that guide them. Improvisation goes along with the focus of multiple foci where, unlike European stages, there is a circle and it’s harder to differentiate between the performers and the crowd. Quintero also references to this in how he talks about dances can include whole families or even small villages. When the lines are less pronounced between performer and audience more people jump in. Gottschild explains the ease at which moods swing in many songs and dance. He describes this as, “mood, movement, and attitude changes that happen abruptly.” I feel this is also hinted at in Quintero’s paper when he discusses then tensions between stability and improvisation where some music can be described as flat and other get so extreme that chaos will ensue and the “devil” will appear. Gottschild also describes the sometimes testy relationship between the spirits and humans. The idea that Quintero presents is that the saints can be equally as unpredictable in the local religions. The people are always trying to appease the saints and if you are unhappy with him or her you “remove the statue from the house”. Polyrhythms are also discussed in both pieces and in Gottschild’s the similar idea of “polycentrism” is presented where two parts of the body perform different rhythms.
I feel that one way Latin American ethics are presented in their music is in their emphasis on community. Even in the song and dance everyone is involved and there is no stage. In contrast Europeans emphasize individualism and I think that is reflected in having only a few performers. Quintero also discusses how gender roles are passed with the music. Bombos and marimbas for example are instruments only played by men as they are seen as instruments of combat and protection. Singing on the other hand is often reserved for women and these women are in charge of running the home and economic activities.
Both pieces show overlap/similarities in their discussions of improvisation being able to exemplify individuality on a collective level. Quintero's piece deals with improvisation on behalf of the singers and percussionists (who are often at times the same person). While the singer is improvising he has to do so by paying very close attention to the other musicians and singers, so that he/she knows where and how to fit their personal piece into the overall performance. Gottschild discusses improvisation in relation to Vodou dancers where not two dancers perform the same way, but there are particular steps, sounds, patterns and motifs that are standard. It is the dancers "special embellishments" on these standards moves that allow her to improvise as a part of the collective group. Gottschild also talks about "collective/communal trust" which serves as the check and balance system of improvisation during performance. She explains that these balances serve as support for the performer and as a monitor of regulations. Similarly Quintero discusses a specific example where in a duet two singers keep each other in check.The singers use improvised phrases on certain beats to challenge, comment or "adorn" each other's performance. Musical practice influences ethical behaviors through dedication to following the rules and standards. Within these performances singers and dancers know the rules and hold each other accountable for complying with them. In both Quintero and Gottschild the songs and performances are used to communicate with the spiritual realm. There are particular ways to conduct the self in order to achieve that communication. Thus, a code of ethics is in place through checks and balances that is evident in the uses of improvisation.
ReplyDeleteGottschild’s and Quintero’s works complement one another well regarding the ideas they discuss within black Latin American & Caribbean culture. While Gottschild often discusses such cultural concepts in a more general sense, Quintero provides us with concrete examples of them. Perhaps the most prevalent idea in both Gottschild’s and Quintero’s works is that of constant change. Gottschild outlines the important African-derived ideal that life, culture, and music are not static. Quintero depicts this concept through explaining musical improvisation, which is a significant component of black Latin American and Caribbean music that is present in forms such as marimba.
ReplyDeleteBranching off the idea of constant change, Gottschild also discusses ephebism, which is an African-derived concept of power, vitality, attack, drive, and flexibility (Gottschild, 7). Gottschild and Quintero both expand upon this idea by depicting “heat”, articulating that black Latin American and Caribbean music relies upon combining emotionally charged, exciting, and often contradictory concepts. For example, Quintero discusses the idea that a man and woman, when dancing, feel both forces of attraction and repulsion towards one another; such vitality largely stems from performers’ ability to personally influence and embellish the structural forms of their music. Quintero contrasts that vitality with the much more structured, less provocative European-derived musical forms. This contrast in structure between African and European musical forms indicates the differences in their ethical and cultural norms at large; in general, African culture seems to embrace this idea of paradox and discomfort, while European culture relies more on structure.
Quintero also describes the expression of gender roles within black Latin American and Caribbean music as a component of ethical behavior. He explains that musical rivalry often depicts tension between genders. This tension, as specifically found in music, hits upon the paradoxical idea of one trying to find his/her own voice within a rhythmically dense musical form. Furthermore, Quintero outlines that while certain instruments indicate manhood and are used almost exclusively by men, women have a crucial role in African-derived music forms as well, largely through singing.
What most of Gottschild’s and Quintero’s depictions stem from is the African ideal that life, culture, and music constantly change, and often do so in seemingly paradoxical ways. This ideal is present in the social and ethical norms of black Latin American and Caribbean people, and is expressed in a variety of ways through their musical forms.
