Tambú

Nanette De Jong

Description

Popular religious music and dance from the Caribbean

https://ethnomultimedia.org/book.html?bid=26

As contemporary Tambú music and dance evolved on the Caribbean island of Curaçao, it intertwined sacred and secular, private and public cultural practices, and many traditions from Africa and the New World. As she explores the formal contours of Tambú, Nanette de Jong discovers its variegated history and uncovers its multiple and even contradictory origins. De Jong recounts the personal stories and experiences of Afro-Curaçaoans as they perform Tambu–some who complain of its violence and low-class attraction and others who champion Tambú as a powerful tool of collective memory as well as a way to imagine the future.

Acknowledgments
Introduction/Introducktorio: Get Ready! / Poné Bo Kla!
Part 1. Habri: Here It Is, the History of Tambú! / Até Aki, Historia di Tambú!
1. The Story of Our Ancestors, the Story of Africa / E Kuenta di Nos Antepasados, e Kuenta di Afrika
2. Told through the Fierce Rhythms of the Drum / Kontá pa e Ritmonan Furioso di su Barí
3. The Laws Couldn't Keep Tambú Away. The Church Couldn't Keep Tambú Away. / Leinan No Por a Tene Tambú Lew. Misa No Por a Tene Tambú Lew.
Part 2. Séru: Get Ready! Get Ready! / Poné Bo Kla! Poné Bo Kla!
4. Prepare for the Arrival of Our Ancestors / Prepará Bo pa e Jegada di Nos Antepasados
5. Clap Your Hands! / Bati Bo Mannan!
6. Come for the Party / Bin na e Fiesta
Conclusion/Conclui: Are You Ready? Are You Ready to Hear the History of Tambú? / Bo Ta Kla? Bo Ta Kla pa Tende e Historia di Tambú?
Glossary of Terms Referring to Tambú
Bibliography
List of Interviews
Index

Sujets

• West Indies
• Popular Culture
• HISTORY
• Histoire
• MUSIC
• América del Sur
• Multiple signal classification
• General officer
• Ethnomusicology
• South America
• Latin America
• History of the Americas
• Cinema
• Anthropology
• Dance
• General
• Caribbean
• Media

Informations

• Publié par: Indiana University Press
• Date de parution: 24 avril 2012
• Nombre de lectures: 2
• EAN13: 9780253005724
• Langue: English

Extrait

TAMB
TAMB

CURA AO S AFRICAN-CARIBBEAN RITUAL AND THE POLITICS OF MEMORY
NANETTE DE JONG
INDIANA UNIVERSITY PRESS Bloomington and Indianapolis
This book is a publication of
Indiana University Press 601 North Morton Street Bloomington, Indiana 47404-3797 USA
iupress.indiana.edu
Telephone orders 800-842-6796 Fax orders 812-855-7931
2012 by Nanette de Jong
All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses Resolution on Permissions constitutes the only exception to this prohibition.
The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992.
Manufactured in the United States of America
Library of Congress Cataloging-in-Publication Data
Jong, Nanette de, [date]
Tamb : Cura ao s African-Caribbean ritual and the politics of memory / Nanette de Jong.
p. cm. - (Ethnomusicology multimedia)
Includes bibliographical references and index.
ISBN 978-0-253-35654-3 (cloth : alk. paper) - ISBN 978-0-253-22337-1 (pbk. : alk. paper) - ISBN 978-0-253-00572-4 (electronic book) 1. Tamb (Music)-Cura ao-History and criticism. 2. Blacks-Cura ao-Music-History and cricism. 3. Music-Social aspects-Cura ao. 4. Blacks-Cura ao-Rites and ceremonies. I. Title.
ML3565.J67 2012
781.62 96972986-dc23
2011035912
1 2 3 4 5 17 16 15 14 13 12
DEDICATED TO MY PARENTS,
Dr. Gerald and Mrs. Jeanette de Jong:
Batid i mi tobo, Tokad i mi chapi
Player of my tamb , Player of my chapi.
CONTENTS
Acknowledgments
Introduction / Introducktorio: Get Ready! / Pon Bo Kla!

PART 1. Habri: Here It Is, the History of Tamb ! At Aki, Historia di Tamb !

1. The Story of Our Ancestors, the Story of Africa E Kuenta di Nos Antepasados, e Kuenta di Afrika

2. Told through the Fierce Rhythms of the Drum Kont pa e Ritmonan Furioso di su Bar

3. The Laws Couldn t Keep Tamb Away. The Church Couldn t Keep Tamb Away . Leinan No Por a Tene Tamb Lew. Misa No Por a Tene Tamb Lew .

PART 2. Ser : Get Ready! Get Ready! Pon Bo Kla! Pon Bo Kla!

4. Prepare for the Arrival of Our Ancestors Prepar Bo pa e Jegada di Nos Antepasados

5. Clap Your Hands! Bati Bo Mannan!

6. Come for the Party Bin na e Fiesta

Conclusion/Conclui : Are You Ready? Are You Ready to Hear the History of Tamb ? Bo Ta Kla? Bo Ta Kla pa Tende e Historia di Tamb ?

