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The Meanings of Marimba Music in Rural Guatemala

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The Meanings of Marimba Music in Rural Guatemala The Meanings of Marimba Music in Rural Guatemala Sergio J. Navarrete Pellicer Ph D Thesis in Social Anthropology University College London University of London October 1999 ProQuest Number: U643819 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U643819 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract This thesis investigates the social and ideological process of the marimba musical tradition in rural Guatemalan society. A basic assumption of the thesis is that “making music” and “talking about music” are forms of communication whose meanings arise from the social and cultural context in which they occur. From this point of view the main aim of this investigation is the analysis of the roles played by music within society and the construction of its significance as part of the social and cultural process of adaptation, continuity and change of Achi society. For instance the thesis elucidates how the dynamic of continuity and change affects the transmission of a musical tradition. The influence of the radio and its popular music on the teaching methods, music genres and styles of marimba music is part of a changing Indian society nevertheless it remains an important symbols of locality and ethnic identity. From an economic perspective, music change becomes a cultural strategy in conditions of socio­ economic change. And in the politics of social interaction the thesis illustrates how, in a fragmented, “post”-war society, friendship is vital for music making. During fifteen months of fieldwork participant observation was carried out cultivating friendships in a land of mistrust, gossip and vengeance. From the memory of a dead relative to the sensual imagination of a young love the author analyses the moral and ethic values and judgements about music performed in certain contexts and the transformation of those meanings into emotion which is interpreted by the author as a musical aesthetics of emotion. Looking at the musical tradition in Rabinal in historical context and the meanings attributed to its music by both audience and musicians in present everyday life and during particular musical occasions an attempt is made to contribute to a contextual approach within the field of the anthropology of music. Table of Contents List of Illustrations Acknowledgements Chapter 1: Introduction 10 THEORETICAL APPROACHES TO MUSIC 11 Anthropological work on the music of Guatemala 11 The contextual analysis of music 13 Musical change and continuity 15 Meaning in performance context 18 FIELDWORK METHOD 28 THESIS OUTLINE Chapter 2: AHistory of the Achi people of Rabinal 30 COLONIAL RABINAL 31 THE PROCESS OF LADINOIZATION 34 LAND AND LABOUR 38 POLITICAL AND RELIGIOUS CONFLICT SINCE 1954 40 Politicisation and community organisation 43 La Violencia 44 CONTEMPORARY RABINAL 47 Population 48 Socio-economic conditions of Poverty 48 Subsistence agriculture 50 Waged agricultural work 51 Socio-economic stratification 52 Health 54 CONCLUSION 55 Chapter 3: The Belief in the Dead 57 THE ORIGIN OF THE ‘WORLD OF LIGHT’ AND OF THE COFRADIAS 60 THE COFRADIAS 68 ABOGADOS AND THEIR PRAYERS 72 THE LIVING AND THE ÀNIMAS OF THE DEAD 78 CONCLUSION 83 Chapter 4: Concepts and Classifications of Music 85 THE PRINCIPLE OF DUALITY 86 DUALITY AND MUSIC 87 Su’ and q’oiom 88 Indian and Ladino 90 The son and the pieza 92 Female and male 94 First and second 102 Right and left 104 High and low 105 Senior and junior 105 CONCLUSION 106 Chapter 5: The Marimba and the son 107 A HISTORY OF THE MARIMBA IN GUATEMALA 108 The marimba and the zarabanda 110 The marimba and dance-drama 115 The development of the marimba 116 THE INTRODUCTION OF THE MARIMBA TO RABINAL 119 MODERN MARIMBAS 123 The simple marimba 123 Marimba production, maintenance, and repair 125 The double or chromatic marimba 128 MUSIC 129 The Mexican son 131 The Guatemalan 134 Rabinalense 50^2^5 135 PERFORMANCE ORDER 137 RADIOS AND CASSETTE PLAYERS 139 CONCLUSION 143 Chapter 6: Good and Evil: Music, Alcohol and Women 144 RELIGIOUS FESTIVITIES AND EVIL 144 MUSIC AND DRINKING 149 ‘THE MARIMBA IS A WOMAN’ 152 CONCLUSION 161 Chapter 7: Musical Occasions 162 OCCASION AND PERFORMANCE 163 ANNIVERSARIES OF THE DEAD 171 Music and the ritual process of mourning 172 The celebration of a fourteenth year anniversary 175 CONCLUSION 183 Chapter 8: Cognition Values and the Aesthetics of Music 184 MEETING THE MARIMBISTAS 185 THE TEACHING/LEARNING PROCESS 188 Learning to play the traditional way 188 Concepts of Memory 197 CONTINUITY AND CHANGE 201 Material change 201 Bootleg tape-recording 204 Social