Chelsea Young
ReplyDeleteIn both Birenbaum Quintero’s piece and Dixon Gottschild piece, improvisation is referenced. Birenbaum Quintero states that there is a good deal of rhythmic improvisation, by which individual musicians diverge from their base patterns to execute fills. He also claims that improvisation can only be understood in relation with what other musicians are playing. This relates into what Dixon Gottschild says about improvisation, because he claims that in Vodou, no dancer really dances like another, and no one Vodou ceremony is like another. This makes sense because a piece will most likely change when musicians play off of each other, like what Birenbaum Quintero was referring to. Thus, every ceremony will be different because improvisation is involved, and depending on the mood, a different chant, or dance step may be used.
Musical practices can be understood as inculcating ethical behaviors because as Africans came over to different countries, they wanted to keep their traditions and musical practices in the picture. In addition to keeping their African roots alive, Europeans also tried to force their beliefs on the Africans, deeming their beliefs ethical. Thus, now Vodou ceremonies begin with the recitation of the Catholic litanies, which shows how Europeans had an impact on the behavior of Africans and the way their music evolved.
Several musical forms described in the Dixon piece are exemplified in the Quintero piece. Dixon evaluates Haitian vodou, stating that the religion revolves around “embodied wisdom”, which is specifically the manifestation of spirits in “dancing bodies of the faithful” (Dixon 4). This description is similar to Quintero’s example of an arrullo ceremony, performed in Columbia. This ceremony focuses on reciprocity and a close relationship with a saint (Quintero 34-36). Haitian vodou emphasizes relationships with spirits, while arrullo ceremonies value relationships with saints. Both practices involve a give and take from divine beings.
ReplyDeleteMusical practice instills ethical behaviors by fostering communities. Each performer plays a distinct role in the music, similar to how they play a unique role in the community. While individuality is essential to the collective, musicians are also dependent on each other. An improvisational musician depends on the musicians around him to maintain a beat. Community members depend on their neighbors to comply with societal rules. Musical practice inculcates proper societal actions.
Hannah Wurgaft
Much of what Birenbaum Quintero talks about in his piece can be related to Gottschild's article. For example Gottschild talks about polycentrism or polyrhythm which he explains as, "the feet may maintain one rhythm while torso, legs, arms dance to the beat of different drums. This is very similar to when Birenbaum Quintero talks about the rhythmic interactions of different instruments stating, "their rhythmic interactions are structured by similar patters that mix the timbres of their various instruments." Although one is talking about one person moving different parts of their body and one is talking about different instruments, the idea is the same. taking one rhythm and putting different parts together to make a single piece. Both Birenbaum Quintero and Gottschild also talk about the importance of improvisation. Gottschild talks about being flexibility and being able to improvise and adapt to the music. she also talks about how no two Vodou dances are the same. She says the steps may be the same but that each dancer performs them in her own unique way. This relates to Birenbaum Quintero who talks about how musicians diverge from their base pattern to perform fills.
ReplyDeleteBoth the Gottschild and Birenbaum Quintero also mention how the dancing would last for extended periods of time. Birenbaum Quintero talks about how people would travel for days in order to reach a ceremony where they would dance for days before people "couldnt take anymore." And Gottschild talks about marathoning where festivities and rituals involved dancing hours even days. Dancing takes people away from their everyday lives and allows them to be free.
In Quintero’s essay, some of the musical aspects of Marimba can be closely paralleled to the Gotschild piece. One aspect I found particularly prevalent was the nature of improvisation and style. It Gotschild, those who are possessed make sudden, unpredictable movements as they dance to the music. In Quintero’s paper, there is a similar parallel in the drummers. Though they are not actual dancers, and they are not possessed, they dance in a similar manner. They make unpredictable movements using their hands and body as a way of interacting with the other side of the music (in this case the vocalists).
ReplyDeleteIn vodou, no dancer dances the same, though the steps may be similar, everyone has their own unique style. The same goes for drummers and vocalists in Quintero’s paper. Everyone has their own voice or playing style, and as different as they may be, are similar enough to come together in the music.
Aggie Kelly
ReplyDeleteThere are many musical forms and characteristics that Birenbaum Quintero describes in his piece that are also touched upon in the Dixon Gottschild excerpt. One of the most prominent aspects of music explained in both pieces is the concept of improvisation. As we have learned since day one of the class, improvisation plays an immense role in both African-derived music and the accompanying dance. Just like almost any type of musical performance, improvisation serves as a method spicing up a song, but must be done in the correct fashion. A drummer cannot just diverge into a completely different beat as he sees fit, just as a dancer may not go off and do her own thing while the rest of the group continues the dance. In Vodou practices, either one of these would be detrimental to the goal of the ceremony. Instead, there are certain guidelines that must be followed in order to keep the ceremony going. When a drummer improvises, he may do so in order to fill in an empty space and transition to the next pattern, but he must do so in a way that sounds acceptable and keeps the energy high. Playing a poor improvisation may result in a loss of “heat,” and overall a poorer performance. Also, since each improvisation is made up on the spot, every fill is unique. Maintaining a ceremony riddled with unique improvisations that fit with the beat keep the performance exciting, and overall leads to a more successful ceremony.
