• Abstract and Figures
• Public Full-text

Pygmy POP. A Genealogy of Schizophonic Mimesis Author(s): Steven Feld Source: Yearbook for Traditional Music, Vol. 28 (1996), pp. 1-35 Published by: International Council for Traditional Music Stable URL: http://www.jstor.org/stable/767805 Accessed: 22/01/2009 14:48 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=ictm. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. International Council for Traditional Music is collaborating with JSTOR to digitize, preserve and extend access to Yearbook for Traditional Music. http://www.jstor.org pygmy POP A Genealogy of Schizophonic Mimesis by Steven Feld in memory of Colin Turnbull ndura a lufa, ndura ekondi ekimi, "the forest is listening, the forest loves quiet" STORIESBEGIN WHEN A BEGINNING IS CHOSEN . .. Colin Turnbull's death, on July 28, 1994 (Pace 1994) hurdled me back into lengthy daydreams about the classes in anthropology I took with him from 1969-71 as a college junior and senior, classes that featured patiently detailed story after story drawn from his years of living with the Mbuti pygmies in the Ituri forest of Zaire. Colin was a humanist who came into anthropology from studies in philosophy and religion, and from a substantial background as a skilled keyboardist as well. He was my first model of an anthropologist whose understanding of sociability was nurtured by a deep musical engagement. Although the anthropology Colin learned at Oxford in the 1950s was largely functionalist and oriented toward the understanding of social insti- tutions and organizations, the anthropology he taught was principally focused on issues of morality and conflict. He was deeply moved by the need to chronicle the experiential ravages of change in a world of rapidly escalating inequalities. What his critics called the romanticism in books like The Forest People (1961), The Lonely African (1962), or The Mountain People (1972), came through somewhat differently in Colin's teaching, as a passionate discussion of why neither Western nor African societies had morally superior claims to the most humane ways of imagining and treating others. As a way of promoting debate on these issues Colin began each of our classes with a reading and critique of the ideas about exchange and reciprocity in Marcel Mauss' The Gift (1976). My story begins with wanting to read and critique The Gift yet again, for and with Colin, from the standpoint of the schizophonic mimesis of pygmy music. My reading is about the turbulent morality of today's increasingly blurred and contested lines between forms of musical invasion and forms of cultural exchange. I want to critique Mauss by indicating how acts of schizophonic exchange simultaneously create powerful bonds and produce equally powerful divisions. This is a story about the musical discourses and practices that link colonial and postcolonial Africa to worlds of music, particularly via the world's new ubiquitous global pop sales genre: world beat music. JUSTAS WHEN, WITHOUT WARNING,READING AN ETHNOGRAPHYOPENS A SPACE FOR ALLEGORY. .. It's hard for me to start with thoughts of Colin without opening up a significant moment on the ethnography and ethnomusicology of the Central African forests, namely his exposition, in The ForestPeople and WaywardServants, 2 / 1996 YEARBOOK FOR TRADITIONAL MUSIC of the moral vicissitudes of sound in Mbuti cosmology and habitus (1961, 1965, esp. 254-267, 286-291). Perhaps a brief ethnographic recounting can form a ground against which we can figure some of the complexities of new representational histories, like the ones emergent in the world beat sub-genre of "pygmy pop." Turnbull explicates the Mbuti saying akami amu ndura, "noise kills the forest," and the parallel one akami amu mukira, "noise kills the hunt," by insisting that they are central to understanding the connection between social organization and ritual in Mbuti life. To draw out this assertion, he elaborates on how Mbuti imagination and practice constructs the forest as both benevolent and powerful, capable of giving strength and affection to its "children." For this to happen Mbuti must attract the attention of the forest, must soothe it with the strength of sound that is fully articulated in the achievement of song. "Song is used to communicate with the forest, and it is significant that the emphasis is on the actual sound, not on the words" (1965:259). "The sound 'awakens' the forest . thus attracting the forest's attention to the immediate needs of its children. It is also of the essential nature of all songs that they should be 'pleasing to the forest.' " (1965:257). As a cooperative social activity, singing fosters heightened sociability both directed to and in the presence of the forest. The positive position of song in pleasing and awakening the forest ties it to the notion of ekimi, of "quiet," central to Turnbull's interpretation of an Mbuti idealization of a benevolent forest that provides all. The ideal is quiet, and quietness is associated with the forest. The concept is inseparable from the concept of joy, which is ekimi mota, or 'powerful quietness.' Joy is an intensification of quietness and is brought about by the occurrence of the norm: good hunting, good weather, good health, harmonious relations, plenty of children (1965:289). The positive emphasis on ekimi, or quiet, is in no way thought of being in conflict with song, for ekimi is cool, and so is song, and both are pleasing to the forest (1965:255). The process of 'rejoicing the forest' is a process of creating ekimi motawhere it does not exist, of intensifying mere ekimi through song (1965:290). Perhaps the exact connotation of 'rejoicing the forest' is best described by the process itself, which brings joy through joy. Singing gives the Mbuti intense satisfaction. They say that it makes them feel good, in the sense of feeling joyful . By creating a mood of joy within themselves the Mbuti convey that joy to the forest, which returns it, restoring ekimi or even ekimi mota to the camp (ibid.). The Mbuti say 'su bongisandura, ndura pisu ekimi' - 'we rejoice the forest, the forest gives us quiet' (ibid.). This quiet, which Turnbull interprets as the coolness of songs and the highly cooperative process of singing them to awaken and rejoice the forest, directly opposes the force of noise, akami. As quiet pleases the forest, so noise displeases it, and Turnbull reads the opposition of ekimi and akamias indexical FELD pygmy POP / 3 to the polarities of sociability. Thus quiet is social cooperation, embodied in good hunting, singing, dancing, feasting. And noise embraces "laziness and aggressiveness and disputatiousness" (1965:278), embodied in ill humor, shouting, crying and anger, bad hunting and death. This noise resonates between human action and a forest that "stops 'talking' . a sign that something is very wrong" (1965:259) or becomes silent, kobinengo, "an indication of great and imminent danger" (1965:287). The cries announced by noise and silence, where poor hunting, social disintegration, sickness, or death emerge and linger, indicate that the forest is "sleeping." These crises are typically countered by singing; singing both opposes "noise" and "silence" and stimulates the forest to resume "talking." More importantly, singing opposes the strongest and most destructive form of noise and silence - death. The felt need to 'awaken' the forest and 'rejoice' the forest is occasioned more by the fact that all the living have been brought closer to death, and have, to some extent, been touched by it (1965:262). The ritual response to death brings forth the most organized and complexly articulated form of singing, the songs of molimo that have the powers to stimulate and thus reawaken a sleeping and silent forest. Molimo rituals themselves have moments of the extremes of silence, noise, and song, and Turnbull analyses their sequence and their juxtaposition in terms of a ritual symbology of oppositional themes like life and death, unity and division, cooperation and divisiveness. But the full and final power of sound, and the height of ritual efficacy itself, is the notion of amplification, announced by the role of the molimo trumpet that echoes the core of Mbuti song. The main function of the trumpet is to sing, and to pass on the song of the Mbuti into the forest. It is taken off to a distance from where it picks up the song from the men around the molimo hearth and echoes it into the night. This way, the Mbuti say, the forest is sure to hear it and be pleased (1965:265). This is a form of amplification that radiates quiet by bringing the reverbreations and echoes of song ever deeper into the forest. WHICH QUICKLYBLURS TO ANOTHER POINT OF CROSSING. .. I am riding the ferry across Hong Kong Harbor on a bright afternoon in October of 1994.

Load more

  36

Copy Link