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Feeling Zulian Through Gaita: Singing Regional Identity in Maracaibo, Venezuela

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Feeling Zulian Through Gaita: Singing Regional Identity in Maracaibo, Venezuela Feeling Zulian through Gaita: Singing Regional Identity in Maracaibo, Venezuela Robert Thomas Carroll A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Shannon K. Dudley, Chair Patricia S. Campbell Jonathan W. Warren Program Authorized to Offer Degree: School of Music ©Copyright 2013 Robert Thomas Carroll ii University of Washington Abstract Feeling Zulian: Singing Regional Identity in Maracaibo, Venezuela Robert Thomas Carroll Chair of the Supervisory Committee: Shannon K. Dudley, Ph.D. School of Music This dissertation shows how gaita music articulates regional identity in Maracaibo, in the state of Zulia in Venezuela, based on analysis of lyrics and recordings, interviews, archival work, and participant observation at performance events. Since the 1960s, gaita has become a commercialized folk music that is popular throughout Venezuela during the Christmas holiday season, but in Zulia, where gaita originated, the music serves as a medium through which regional identity is defined, promoted, negotiated, celebrated, and even marketed. Based on fieldwork conducted in 2000–01, 2003, and 2007 among musicians, composers, academics, and gaita fans, this study is structured around five broad vectors of gaita’s expression of zulianidad: sound, history, geography, religion and politics. The mere sound of gaita—with its unique beat—is recognized as distinctly Zulian genre, and this distinctiveness contributes to its power in indexing regional identity. Gaita’s instruments are seen as Zulian and perceived as iii representative of the European, African, and indigenous elements of Venezuela’s racial mixture and the ideology of racial democracy. Gaita, which originated as orally improvised party music in the nineteenth century, is a prominent feature of local cultural history. Since the early twentieth century, and especially after the advent of recording and the professionalization of gaita groups in the 1960s, skilled composers have crafted song lyrics that chronicle local history. By singing of places and issues of geographical significance, gaiteros produce place in the regional imaginary, help to create a sense of a unified Zulian region, and negotiate issues of regional and national identity. In Maracaibo, religious practice is dominated by devotion to the regional patron saint, La Chinita, and songs dedicated to her promote a particularly regional version of Catholicism and connect religious identity with local sociopolitical regionalism. Political regional identity dates to the years of the Venezuelan independence movement, and protest gaitas continue to articulate Zulians frustrations with centralized governmental control. While gaita serves as holiday season party music, it also functions as an important expression of regional cultural identity in Maracaibo, Zulia. iv Table of Contents Acknowledgements vi Chapter I: Introduction 1 Chapter II: Is It or Isn’t It the Traditional Beat?: Gaita’s Sound as a Marker of Regional Identity 46 Chapter III: History of Gaita and Gaita As History 84 Chapter IV: Así es Maracaibo: Gaitas Producing Place 126 Chapter V: Imagining La Grey Zuliana: Zulia as a Religious Congregation 170 Chapter VI: Gaita as a Medium of Political Commentary 231 Conclusion: The Importance of Gaita 275 Annotated Discography of Gaita Recordings Cited 283 References 292 v Acknowledgements Ethnomusicology, by definition, involves interaction with people. Acknowledging the nearly infinite number of people to whom one owes a debt for help in research is nearly impossible. Despite the fact that I will undoubtedly leave someone out, I will try here to give thanks to those who have helped me in this project. Please forgive the length. I have noticed in most academic works that the last in the list of acknowledgements is the spouse of the researcher. I would like to invert this and begin by thanking my wife Anne Marie Saldajeno for all her help, support, faith, patience, and love through my graduate career, and especially during a difficult year of separation while I was in Venezuela. Without her tolerance of this very difficult situation, her assuming financial and other responsibilities of our household, her assistance with hundreds of little business details to help me from afar, and her undying belief in my ability and my work, I never could have accomplished this research. Further, a few years ago when I considered giving up on finishing this dissertation, she pushed me to keep going. Next, I wish to recognize my doctoral committee at the University of Washington. My seminars with Ter Ellingson always pushed me to think about things in new ways. Philip Schuyler pointed me in new theoretical directions during my qualifying examination process that will stay with me forever, and provided a thorough proofreading of this document. Jonathan Warren of Latin American