Dixon Gottschild saught to define particular characteristics of Caribbean dance as linked to certain africanisms. Dixon Gottschild used Haitian Vodou dance to exemplify her points, but they are not restricted to these performances because they are rooted in a deeper culture that was created/formed/blended by the african slaves that were brought over. Therefore, many of the Caribbean cultures have the same characteristics. For example, there is a great deal of improvisation in both percussion and vocal parts. Birenbaum also talks about the interlocking percussion parts and the relationship between the glosador and cantadora. these are both examples of polyrhythm.
ReplyDelete"There is a definite sense in which the roles of musicians and cantadoras model normative gender roles in black southern Pacific society" (Birenbaum 18). For example, certain types of drums are only played by men. The marimba is a symbol of combat.Women do not fight, therefore do not play the marimba.
Dominique Johnson
ReplyDeleteIn both, the Birenbaum Quintero and Dixon Gottschild piece there is a focus on performance placement and structure. In the Quintero reading, there is a mention of how the cantadoras do not face their audience (p.11), while in the Gottschild piece, there is a mention of ‘multiple foci’ and the idea that there is no separation between the audience and the performers. In response to the lack of separation, the performers can choose where to stage themselves for performance, allowing the audience to choose where to focus their attention. Gottschild relates this to the European styles of dance, when she mentions that in a European form of proscenium, ‘it is very clear who is the audience and who is the performer’ (p.9).
In addition, in both of the readings, there is an overlap of discussion about improvisation and the ability to highlight individuality, while still managing to be a part of the collective. In the Quintero piece, there is a focus on the improvisation of the singers and percussionists (while coincidentally enough, can be the same person). When improvising, the singer must do so, while managing to keep their attention on the other musicians and singers, in an effort to know exactly where and how to engage their personal solo into the overall performance. I am a part of the Middle Eastern Belly Dance Ensemble at Bowdoin and this section of the reading reminded me of our collective performances with Middle Eastern Ensemble and how us dancers, and the singers and percussionists must interact with one another, while managing to fit in our improvisation solos. In comparison, Gottschild discusses improvisation in relation to Vodou dancers, who do not perform the same as the next dancer, but in accordance with a standard set of steps, sounds, patterns, and motifs. As a dancer, his/her improvisation with personal embellishments allows he/she to maintain and individuality while continuing to be a part of the collective.
Furthermore, both readings speak about “keeping members in check’. Quintero discusses a specific example where two singers in a duet keep each other in check, using improvised phrases on certain beats in the music, to challenge or comment on each other’s performance. In the Gottschild reading, there is mention of “collective/communal trust’ which is a system of checks and balances within an improvisation section of a performance. These checks act as a support for the performer as well as a monitor of the rules. Within the performances singers, dancers, and percussionists, know the rules and hold one another responsible for adhering to the rules.
Finally, both of the readings speak about the use of performance as a method of communication with the spiritual realm, which calls for a particular conduct and self-policing to achieve the right connection and communication.
Dixon Gottschild explores the idea of the “Africanist aesthetic” as a “principle of contradictions and an encounter of opposites”, dealing “in paradox as a matter of course” (Dixon Gottschild 5). This tension shown through the inclusion of contradictions is present in Birenbaum Quintero’s discussion of the interaction between dancers, the way one responds to the other’s step forward by taking one step back (15). Dixon Gottschild also discusses the “continuities between body/mind/spirit” (8) and Birenbaum Quintero outlines the societal and musical celebrations that accompany many religious practices, such as the celebration of Jesus’ birth (33).
ReplyDeleteDixon Gottschild discusses the importance of improvisation (9), which Birenbaum Quintero also delves into in relation to the cununeros (12-13). Improvisation is a way of making yourself and other musicians better, by continually keeping all involved on their toes. However, both authors also discuss how the community keeps improvisation from going too far by relying on the collective to enforce the community’s accepted boundaries and uphold the accepted norms. As Dixon Gottschild writes, “The community thus establishes and maintains continuity and respect for its cultural traditions [by singling out an individual who has gone too far], even while affirming and celebrating the power of improvisation” (DG 10). This idea of collectivity is highly present in music throughout Latin America and the Caribbean. Birenbaum Quintero provides the example of the cantadoras singing in close physical proximity to establish close musical harmony at marimba dances as one illustration of the importance of the collective (11).
The emphasis on inherent contradictions; the coalescence of music, religion, and body; the focus on improvisation; and the reliance on the collective are all values inherent in the music of Colombia’s south Pacific coast and throughout Latin America and the Caribbean. However, music in itself is a crucial element in these societies, as it “works to consolidate the networks that constitute a community” (BQ 11). Thus, these values emphasized in music can be extrapolated to showcase the community’s ethical standards.
Elizabeth Humphrey
ReplyDeleteBlack Musics in Latin America
Professor Birenbaum Quintero
In the sections by Birenbaum Quintero and Gottschild, there was discussion about the methods in which religion is practiced in Afro-Latin American communities. Gottschild stated that the Vodou deities “are identified with particular Catholic saints. Yet, they keep their Africanist characteristics” (Gottschild, 10). The deities and their relation to Catholicism can also be further explained in Birenbaum Quintero’s piece when he talks about intermediaries, which in this case would be the Vodou deities.
