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MUSICAL CONSTRUCTIONS of AFRO-BAHIAN IDENTITIES by Juan Diego Diaz Meneses a THESIS SUBMITTED in PARTIAL

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MUSICAL CONSTRUCTIONS of AFRO-BAHIAN IDENTITIES by Juan Diego Diaz Meneses a THESIS SUBMITTED in PARTIAL ORKESTRA RUMPILEZZ: MUSICAL CONSTRUCTIONS OF AFRO-BAHIAN IDENTITIES by Juan Diego Diaz Meneses A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate and Postdoctoral Studies (Ethnomusicology) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) March 2014 © Juan Diego Diaz Meneses, 2014 Abstract This dissertation examines the relationship between music and politics of black identities in Salvador, Bahia (Brazil), an epicenter of Afro-Brazilian culture. It focuses on discourses of blackness and on the role of grooves, instruments, symbolism, and perceptions of carnival music, candomblé, and jazz in the contruction of black identities in Bahia. I propose a model that integrates discourses of black primitivism and empowerment with seven notions commonly associated with black and African music: rhythmicity, percussiveness, spirituality, communalism, embodiment, traditionalism, and closeness to nature. My contribution uses a Foucauldian interpretation of these notions to explain how they work together to form discourses of blackness, not on the notions themselves for they are all widely known. The model accommodates a wide range of interpretations of these themes offering more flexible views of blackness. A Bahian big band called Rumpilezz that blends jazz with various forms of Afro- Bahian music (such as candomblé and samba-reggae), serves as my laboratory for applying this model. Aspects of public self-representation, performance practice, music structure, and musical reception are analyzed. Taking a constructivist approach, this study aims to respond to the following questions: 1) How do the most influential preconceived ideas about “African” music and culture impact musical activity in Bahia?; 2) What opportunities emerge when musical forms perceived as Afro-Brazilian encounter others seen as foreign?; and 3) How does music in Bahia express discourses of blackness? This work, based on ethnographic research, historical, cultural, and musical analysis, demonstrates that, in promoting black empowerment, Rumpilezz emphasizes the themes of rhythmicity, percussiveness and spirituality, and downplays the notions of closeness to nature and embodiment. In doing so, the orchestra reinforces the place of Bahia, and particularly of Bahian candomblé, as diasporic centers of black tradition. Finally, Rumpilezz is located in a broader tradition of jazz bands in the diaspora that appropriates African-diasporic music to promote black pride. ii Preface This research project was designed and executed by the author under the supervision of Professor Michael Tenzer. The various phases included writing a research prospectus (between September and December 2011), conducting fieldwork in Salvador, Bahia (between January and June 2012), analyzing data (from July 2012 to July 2013) and writing (from October 2012 to February 2014). Date collection in a provious visit to Salvador between June and August 2009 is also used. The dissertation is a significant elaboration of a paper written by the author in 2012: “Orkestra Rumpilezz: Reinventing the Bahian Percussion Universe.” ICTUS, Journal of the School of Music of the Federal University of Bahia, 13 (1): 6-40. Ethics clearance to conduct fieldwork in Salvador, Bahia for this project was approved on December 8, 2011 by the UBC Behavioural Research Ethics Board (ID: H11-02541) and completed on December 12, 2012. The title of the approved project was “Musical Africanization and Re-Africanization: Strategies for Producing Locality in Bahia” with the Principal Investigator being Professor Michael Tenzer. Images and citations in this dissertation are used with permission of the owners as stipulated by the Theses and Dissertation section of Copyright UBC. All music examples and charts are produced by the author. iii Table of Contents Abstract .........................................................................................................................................ii Preface ......................................................................................................................................... iii Table of Contents.........................................................................................................................iv List of Tables................................................................................................................................ix List of Figures ...............................................................................................................................x Glossary ..................................................................................................................................... xiii Acknowledgements .....................................................................................................................xv 1. Introduction ..............................................................................................................................1 Delimitation of the Research Project......................................................................................3 Evolution of the Research Project...........................................................................................5 The Object of Study................................................................................................................6 Hemispheric Views of Jazz ......................................................................................................7 Defining Key Concepts.............................................................................................................8 Power, Politics and Identity..................................................................................................10 Blackness: Race and Ethnicity .............................................................................................11 Culture as a Resource ...........................................................................................................13 The Local and the Global: Producing Locality ....................................................................15 “Africa,” “Europe,” and the “West”.....................................................................................16 Research Methods ..................................................................................................................16 Semi-Structured Interviews and Informal Conversations ....................................................17 Cultural Analysis ..................................................................................................................17 Bi-musicality: Music Lessons ..............................................................................................18 Transcription and Music Analysis........................................................................................19 Embodied Listening..............................................................................................................20 Participant Observation ........................................................................................................20 Following the Path of the Orixás..........................................................................................20 Studying Orkestra Rumpilezz...............................................................................................22 Composition of the Dissertation ............................................................................................22 iv 2. Bahia in the African Diaspora...............................................................................................25 Circulation in the Diaspora ...................................................................................................25 Placing Bahia in the Black Atlantic ......................................................................................27 Africanism, Creolism, and Essentialism...............................................................................32 Diasporic Identity Formation: Nationhood and Double Consciousness ...........................35 Music as Representative of Black Atlantic Culture ............................................................37 Afro-Diasporic Religions as Representatives of Black Tradition ......................................39 Outspoken Black Empowerment: Movements and Ideologies...........................................42 The African American Civil Rights and Black Power Movements .....................................42 The Rastafari Movement ......................................................................................................45 De-Colonization of African Countries .................................................................................48 A Word on Pan-Africanism and Afrocentrism.....................................................................50 Products of Afro-Bahian Culture..........................................................................................53 3. Discourses of Musical Africanness........................................................................................55 My Use of the Term Discourse ..............................................................................................46 African Music as African Groove .........................................................................................58 A Model for the Analysis of Discourses................................................................................61 Theme 1: African
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