Studies offered wonderful support for me as I tried to understand critical race studies. Patricia Campbell served as the cheerleader that I needed when I wasn’t sure I’d ever get this done. Lastly, my advisor Shannon Dudley offered the early encouragement to study gaita, and once I finally got down to writing, he offered critical editing, help in overall organization, and guidance on nearly every aspect of this work. Early in the writing of this thesis, Karin Stromberg, the UW School of Music’s outstanding graduate student advisor, passed away. I am grateful for her tireless advocacy and strategic advice. Subsequently, Brenda Banks has always supported me, cheered me on, and answered my questions about the academic process clearly and quickly. Thank you. Similarly, like every student in ethnomusicology at UW, I am indebted to our archivist, Laurel Sercombe, who always offers a sympathetic ear and endless encouragement. I thank Euclides Aparicio and his brothers Angel and Fucho for introducing me to Venezuelan music during their residency at UW. Euclides’ cassette recordings and singing classes were my first exposure to gaita, so without him, I might never have started this research. Marisol Berrios Miranda also encouraged my study of gaita “early and often,” and she also helped with lyrical translations. Thanks! vi In Venezuela, I benefitted from a nation of kindness. First of all, thanks to the Aparicio family in Caracas who took me in without a second thought and became my family for several months. Eomar Aparicio was also my first real teacher of gaita rhythms, and Miriam and Eumir offered insights into gaita history to prepare me for future studies. Also in Caracas, I wish to thank the many music scholars who helped guide me during the early phases of my research. The staff at FUNDEF, the national folklore institute, including Carlos Blas, Mercedes Blanco, and Israel Girón, pointed me in the right direction. My first real academic mentor in Venezuela was Emilio Mendoza, who shared his vast knowledge of Venezuelan music faster than I could absorb it—if only I had his energy. Also, Carlos García urged me to focus on gaita for my dissertation and suggested several research approaches. I never could have asked for a warmer welcome than what I received from the staff of the cultural section of the US Embassy in Caracas. Jeremy Carper became an instant confidant and encouraged his staff to help me in any way that they could. Maria Eugenia helped me with making contacts and negotiating bureaucracy. Most of all, Gabriel Araujo helped me make contacts in Caracas and Maracaibo. In Maracaibo, there are too many people to mention them all, but I will try, roughly in chronological order. My first word of thanks goes to the Kugler family who generously took me in for a month when I had no place else to go. Ann helped me a lot in acclimating to life in Maracaibo, Alex offered me insight into the history of Venezuela and Zulia, and their son Carlos taught me about local youth culture. Stephen Hill, a Texan studying anthropology at the University of Zulia, was a wonderful friend and an insightful colleague from the first day I met him. His wife Isabel and her family welcomed me into their house for many social occasions, and there, I once had the honor of jamming a little with Alexi Cárdenas and Huáscar Barradas, two brilliant musicians who are innovating Zulian music at the concert hall level. In November 2000, the gaiteros of the house band at El Enlosa’o made me feel right at home and offered an incredible musical education. During my longest stay in Maracaibo in 2000–2001, no one helped me more than radio/TV personality Oscar García. Oscar first brought me to the neighborhood of El Empedra’o in Santa Lucia, and he and his brother Alberto introduced me to hundreds of gaiteros and fans there. I enjoyed many hours of discussing gaita history with them, and we even tried to create a documentary video about gaita for North America. Through them, I got to know their father Oscar García G., el Ventarrón, the TV show host who first got a gaita group on TV in 1962. The entire García family welcomed me and never tired of answering my questions about local music history. Among the many gaita scholars who helped me in Maracaibo, Miguel Ordoñez was the gentle genius who offered me so much wisdom about the music, and his biography of singer Ricardo Aguirre is one of my most important sources. Humberto “Mamaota” Rodríguez and his wife Dora invited me to spend countless afternoons in their apartment vii studying Mamaota’s collection of newspaper clippings and other information about gaita history. Professor Ricardo Romero introduced me to the members of Barrio Obrero in Cabimas. Retired law and psychology professor Víctor Hugo Márquez, the greatest living gaita improvisor, taught me the importance of gaita’s history as an oral tradition. In 2001, I had the pleasure and privilege of sharing a house with the great gaita composer Rafael Rodríguez and his then girlfriend Olga Flores and her son Luis.
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