change 206 PERCEPTIONS OF STYLE 208 ‘The good marimba calls to the four quarters’ 208 Style and identity 210 Personal style 212 CONCLUSION 217 Chapter 9: The Economy of the son and the pieza: Changing Strategies, Genres, and musical instruments 219 THE MORAL ECONOMY 219 The Work Ethic 226 4 CRITERIA FOR CONTRACTING A MARIMBA 227 A MARIMBAS ECONOMIC VALUE 229 The circulation of marimbas and players 229 'EQUALITY’ OF INCOME 230 THE ANNUAL CONTRACT CYCLE 232 MUSICAL STRATEGIES FOR SURVIVAL 233 CONCLUSION 235 Chapter 10: Music within Social interaction 236 THE FAMILY 238 THE MARIMBA MOZO 240 CONFLICT, ENVY, AND WITCHCRAFT 243 Witchcraft and vengeance 247 FRIENDSHIP 250 ACHI-LADINO RELATIONS 252 Ladino patronage 255 The military 257 CONCLUSION 259 Chapter 11: Conclusion: "who am I to know better than the ancestors" 261 Glossary 269 Appendices 274 Appendix 1 : Cofradias Appendix 2: Musical Instruments, Repertoires and Occasions Appendix 3: Musical Transcriptions Appendix 4: Dance-dramas Bibliography 296 Orthography 324 Discography 325 Cassette Recording in back cover of thesis. List of Illustrations Map: Guatemala with details of Rabinal 9 Drawings Drawing No. 1 : The Cosmos: Path of the Sun in Rabinal 74 Drawing No.2: Resonator's anillero 127 Photographs Photograph No. 1 : Son marimba ensemble, La Reina Rabinalense 8 Photograph No. 2: Rabinal landscape 47 Photograph No. 3 : Achi Woman at gravesite on the Day of the Dead 78 Photograph No. 4: Shawm and big drum ensemble 89 Photograph No. 5: Flute and big drum ensemble 90 Photograph No. 6: Flute and Tum ensemble 91 Photograph No. 7: Son marimba in cemetery on the Day of the Dead 93 Photograph No. S: Conjunto msnmba. 95 Photograph No. 9: Pipe and tabor ensemble 98 Photograph No. 10: Violin and ac/u/e ensemble 101 Photograph No. 11 : Arc marimba 111 Photograph No. 12: Son marimba ensemble of Xesiuan 117 Photograph No. 13 : Learning the marimba 188 Photograph No. 14: Flying "souls" over Cemetery 268 Music and sound recordings in cassette Example No. 1 : cofradia soundscape with music and prayers Example No. 2: son music Example No. 3: pieza music Example No. 4: pipe and tabor son ensemble Example No. 5: flute and big drum son music Example No. 6: violin and adufe son music example Example No. 7: Tum and trumpets musical ensemble Example No. 8: marimba pieza: contradanza Example No. 9: marimba pieza: danza de la muerte Example No. 10: Waltz Example No. 11 : zarabanda Example No. 12: marimba son: entrada Example No. 13: marimba son: costa chiquita Example No. 14: marimba son: san Pablo Example No. 15: pieza marimba conjunto Example No. 16: prayers and violin and adufe son. Acknowledgements It is not possible to thank individually the many people who have supported this project in various forms, large and small, directly or indirectly. I am indebted to them all but want to mention some in particular. For support, encouragement, and critical comments and suggestions I would like to thank my supervisors in particular, Edward Schieffelin and John Gledhill. This work also benefited from criticism by Judith Zur and Francisca Cooper. John Haviland, Xochitl Leyva, Carlos Flores and Rachel Sieder as well as various of my student colleagues during the thesis writing up seminar in the Department of Anthropology, University College London, also provided valuable reflections about some chapters. I also received enriching comments during the presentation of a chapter at a staff seminar in the Anthropology Department at Manchester University. I am indebted to Marcia Herndon, Thomas Stanford, Carol Robertson, Henrietta Yurchenco who were my first mentors in the field of ethnomusicology. I would also like to thank friends and colleagues at my research centre in Mexico CIESAS who gave me encouragement and support. Thanks are due in particular to my friend and colleague Teresa Rojas and to Rafael Loyola for helping me to have a smooth landing back in Mexico. I would also like to thank Marina Alonso for her collaboration and enthusiasm during my first period of fieldwork in Rabinal. My deepest personal thanks go to my wife Judith Zur and daughter Sofia Navarrete. Judith shared and enriched this enterprise from its inception to its conclusion. Her love and enthusiasm accompanied me throughout this project. Sofia was bom half way through the endeavour bringing a healthy and joyful reminder of being on earth. I would also like to mention with gratitude other friends and family especially my sister Gabriela Navarrete who helped with the translation of some sections which were originally written in Spanish. Susan and Michael Zur- Szpiro also deserve thanks for their patience and generous ear at the Sunday outings on Hampstead Heath.
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