CHAPTER 10 WEST AFRICA Isicathamiya A cappella Call and response Synthesis of Zulu musical tradition and Christian hymnody Inititally developed by black South African migrant laborer who worked in the mines 20th century became source of competition Example lady smith black mambazo Example pitch perfect Call and response one of the characteristics of Africanism conversational element Jeliya Jeli family names hereditary class of professional Mande musicians Polyvocality many voices 3 main families o Kouyate o Diabate o Sissoko Jeli class has exclusive right obligation to preserve jeliya tradition Traditionally sang praise songs for king Now sing for politicians and commercial music industry Traditionally female jelimuso only perform praise songs Played specific instruments o Bala Kora Koni ngoni plucked chordophone similar to banjo guitar Function of Jelilu o Musicians historians genealogists social political commentators Seckou Keita father is of royal lineage Keita and mother is a jelimuso Sissoko Grew up with mother s side and followed musical passions Seen as less of a rebel than Salif It was against Mande customs for non jeli to practice jeliya class conflict Kora 21 string spike harp chordophone Instrument of the Mande people of West Africa Kora techniques birimtingo kumbengo sataro Kumbengo Layered ostinato based style used to accompany singing Birimintingo Improvised melodic flourish Sataro Improvisatory slightly out of time and even speech like style of singing higher pitch range Fontomfrom drums within the ensemble use of the ensemble Royal Akan drum ensemble Sign of king s authority and power 1 Ensemble dawuro bell and three pairs of drums from atumpan and eguankoba Played when chief makes public appearance Characteristics included layered ostinato layered same pitch call and response and polyrhythm multiple layers of rhythm that indicate different beats and meters are occurring at the same time Musical syncretism the merging of formerly distinct styles of music into new forms of expression Diaspora a group of people defined by shared identification with a homeland where they themselves do not reside Apartheid racism in South Africa Ladysmith Black Mambazo Ang lique Kidjo female artist born in Benin in 1960 to musical family Mixes Fon cultural roots with American soul rhythm and blues funk and jazz Activist and advocate for female education and women s rights Won several Grammy Awards Chimamanda Adichie The danger of a single story CHAPTER 11 LATIN AMERICAN Bossa nova created in late 1950s Associated with the middle class white South Zone of Rio de Janeiro Batida o Samba rhythmic styles American jazz Popular Music o Chords between the syncopated notes of the melody while the upper and lower guitar strings play chords Samba Tropic lia Influenced by bossa nova Joao Gilberto but also the Beatles Jimi Hendrix and James Brown Founded by Caetano Veloso and Gilberto Gil o musicians from Bahia epicenter of Brazilian Afro diasporic culture Had social influences o Combine music and sociopolitical principles o Manifesto Antropofago Cannibalist Manifest by Oswalde de Andrade Brazil should devour different elements of foreign culture and transform Psychedelic avant arde rock band style them into Brazilian cultural products Tango vertical expression of a horizontal desire Originally created in the brothels and bars of Buenos Aires Argentina in late 1800s 2 Associated with lower class portenos a mixture of Europeans people of African descent and criollos Combines many musical influences Bandoneon box shaped button accordion brought to Argentina from Germany Early 1900s moved out of brothels and onto international stage Carlos Gardel was the superstar of tango during its golden age 1920s 30s and he helped legitimize it Cultural cannibalism Manifesto Antopofago meaning Brazil should devour different elements of foreign culture and transform them into Brazilian cultural products Where Brazil wanted to use all of the cultures and make it their own Oswalde de Andrade created the Manifesto Antopofago Cannibalist Manifest Julajula yiya arka instrument used in harvest ritual called kusicha timpu Made up of 2 half instruments each played by a different player sound like blowing in empty pipes o Yiya leader pipe 4 tubes plays D G B E high o Arka Follower pipe 3 tubes plays E A D high Ensemble of 25 30 men all playing different sized julajula in pairs No drums Ohespinakunku one without the other would die out Ayllu Andean people People made up of extended family lineages Social solidarity harmonious relationships with the natural world and the spiritual realm Largest groups live in Bolivia Peru and Ecuador 2 main languages besides Spanish Quechua and Aymara Importance of agriculture reflected in music Music and traditions linked to particular seasons agricultural rituals life cycle events and religious ceremonies Example of Peru o Siku double row panpipes linked to ayllu rituals of the dry seasons Aprl o Tarka and Pinkullu end blown cane flutes associated with rainy season October November March Andean culture is egalitarian mutual cooperation interdependence valuing group over the individual Santer a Combining the indigenous Yoruba religion with Catholicism Overlap in veneration of saints versus veneration of Yoruba Gods Bata ritual drumming practice of Santeria o 3 sets of drums high medium low pitched o play in complex polyrhythmic interlocking patterns 3 o lead drum plays improvisation o other two drums play ostinato recurring patterns Rumba guaguanc All percussion and voice derived from a single rhythm clave Clave 2 thick round sticks that are stuck together Dance supposed to imitate mating ritual between rooster and hen Afro Cuban music 3 conga drums the claves palito wooden idiophone lead singer chorus Lower class Race and gender Celia Cruz Queen of salsa Dancer Tito Puente King of Salsa Heavily influenced by jazz and Cuban music Newyorican Joined Machito s orchestra Played with Machito and the Afro Cubans Juilliard Carlos Santana diverse musical influences jazz blues rock Latin dance San Francisco based rock band with Latin dance twist Performed at Woodstock in 1969 Covered Oye Como Va Celeste Mendoza mulatta Queen of guaguanco Oye Como Va Mambo Sang by Tito Puente Has been covered several times listen in powerpoint Pan Latino identity when Santana covered Oye Como Va this contributed to Pan Latino identity Blending American rock and Latin dance Honoring difference while insisting on
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