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Politics and Popular Culture: the Renaissance in Liberian Music, 1970-89

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Politics and Popular Culture: the Renaissance in Liberian Music, 1970-89 POLITICS AND POPULAR CULTURE: THE RENAISSANCE IN LIBERIAN MUSIC, 1970-89 By TIMOTHY D. NEVIN A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FUFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2010 1 © 2010 Timothy Nevin 2 To all the Liberian musicians who died during the war-- (Tecumsey Roberts, Robert Toe, Morris Dorley and many others) Rest in Peace 3 ACKNOWLEDGMENTS I would like to thank my parents and my uncle Frank for encouraging me to pursue graduate studies. My father’s dedication to intellectual pursuits and his life-long love of teaching have been constant inspirations to me. I would like to thank my Liberian wife, Debra Doeway for her patience in attempting to answer my thousand and one questions about Liberian social life and the time period “before the war.” I would like to thank Dr. Luise White, my dissertation advisor, for her guidance and intellectual rigor as well as Dr. Sue O’Brien for reading my manuscript and offering helpful suggestions. I would like to thank others who also read portions of my rough draft including Marissa Moorman. I would like to thank University of Florida’s Africana librarians Dan Reboussin and Peter Malanchuk for their kind assistance and instruction during my first semester of graduate school. I would like to acknowledge the many university libraries and public archives that welcomed me during my cross-country research adventure during the summer of 2007. These include, but are not limited to; Verlon Stone and the Liberian Collections Project at Indiana University, John Collins and the University of Ghana at East Legon, Northwestern University, Emory University, Brown University, New York University, the National Archives of Liberia, Dr. Wolfgang Bender and the African Music Archives at the University of Mainz, Germany, John Victor Singler and the U.S. Library of Congress. I would also like to thank Dr. Amos Teah Kofa and Sister Alice Yeoh for their warm hospitality while I was conducting fieldwork in Monrovia in 2005 and 2008 respectively. Finally, I would like to especially thank all of my Liberian informants who generously gave their time and insights that made this study possible, including but not limited to; Miatta Fahnbulleh, Gebah and Maudeline Swaray, Yatta Zoe, Zack Roberts, Princess Fatu Gayflor, Big Steve Worjloh, Charles Neal III, Nimba Burr, Aaron Weah, Aaron Lewis, Joe Woyee, Ernest Bruce, and Hawa Daisy Moore. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................4 LIST OF ABBREVIATIONS ..........................................................................................................9 ABSTRACT ...................................................................................................................................10 CHAPTER 1 GROWTH AND DEVELOPMENT OF LIBERIAN POPULAR MUSIC IN THE 20TH CENTURY TO 1989 ..............................................................................................................11 Themes and Arguments ..........................................................................................................12 Literature Review and Methodology ......................................................................................12 Grassroots Cultural Revival ....................................................................................................18 Challenges Facing Liberian Musicians ...................................................................................23 American Cultural Domination ..............................................................................................24 Early Historical Background ..................................................................................................26 19th Century Historical Background .......................................................................................29 Early to Mid-20th Century .......................................................................................................33 The 1960s ................................................................................................................................34 1970, the End of the Tubman Era ...........................................................................................35 1971 and the Tolbert Inauguration .........................................................................................38 1979 and the Formation of Leftist Political Opposition .........................................................41 The Rice Riots or “Black Saturday” .......................................................................................43 The 1979 Organization of African Unity Conference ............................................................45 Introducing Master Sergeant Samuel Doe ..............................................................................46 1980 and the formation of the People’s Redemption Council Junta ......................................49 1981; PRC leader Thomas Weh Syen Eliminated ..................................................................51 1983; the Split with Thomas Quiwonkpa ...............................................................................51 1985; the Rigged Elections .....................................................................................................53 The Failed Quiwonkpa Coup Attempt ....................................................................................54 Conclusions .............................................................................................................................58 2 MUSICIANS AT THE CROSSROADS DURING THE TURBULENT 1970s ...................60 Introduction .............................................................................................................................60 President Tolbert at the Crossroads ........................................................................................61 The Liberian Contingent at FESTAC ’77 ...............................................................................64 Yatta Zoe “Queen of Folksongs” ............................................................................................66 Young Girls Stop Drinking Lysol ...........................................................................................67 Camp Bella Yalla Military Prison ..........................................................................................69 The Syncretic Character of Liberian Popular Music ..............................................................70 Afro-centricity and Liberian Popular Music ...........................................................................72 Liberian Electric Highlife .......................................................................................................74 5 Emergence of a Distinct Genre ...............................................................................................76 Morris Dorley, Leading Musical Innovator ............................................................................77 The Tejajlu Phenomenon ........................................................................................................81 Tejajlu as a Musical Collective ...............................................................................................82 The National Cultural Center at Kendeja ...............................................................................85 3 CHALLENGES AND PROFESSIONAL DISCRIMINATION IN THE 1970s ...................87 Introduction .............................................................................................................................87 The State of the Liberian Music Industry in 1971 ..................................................................88 Lack of Musical Infrastructure ...............................................................................................89 The Church’s and Military’s Institutional Role as Music Educators .....................................90 Popular Prejudices and “Grona Boys” ....................................................................................92 Widespread Parental Opposition (Intergenerational Conflict) ...............................................94 Recording Studios in Liberia during the 1970s. .....................................................................97 ABC Studios ...........................................................................................................................97 Studio One ..............................................................................................................................99 Limited Markets for Liberian Music ....................................................................................100 “Ameri-centric” Cultural Dependency .................................................................................100 The Prevalence of “Copyright Music” .................................................................................102 Liberian Musical Impersonators ...........................................................................................104 The Copyright Phenomenon .................................................................................................105 Copy It Right ........................................................................................................................108 Poor Working Conditions .....................................................................................................113
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