Glossary of Terms Referring to Tamb

Bibliography

List of Interviews

Index
ACKNOWLEDGMENTS
I did not choose Cura ao as a research site as much as Cura ao chose me, or, perhaps, more aptly, Cura ao captured me, the unusual diversity of its music captivating my research interests, while the kindness and sincerity of the people enabled a rare sense of belonging. Although now a bit ironic, my initial plan for research was to explore the Petro pantheon of Haiti s Vodou religion. In preparation for this endeavor I attended separate language courses in French and Patois, I took university-led seminars in French Caribbean history, and I built up a library of essays and books on the topic. I excitedly made plans to relocate to Port-au-Prince, organizing contacts and finalizing a place of temporary residence. As the dates for my travel to Haiti drew closer, however, unrest between Haiti and the United States escalated. With the United States threatening a forced invasion, the prospective lenders of my research grant contracted their support, suggesting instead I reapply for research to another Caribbean country.
The eventual decision to focus on the Netherlands Antilles, surprisingly, did not come quickly or easily. Yet, once made, the decision revealed an overarching logic, and I remain surprised and even perplexed that the decision was so slow in coming. I am of Dutch American ancestry; my father (now deceased) was a major scholar of Dutch American history; and as a family we spent summers living in Den Haag. Moving my research to the Dutch Caribbean was not only reasonable; it felt natural.
The story, however, is not yet finished-Cura ao was not my first choice; Bonaire, a neighboring island was, with travel to Cura ao planned four to five months later. I bought my airline ticket, packed my suitcases, and prepared my departure. Arriving in Miami, however, I received news that the plane to Bonaire was canceled. Passengers were being rerouted to Cura ao, with flights to Bonaire scheduled one week later. Unexpectedly, I found myself comfortably settling into Cura aoan life during that week: within the first few days of arrival I had met with-and even performed alongside-numerous local musicians, had found a suitable apartment, and had enrolled in an accelerated Papiamento language course. I never did travel to Bonaire during that initial trip; the unused airline voucher issued at the Miami International Airport remains tucked in my collected papers, serving as reminder that life s journeys cannot always be predicted.
My integration into Cura aoan society definitely was eased by the fact that I am a musician. Well-versed in jazz and salsa performance, I served as a frequent guest flautist and regular member of several local groups and bands. Through the common ground of musical performance, I was thus able to connect with and gain the respect of Cura aoan musicians and local audiences in ways that would otherwise have been impossible. Many of the conversations I engaged with local musicians occurred after gigs, when party hosts shut their doors to outside visitors, and offered drinks to the musicians and a few close friends. Without my flute-playing, these conversations would almost certainly have remained closed, and musicians likely would not have conversed so honestly and openly with me.
I have since traveled to Cura ao fourteen additional times, most trips planned around continuing the research for this book. It is with enormous gratitude that I thank the people of Cura ao for opening their lives to me, for embracing me as part of their family. They never shied away from my questions; they answered with grace, honesty, and candidness. Very special thanks go to the Salsbach and Arvelo families: Arnell, Michael, Claritza, Lalo, Di llo, Viennaline (Ninki), Mafalda, Martijn Shon Ma, Sherman, and, especially, Epifania Fanny Salsbach, who graciously opened her home and heart during my many visits and today stands as one of my dearest friends; and to the Wout family: Lucille, Jenny, Aura Rijke, Willem, and, particularly, John, for his unyielding generosity and friendship; and to Rose Mary Allen, Gilbert Bacilio, Errol Toro Colina, Boy Dap, Max Martina, the late Edgar Palm, and John James Willekes for their critical dialogues and observations. I have also been the beneficiary of exemplary generosity and support from Tamb followers and supporters, who shared their time and private lives despite overarching social, religious, and legal restrictions surrounding Tamb . Due to possible retribution, their names cannot be shared. My gratitude, therefore, cannot be fully served by these acknowledgments. Yet, my profound admiration and gratitude must be emphasized. It is inconceivable that this book would have taken its present form without their counsel and comments.
I have enjoyed a most cooperative relationship with colleagues at the International Centre for Music Studies at Newcastle University, and I am exceedingly grateful for their unwavering guidance and support. I also owe thanks to my friends at the Latino Center for Arts and Culture, the Paul Robeson Center, the Livingston College Honors Program, the Office of Diverse Community Affairs and LGBT, and the Office of Academic and Public Partnerships in the Arts and Humanities at Rutgers University for making possible many opportunities for work and play; particular thanks are offered to Isabel Nazario, Julio Nazario, Sandra Rocio Castro, Vilma Perez, and Glenda Daniel, whose years of encouragement, sometimes under difficult circumstances, have been essential to my finishing this manuscript.
The great Tamb singer and drum-maker Pincho gave diligently of his time, providing me with the benefit of his vast knowledge and expertise, for which I remain permanently in his debt. Lorna McDaniel has been a patient mentor and a constant resource. Rene Rosalia has served as an inspiration, rewarding me with his company and expertise. Jerry de Jong, Renee Baillargeon, Lester Monts, Stephanie Motz, Ian Biddle, and Richard Elliott provided great sources of insight and guidance. Additional thanks go to the South African crew : George Suliali, Aqualine Suliali, Racquel Mair, and Yajaira Espinal Russell; and to the Congo crew : Raison Newman Obalolayama and Ould Hamed Dicko Moulaye, for their boundless enthusiasm and support.
Finally, I thank the staff at the Centraal Historisch Archief in Cura ao and the Antilliana-Caribiana department of the Cura ao Public Library Foundation for indispensable assistance; and at Indiana University Press, I thank Dee Mortensen, for her support, understanding, and vision, and Louis Simon, for providing intelligent, meticulous, and consistent editing.
With the publication of this book marking the culmination of a life-changing fifteen years of my life, I have had the support of numerous mentors, colleagues, and friends-too many to mention. It would take a manuscript in itself to acknowledge by name everyone who