The principle of “and”, which was mention in the Gottschild piece, can also be expanded with the help of Birenbaum Quintero’s piece. The principle of “and” represents all that goes into the human experience; people have both good and bad elements (Gottschild, 6). This can be applied to Birenbaum Quintero’s piece when he talks about how the “double nature” of spirits and how they because they were human in a past life, they are complex as well (Birenbaum Quintero, 36).
Heat and multiple foci were discussed in the pieces as well. Heat, as described by Birenbaum Quintero, was able to appease the saints in order to “bring [the saint] closer to the world of human affairs” (Birenbaum Quintero, 37). A similarity to heat could possibly be the energy produced in a performance circle, which was discussed briefly in the Gottschild piece.
You can see how the musical practice in general could be understood as inculcating ethical behaviors using the reading by Gottschild. For example, when people are dancing in an “uncool” manner to the music, the community has the right to inform the dancer that they have crossed the line (Gottschild, 10). Also, looking at Birenbaum Quintero’s piece, music, the playing of drums especially, helps to generate heat for the saints. However, the ethics of the religion come into play: prayers need to be alternated with jugas in order to keep the heat balanced and the saint in attendance (Birenbaum Quintero, 39).
Rodolfo Edeza
ReplyDeleteBoth the Quintero and Gottschild piece show similarities in improvisation, communal trust, rhythm and conflict. Quintero discusses the importance of improvisation in Marimba dance. There is a good deal of rhythmic improvisation followed by fills, adornments, and extended improvisation. The more intense, the tempo quickens, the higher the levels of improvisation. The improvisation included in different musical works exemplifies unique ways with own special embellishments according to Gottschild. Gottschild discusses improvisation at the individual and collective level. Improvisation builds on the communal trust that is present in different musical forms. The community is responsible for establishing and maintaining respect for cultural traditions. The circle creates an abundance of energy, vitality, flexibility and potential all present in marimba. Marimba, Vodou, and Arullo all have an “an interchange of energy.” This interchange of energy is closely related to what Gottschild describes as the continuity between body/mind/spirit. In marimba when too much energy is produced the devil can appear when the Arullo overheats. If the jugas are not alternated with prayers the saint is offended and leaves. Vodou practitioners are liable to truly embody the deities and experience a divine feeling like an Arullo as Quintero describes in his piece. The Quintero piece is rich with examples of characteristics like communication/continuity between human and spirit worlds, improvisation, aesthetics, and collective/communal trusts discussed by Gottschild. Musical practice can include ethical behavior through communication and actions with the people who are part of a dance/ritual. Ethical behavior is under constant change in Latin America and the Caribbean and is expressed in a variety of ways through music.
Birenbaum Quintero describes many similar aspects of musical form that Dixon Gottschild describes in her piece. They both discuss the role that improvisation plays, Gottschild expressing improvisation as the way that individuals are able to express themselves in that no two dances are ever quite the same because they all have “special embellishments” (9). Quintero also discusses improvisation as showing “a musician’s personal style and…public projection of self” (12). Improvisation is important not only because it shows individuality, as both authors expressed, but also because it allows musicians to incorporate their individual cultures into their music and dance. In addition, each author talks about the role that contradiction/tension plays in music and how it serves to incorporate different cultural or ethnic into one; the tension that exists in the end result is a product of this blending between cultures.
ReplyDeleteThe most common theme between the pieces and amongst all musical practices is the blending of sound and fusion of cultures. Gottschild explains syncretism and how African-based cultures can come together with opposite cultures in music and still maintain their “African characteristics” (10). Quintero talks about the literal blending that occurs during the harmonies of the songs performed at marimba dances (11). He also explains how even when musicians express their personal style in songs, usually through improvisation, there is a “rhythmic and harmonic base to which all of [them]…eventually return” (15). Through their discussion of improvisation and blending, Gottschild and Quintero illustrate two of the most prominent ways that ethical behavior is expressed in musical forms.
Rebecca Centanni
ReplyDeleteMany of the aspects described in the Dixon Gottschild piece are evident in the musical examples provided in the Birenbaum Quintero reading. The idea of multiple foci can be seen in the Birenbaum Quintero description of cantadoras. Dixon Gottschild claims that Caribbean musical performers do not face their audience as they would in a European style performance- instead they are spread out or in a circle, causing the audience their attention from one performer to another. In his reading, Birenbaum Quintero notes that cantadoras never face their audience- instead they stand in a bunch, as to better harmonize their voices.
Oftentimes, performers will stand in a circular formation, making it possible for a bystander to be pulled into the circle and become a participant. This is consistent collective participation and community trust, as described by Dixon Gottschild. This community participation is exemplified in detail in the Birenbaum Quintero reading, as it recounts many different practices (marimbas and arrullos) in which village members travel large distances to be present at the host’s home and to take part in the ceremony.
