Internal (Infernal) Review

This week I find myself forced to analyze my project in such a way that it appears I am proposing research. To present in writing what it is I plan to do, the methods I will use to accomplish these tasks, and detail the possible benefits to individuals and society. So here's as honest an account as I can give:

If just one book (Spanish or English text) had satisfied my curiosity about the evolution of candombe  drumming, I wouldn't be here. Truthfully, I have no problems with any of the works I read regarding candombe culture, except that I wanted to see and hear (when possible) examples of these rhythms within their social and musical contexts. There are two authors on which I designed my early proposals: George Reid Andrews (USA) and Luis Ferreira (UY).

Andrews goal was never to provide a musical analysis of the drumming, and his one attempt is quite generic:

"The music is played on three types of drums--chico, repique, and piano--each of which has a different voice--alto, tenor, and bass, respectively--and plays a different rhythmic figure. The piano hits heavy downbeats on one and four, with intervening syncopated eighth and sixteenth notes; the chico leaps in immediately following each beat with a sequence of three sixteenth notes. Both drums pound out the same stuttering phrases over and over again, in a deep aesthetic of monotony; the  repique players have more freedom to improvise, and drive the group forward with their counterrhythms." (Blackness in the White Nation, 129)

To his credit, he does provide an endnote with suggested recordings, websites, and print resources; including Luis Ferreira's Los tambores del candombe. But I was inspired by Reid Andrews, and Blackness in the White Nation is always close at hand, continuing to provide a framework upon which I continue to expand my own investigation.

When I first received Los tambores del candombe on interlibrary loan, I almost decided to walk away from the project. At that time, my Spanish reading ability was non-existent, but as I flipped through the pages, it appeared Luis Ferreira had accomplished what I was seeking. Beginning on page 104 were musical examples; transcriptions of rhythms as performed by master candombe drummers. As I dug deeper though, I found it was as difficult to decipher his notational examples as it was to read the Spanish. When I would compare my interpretation of his notation with examples of performers through recorded examples, I was never close to acheiving accuracy. I later realized there were some problems with my early translations affecting these interpretations, but this didn't account for all of the inaccuracies. Ultimately it was the unavailability of the book that persuaded me to continue my own analysis. I'm happy to say that after searching for the book regularly since 2009, including stops at every bookstore I happened upon in Montevideo, I found a copy of Los tambores on the internet in September.

Notation example from Ferreira, p. 133

Obviously there are other sources, the majority of which are all Spanish texts, and several are out-of-print. I never pass up the opportunity to peruse the shelves in the many Montevidean bookstores for copies, but have yet to find myself lucky. I will say that since the latter half of 2009, materials have appeared more frequently online, particularly recorded examples via YouTube. I have the belief this upsurge in interest corresponds with candombe's placement on UNESCO's list of Intangible Cultural Heritage.

As for progress in Montevideo...language is still my biggest obstacle. I think the constant struggle with speaking and understanding others is why I've felt really worn down the last couple of weeks. I should probably admit that since being robbed in September, I'm constantly anxious when I go out. I'm sure many of you are probably sick of hearing it, but I miss constant musical interaction, and it takes its toll constantly being the spectator. Several of my contacts just want me to ask questions, and when the drum is removed, all is "lost in translation." I don't see much of this as negative, only difficult, which provides some clarity regarding my musical and personal values. I digress...

The project is changing. I am fascinated with the representation of the Llamada rhythms, means of transmission, and their association with cultural heritage (patrimonio). Knowing this is the direction has made it easier to create a list of people and groups I'd like to speak with/follow. I keep starting blog posts dedicated to each of these topics, then deleting them because I feel they get out of hand, demonstrating my lack of a theoretical background to properly address the issues. I do however keep trying, and journaling about them because they are fascinating topics.

The final part of this review process is discussing the possible benefits of the research. There's the obvious "expand on previous scholarship" answer, and help provide additional visibility to this music and its performers. More than anything I want to find ways to make sure the world experiences candombe by those who live it. Many of the drummers I work with seem perplexed that I am doctoral candidate, but not officially a student anymore; that I am a Fulbright scholar without a job. I can't promise funding to visit the University of Miami. A proposal might not be awarded a spot on a program at an event like the Percussive Arts Society International Convention (PASIC). I mention Miami and PAS because both are excellent venues for candombe programs; particularly UM's Festival Miami concert series, and of course PASIC is an obvious choice.

This upcoming weekend will mark the beginning of my fifth month in Uruguay, and December 3 is the National Day of Candombe: Afro-Uruguayan Culture and Racial Equality. There's a huge parade (40+ candombe groups), and several other major events. A busy week for sure.