Discussion Questions for Polak
Just a very partial list of factors referenced in Polak’s conclusions upon which you could/should comment:
- Impact upon
- The mobility of musicians across classes, physical locations, or performance contexts, and what this mobility might reveal
- Transformation from leather to iron jenbe and what it might reveal
- Impact of globalization upon jenbe design, technique, music, aesthetics, economics, and so on; e.g., be prepared to use jenbe to explain globalization, and be prepared to use globalization to explain jenbe
- Homogenization, conceptualization, and their relationship(s)
- Net “advantages” to jenbe’s globalization? Problems? Losses?
- Generational perspectives on jenbe and what they reveal; what comparable generational perspectives might reveal in your own fieldwork
- Commercialization and “decadence”: define, relate, problematize
- “blame” versus “fame” equation
- “integration” and “ambivalence” and their relationship
posted by CJS at 9:22 PM
3 Comments:
Holly's comments (bumped from previous post):
I think the expansion of this context shows how this instrument has spread throughout the globe. Some instruments are indigenous to certain places, but Polak is explaining how this instrument has expanded. I think an instrument can have multiple connotations. Take the trumpet. Some people may think of a fanfare, some may think taps, and others may think of jazz music. In those examples, the trumpet playing many people internally hear is drastically different between the three. For a fanfare, you might have thoughts of a powerful sound with a strong articulation, for taps more of a dark tone. And for jazz…well, there are a million different things people could think of when they hear the words “jazz trumpet.”
Polak talks about the physical space where certain ensembles play. For examples, he states if there are two ensembles, a Fulbe flute, fiddle, and calabash percussion ensemble and one jenbe ensemble, “the ‘ethnic’ party will perform inside the compound walls and then jenbe party outside in the street” (p. 163, ¶ 1). This implies that the more civilized ensemble belongs inside while the…”primitive” ensemble performs outside. This being such a heavy part of their culture, I don’t know why they would have the jenbe ensemble perform outside unless that’s they way it’s always been. You see people outside of malls, or in the subway station playing an instrument for money and this idea of having the ensemble play outside reminded me of that. In out own research, the physical spaces of performance tells about the kind of audience and what kind of music you can expect to hear.
In dealing with the first sentence under the unanswered questions section, the djembe has met the same rise in North American sales that also happened with the introduction of the conga from the 1940's into the 1970's. One company that pushes the market for amateur sales in North America is REMO. As REMO gained prominence in selling cheaply priced drums of "ethnicity" from the 1980's to today, it directly matches sales of hand drums that are easily portable. It's easy to strap on a djembe and walk around as freely as a guitar player. In fact, its easier than dragging around two congas and finding a chair to sit in. My answer to his unanswered question lies in areas that are outside of the scope he is looking.
I agree with Holly in that the performance venue does tell alot about the type of audience, but it may not necessarily be the same in the music that you will hear. There are concerts that deal with heavy metal music, R&B, soul, and also concerts that have Christian rap, rock, and even gospel music. An example from my own fieldwork is that the gospel choir I am researching not only sings music in churches, but they also sing the same music at different venues such as for a youth ministry or opening for other people at a concert or even a gospel music festival. It is true that the venue changes, but the message of the music itself might not necessarily change.
2. I believe that with jenbe playing there is a strong mobility across different classes, as well as different locations. On page 166, first paragraph, Polak writes that the jenbe "is about to replace the Afro-Cuban conga in the West as the most widespread drum played with bared hands...[and has] surpassed Ghanian drum and dance genres within the international scenes." This shows the global market for the jenbe is enormous. As Ian said, it is quite easy to pick up a jenbe and take it anywhwere you want and create music. I think that more and more today rhythm based concerts and percussion ensembles have grown in popularity. Stomp is a good example. The jenbe might be a portal to other people learning this type of music and these rhythm songs. I do agree with JT though that the older generation does not want to let outsiders and the younger generation teach the jenbe for fear of not keeping with traditions. But even traditions can morph. \
3.The transformation from the leather to iron jenbe might reveal a type of enculturation around the world. It may maye the jenbe last longer if they use iron rings to fasten the skin to the body. It may also be a hinderance because it is chaning the original drum. Does the iron fastened jenbe produce a different timbre than the leather jenbe? And would this necessarily be a bad thing for the jenbe players of the world? Does the older jenbe generation see the enculturation of the iron jenbe as a good thing? Polak said on pg 175, 4th paragraph that "one argument is in favor of the iron jenbe:it is far easier to change the skin." So maybe changing the drum isn't a bad thing after all. Stitching used with the sewing technique can damage the skin, so there is the answer to one of my questions. I think the iron jenbe would make the skin last longer, thus making the drum itself last longer. It also allows for more tension to be placed on the skin itself, thus maybe changing or helping produce a better sound.
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