Another Dixon Gottschild aspect that I found to be very important in the Birenbaum Quintero reading was the idea of high-affect juxtaposition, which also relates to the “aesthetic of cool”. Dixon Gottschild explains that these musical forms are very dependent on a sense of balance between opposites. While to many the music and dance seem discordant, unharmonious, and ungraceful, they really do possess a balance of opposite features. In the marimba, there are many instruments that do not coincide perfectly, but the musicians take special care to make sure that harmony is achieved. One consequence of inharmonious music is a visit by the devil. Additionally, marimba embodies this juxtaposition between order and chaos through its extensive use of improvisation. While the male glosador and female cantadora challenge each other to sing, they make constantly remember the true meaning of the piece. Each bit of improvisation makes sense in the context of the overall piece both in meaning and in time placement. When the arrullo becomes too secular due to extensive heat (vigor in participation), the saints become angered and leave. Thus, balance in opposing elements is key.
These musical forms also indicate much about ethics. On the one hand, they indicate the role of the individual in the community. Each participant must balance their distinct voice with their role in the overall performing group, just as an individual needs to know his place in the community. Additionally, the marimba has much gendered separation between male and female. Men typically play the instruments, as they go into the woods to find the materials to make them. These instruments are seen as a means of fighting wild nature- a man’s duty. On the other hand, women sing the lyrics, as the singing is a form of passing down knowledge to others.
Although Gottschild's chapter describes certain Africanism as they apply directly to dance, there are many correlations between Gottschild's piece and Birembaum Quintero's chapter. For example, Gotsschild writes about polyrhythm in dance, where the arms may not necessarily be moving to the beat of the legs and feet. Biermbaum Quintero describes the same as it applies to Columbian marimba music. Often times, the marimba will be playing one beat but the singer will be singing in another beat, an example of polyrhythm. In addition, Birembaum Quintero mentions how "there is also a good deal of rhythmic improvisation, by which individual musicians
ReplyDeletediverge from their base patterns to execute fills. This improvisation is only understood to
make sense within the larger context of a particular moment and in relation to what the
others playing, and moreover, must fit with the formal organization of the song being
played." Gottschild describes the same occurrence of improvisation in dance, where the dancer is expected to express herself freely and wildly within the rhythm and feel of the music, but must also stay within the "fringe." If the dancer becomes too wild, then the community or the "circle" warns her, and she is expected to control herself. Both works also describe the embodiment of deities or saints, and how there is a relationship between the human world and the divine world through the use of these mediators. These European religious influences are examples of syncretism. Gottschild writes that at the beginning of Vodou rituals Catholic litanies are often recited. Birembaum Quintero describes a Columbian ceremony called arrullo in which the birth of Christ is praised.
Musical practice inculcates ethical behaviors primarily through the forms of sexual roles in Birembaum Quintero's chapter. He describes how the role of playing the marimba is specific to men because of the instrument's association with the devil. "The link between the musical instruments and
the conditioning of manhood is that some of the instruments are understood as
instruments of combat or protection against the dangers of wild nature, which is seen as
the role f men; it is only men, we should remember, that enter the dangerous space of the
forest to hunt or the open ocean to fish," he writes. Women, on the other hand, are "valued as the keepers and transmitters of knowledge such as the lyrics of funeral songs (alabados), religious hymns (salves), and archaic ballads
(romances)." Thus, through musical practices, the ethical position of men and women are essentially caused by the nature of their roles in certain musical rituals, festivities, performances, etc. In a grander sense,ethical behavior is more a manifestation on cultural perspectives on life as embodied by musical performances. Gottschild writes about this in her chapter when referring to the embracing of the conflict. She describes that more important than the duality of human nature, the duality of the human and spiritual world, and the duality of ethical behavior is the process by which man identifies himself as a being of duality. She writes, "The conflict is not regarded as 'good' or 'bad', 'right' or 'wrong'; it simply is what it is: the process"
Vanessa Rendon
ReplyDeleteBlack Musics in Latin America
2/10/11
Various African aesthetic concepts described in Dixon Gottschild’s Crossroads, Continuities, and Contradictions are represented in Birenbaum Quintero’s piece on musical forms in the black southern pacific world. Introducing marimba as a model for collective participation, Quintero explains that marimba brings the entire community together where some members become “las cantadoras,” some display their musical talent with instruments, and the onlookers bring motivation and energy to the event. By combining their harmonized voices into one, “las cantadoras” consolidate the ties of the community and convey that they depend on one another to produce a rhythmic pattern where a singer cannot distinguish who sings a particular note. Moreover, the interlocking of all instruments means that not a single instrument can produce the entire rhythmic cell, evoking a mutual dependence that only exists in a tightly-knit community. Along with collective participation, marimba also exhibits a great deal of improvisation, a musical aspect that distinguishes a dancer or musician from one another and gives an individual the opportunity to express his or her character and musical personality. Although collective participation and improvisation are integral parts of African musical forms, they are opposites that create tension between merging into the rhythmic pattern and projecting one’s own musical abilities, such as voice.
Gottschild’s mention of “The Aesthetic of the Cool” juxtaposes Quintero’s notion of “heat.” Because “The Cool” is composed of “vitality with composure,” musical forms such as marimba are energized in a controlled manner. If there is an excess of energy, the heat will burn the safe and controlled atmosphere and create chaos that results in musical incoherence and the removal of “The Cool.”
Jugas, songs dedicated to saints, the Virgin Mary, and God exemplify the communication humans have with the spiritual world, a theme described in Gottschild’s piece. This musical form of worship allows members of the community to approach the divine since they see God as a remote being in the universe. This musical religious practice also establishes a set of morals within the community and fosters respect for cultural traditions.
There are many similarities between the musical forms described in Birenbaum Quintero piece and that of Dixon Gottschild piece. Both authors touch base on the communication between the human and the spirit worlds. In the Quintero piece the idea that the spirit world or the divine realm is remote from that of the human world is emphasized. Because the two worlds are detached from each other, the saints serve as mediators between God and humans. This mediation takes place in the form of social and spiritual dance. According to Gottschild, during spiritual performances the performers “truly embody the deities” (8). Gottschild argues that even during social performances, spiritual experience may take place, meaning that performers may feel the spirit. The only difference between a social and spiritual dance is what he calls Nommo, which is the power of the word. Although the body movements and the dancing style may be the same in the social and spiritual dances, the power of the chants signifies whether it is a social or a spiritual experience. The distinction between social and spiritual dances is also made in Quintero’s piece as he discusses the idea of heat. Quintero refers to heat, as energy created mainly by the playing of music but can also be generated by the consumption of alcohol. The more music plays intensely, the more heat is created and the happier the saints become. However, the saints become offended once the music loses its Nommo, because the performers are no longer playing and dancing religious songs indicating that the performance has shifted toward social or secular dance. Therefore, the power of words are lost and the “space becomes too human, and the saint, disgusted and offended, leaves” (38). However, the saints remain joyful once the balance between heat and Nommo are maintained.
ReplyDeleteI would say the biggest connecting concept between the articles centers around the idea of musical social networks, as well as the significant interactions between drummers and dancers, and improvisers and those maintaining the pulse (in other words, groups of people that do completely opposite things). Both Birenbaum Quintero and Gottschild touch on this particular idea of “cross-rhythms” or “musical crossroads” (Birenbaum Quintero, 14; Gottschild, 5). Both of these terms simply refer to the encounter of musical opposites that, instead of causing discord, are greatly embraced by both performers and onlookers. Gottschild describes it as a “coincidence of opposites” (5). Drawing from this idea of different groups coming together, comparable to the materialization of a social network, the different components/contributions of each group (singers, performers, dancers, and even onlookers*) are assembled to produce one sound. All of the aspects of the music then depend on the others for complete fusion of all the different rhythms. Another key similarity between the articles was the notion of “heat” and how it correlates to the overall energy of the ceremony or ritual. When the performance takes on the inherent shape of a circle, Gottschild explains, there is an “abundance of energy, vitality, flexibility, and potential” (9). Birenbaum Quintero refers to the same “excess of energy, heat, [and] individuation” in his description of the varied levels of energy desired when celebrating particular saints (16).
ReplyDeleteBirenbaum Quintero clearly states that musical practice “models” common ethical behaviors, or “comportments that [a] community requires” (11). This directly relates to the musical modeling of gender in the marimba dance in gender rivalries between men and women. Music is as much a part of these communities as any other social construct. The very importance of blending singing and dancing into one harmonized performance isn’t just important to the performers—it matters to the entire community. A perfect example of this is the singing, dancing, and drum playing in marimba dances and the overall demand of all rhythmic interactions to “match” so that as Birenbaum Quintero states “each depends on the others” (11, 12).
* Gottschild directly refers to the (potential) contribution that all onlookers can have during such performances: “…there is always the possibility that the person who is an onlooker may be drawn into the action and become a performer” (9).
The Birenbaum Quintero article shares many similarities with the Dixon Gottschild excerpt. They both outline and describe the musical and coordination aspects of certain Afro-Caribbean religious ceremonies in Latin America, with the Birenbaum piece focused on the pacific coast of Colombia. From the Gottschild piece, music related concepts such as “high-affect juxtaposition”, “ephebism”, “cool”,” multiple foci”, “improvisation”, and “communal trust” are all found in the Birenbaum article.
ReplyDeleteDuring the December festivals, described in Birenbaum, high affect juxtaposition and ephebism are displayed by the variety of costumes that might be considered “bad taste” for a religious procession. Communal trust is exemplified by the marimba house where people gather to sing and dance and also by the women who are the only ones who know old songs and direct the audience during these rituals. The women also have the ability, and often do, improvise new lyrics or entirely new songs for future rituals. Dancers in these rituals also have their own bit of improvisation although there is a template for most of the dances. The rituals revolve around song and dance, and the audience is intimately connected with the singers and dancers. Since anyone could spontaneously join in on the dance there are multiple foci for the audience to pay attention to. The most interesting topic found within both articles is the topic of “hot” and “cool”. Gottschild describes “cool” as the combination of attitude, vitality, and composure. Birenbaum has a different and more interesting spin on it. He describes as not only an energy source but also a vital component to any ritual involving song and dance. Hot and cold are also associated with humanity and divinity. In rituals pertaining to certain saints, people use song and dance to generate heat that will please the saint because he is cold due to his divinity and lack of humanity. However, if there is too much heat, the saint may become displeased and will leave the ceremony, or even worse, the devil may show up and crash the party.
In her chapter “Crossroads, Continuities, and Contradictions” Gottschild seeks to discuss a number of cultural elements or principles that act as the foundation for African cultural retention and expression in Caribbean dance performance. She looks specifically at Haitian Vodou to aid her in the explanation of these principles. In looking at her work in relation to Quintero’s piece it becomes evident that many of the phenomena she is describing can be seen directly in his account of Columbian dance performance. One such parallel can be seen in the element of improvisation incorporated into both forms of dance. Although the individual acts as part of the whole community specific “articulation(s)” differentiate him or her from the group. So whether a dancer is improvising in a ostentatious, bold way or improvising subtly through simple individualistic body movements and sounds, improvising gives these dances their life. Additional parallel can be seen in the emphasis on the importance of communication between the worlds of the divine and the human world and in the practice of “marathoning”, the extending of these celebrations to lengths beyond what the human body can normally endure. Lastly the idea of “heat” has presence in both articles. While the articles do not use exactly the same language, both pieces bring up the creation of a spiritual energy through these celebrations, an energy that acts as spiritual fuel. So while discussing two different regions and two different styles of dance there is a set of principles that remain constant and act as a base or foundation for varying traditional dance forms.
ReplyDeleteStephen Sullivan
ReplyDeleteMusic in the black southern pacific world, as described by Birenbaum Quintero, exemplifies themes of polyrhythm, improvisation, and music practices as means to instill ethical behaviors. Quintero example that best demonstrates the first two concepts manifests in his analysis of the relationship between the glosador and the cantadora. These both play off of each other’s rhythms and sound as they work to either compliment or challenge each other in their performance. Performers through their “cross-rhythms and implied patterns” “trace ornamented variations and new possibilities for the melody in interaction with one another, they are all nonetheless bound by a kind of centripetal pull toward the basic pattern so that it does not become incoherent.”
This idea of being pulled towards a basic pattern hints how ethical behaviors can be instilled through music. Music allows these communities to come together, inculcate order, tradition, and a general sense of togetherness. Quintero shows in his depiction of juga music that they related “to the function of gossip as social control and moral normativity,18 although they may be coded through metaphor.” He also adds that woman leadership is “reflected in their musical protagonism.”
There are definite similarities between aspects described in both Birenbaum Quintero's piece and Gottschild's essays on various Latin American and Caribbean music. The main components that both author's share is that of improvisation, communication with spirit world and human world, and the heat that is given off and used by various dances. Birenbaum explains that, "musical activity quite literally brings the devil, warms the saints, and dispels the dead soul". Gottschild also talks about the communication between humans and spirits through dance, but he explores more extensively the heat that is used to communicate with the gods. Various combinations of lyrics, instruments, and dancing are used in LA and the Caribbean as ways to please and communicate with god. They do this by using the spirits as mediators. Birenbaum explains that the devil also comes into play during certain Columbian rituals. These people dance both to appease the spirits and "dance" or tame the devil. Birenbaum explains that the heat and energy exuding from various dancers can be used to both play favor to the spirits and devil. Gottschild also talks about this energy, but he eludes to this dance as a dance of youthfulness, in a sense that even older dancers need to bring youthful energy to this dance.
ReplyDeleteBirenbaum talks about the various instruments, dance styles, and vocals that are used during ceremonies in Columbia. He talks about women's predominant role in Columbian culture. How they are the main leaders of many of the ceremonies and they are the ones who are conducting them. Gottschild talks further about the Africanist aspect that is still alive in the spirit of LA and Caribbean music. We talked about this Africanism to a large extent last class, but Gottschild explains that it can be seen in the dancing done in LA and the Caribbean.
The Dixon Gottschild piece begins by describing the African aesthetic concepts which have become commonplace in Caribbean performance. A significant part of the African aesthetic is the value of process. The dances and music exemplified in the Caribbean are a reflection of the lifestyle and religion each culture embodies.
ReplyDeleteIn Birenbaum’s piece, improvisation is noted as a technique in which the dancers create energy (ashé) for the song. Improvisation and individuation represents an important facet to Caribbean performance. When Dixon states, “Deren claims to have never been to any two ceremonies that were alike, in spite of having attended some hundreds over a period of years”, he portrays the uniqueness and energy each performance commands. The energy is important, because performers believe a flat performance may anger the lwá or devil. Birenbaum also points out that a flat musical piece not only “undermines musical coherence, but is also a deeply social disruption”.
Juxtaposition is another topic breached by both authors. In Birenbaum’s piece he describes the tension between genders and the energy this provides for the song. The “sexualized performance” (Dixon) should not be judged as rude or in poor taste, but instead as a natural part of human experience, Dixon argues.
There are many elements discussed in the Dixon Gottschild piece that are also highlighted in the Birenbaum Quintero piece. Dixon Gottschild’s major themes are the “application of African aesthetic concepts to Caribbean performance,” underscoring the unique interdependent relationship these concepts share. In order to clearly illustrate the objectives of the piece, Dixon Gottschild uses Haitian Vodou as an example of a Caribbean dance style that embodies the mutually-supporting nature of the elements of the dance. Vodou, like other Caribbean danced religions, involves “embracing the conflict.” This occurs when the deity embodies the living person, often involving a struggle. The music when this takes place also matches this notion of conflict and contradiction, thereby seeming a little off to someone who does not see that it fits the theme. Just as polyrhythmic music is essential to most Caribbean music, polyrhythmic dancing is also essential. The changes in mood allow for this to be seen easily. “Marathoning,” or celebrating both ritually and socially for longer than one is normally able to is another aspect that Gottschild discusses. Furthermore, there is never usually just one performance occurring; instead there are multiple foci. Improvisation plays a huge role in Vodou and other Caribbean danced religions. The dances are never the same, and the dancers and the music improvise together, thereby never creating the exact same ceremony ever. In order for these ceremonies to take place and be successful, there needs to be mutual communal trust shared by all participating.
ReplyDeleteIn both the Dixon Gottschild piece and the Birenbaum Quintero piece, the importance of the participation of the community, or the “extended family,” in allowing for the ritual or secular dance ceremonies to transpire is duly noted. Dixon Gottschild notes this importance in Vodou, while Birenbaum Quintero notes the importance in marimba dance. Birenbaum Quintero also discusses the role of improvisation in marimba and how all of the musicians need to work together for this to occur successfully and for a blending to transpire. In marimba dances, tension and conflict are also present as they are in Vodou, which help to create atmosphere. In addition, both dance ceremonies rely on spiritual energy and “heating” the saint to remove the chill of the divine.
Music practice in general can be understood as inculcating ethical behaviors. The entire community must all participate and trust one another in order to perform the musical practices successfully as well as allow the ceremonies to go as well as they can. The roles of men and women and the way they are perceived in the community can also be exemplified through musical practice. For example, men and women play different roles in marimba. Men make the instruments and play them, while singing is almost restricted entirely for women.
Sloat introduces the idea of ephebism, which is derived from a Greek word meaning youth. Ephebism is an embodiment of “consummate vitality.” The competition that Birenbaum Quintero discusses within and between the musical and dance forms, a dare to play better or faster, represents a certain ephebism. Their partners in music and dance challenge one another to push forward and further with their skills—imbuing their performance with new and renewed vitality and youth.
ReplyDeleteContrasts can also be found both between and within these pieces. Dancers seem to experience a disconnect between their body parts; their faces exhibit stoic expressions, their torsos do not movie, while their hips gyrate rapidly, and their legs step frenetically, as described by Sloat. Birenbaum Quintero discusses cantadoras who move close to one another to experience the blending of their voices, appearing as one, inseparable unit. The visuals of these two displays are quite different. One is a seemingly chaotic, disjointed display, whereas the other is a unified, measured demonstration. At the same time, however, a contrast appears between the music of the drummers and the rhythm of the dancers; they do not necessarily coincide. There exists a tension of individualizing and unifying the self from the group. This tension is further resonated between the hot/cold dichotomy, the quest for energy, but not too much energy. Both can be established by dance and worship, but the right balance must be maintained to summon the gods and entice them to stay. Thus the tension continues between competing and conflicting aspirations and desires.
The readings provided are both interesting and similar in ways that draws attention to Latin American and African music and dance in Latin American countries. In Gottschild's reading and Quintero's reading I find similar the improvisation of the way the music is being played and the way the people dance from the improvisation of the music. In Quinteros reading I found where he explains about the different instruments that produce different sounds and pitches. "Each instrument in traditional music – the marimba, the bass drums (bombos), hand drums (cununos), bamboo shakers (guasás), and the voices of female singers called cantadoras – is capable of producing pitches in different ranges and/or of different density in overtones" (Quintero pg 6).
ReplyDeleteThe music that is played has the same kind of improvisation that the music does. The dancer and the drummer soloist have to be one, they have to feel what each others next move will be. Explained in Gottschild reading "From the Africanist perspective, movement may originate from any body zone, and two or more areas of the body may simultaneously serve as centers of movement. The feet may maintain one rhythm while torso, legs, arms dance to the beat of different drums" (Gottschild pg5).The way you can inculcate someone to ethnical behaviors is to inspire them and interest them into learning about the ethnical behavior.