Richard M. Shain

Roots in Reverse


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      Roots in Reverse

      Richard M. Shain

       ROOTS IN REVERSE

      Senegalese Afro-Cuban Music and Tropical Cosmopolitanism

      Wesleyan University Press Middletown, Connecticut

      Wesleyan University Press

      Middletown CT 06459

       www.wesleyan.edu/wespress

      All rights reserved

      Manufactured in the United States of America

      Designed by Mindy Basinger Hill

      Typeset in Minion Pro

      The Publisher gratefully acknowledges the support of the AMS 75 PAYS Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation

      Library of Congress Cataloging-in-Publication Data

      Names: Shain, Richard M. (Richard Matthew), 1949– author.

      Title: Roots in reverse : Senegalese Afro-Cuban music and tropical cosmopolitanism / Richard M. Shain.

      Description: Middletown, Connecticut : Wesleyan University Press, 2018.

      Series: Music/Culture | Includes bibliographical references and index.

      Identifiers: LCCN 2018023906 (print) | LCCN 2018025256 (ebook) | ISBN 9780819577108 (ebook) | ISBN 9780819577085 (cloth : alk. paper) | ISBN 9780819577092 (pbk. : alk. paper)

      Subjects: LCSH: Popular music—Senegal—History and criticism. | Popular music—Senegal—Cuban influences. | Popular music—

      Social aspects—Senegal—History.

      Classification: LCC ML3503.S38 (ebook) | LCC ML3503.S38 S53 2018 (print) | DDC 780.89/96972910663—dc23

      LC record available at https://lccn.loc.gov/2018023906

      5 4 3 2 1

      Cover image: Mapathé “James” Gadiaga outside Chez Iba. Photograph by Djibril Sy. Used by permission. Blue texture: Pablo631, istockphoto

       FOR WOODIE BROUN

       1918–2001

      “You recall most often …

      [the] people who were kind to you.”

      Remember Me | Heywood Hale Broun

      Son is the most perfect thing for entertaining the soul.

       Ignacio Piñeiro, founder of Septeto Nacional

      C’est trés simple … On danse.

       Luambo “Franco” Makiadi, “Cooperation”

      It stays fresh as long as we catch the pattern.

       Baloji, “Karibu Ya Bintou”

       CONTENTS

       Acknowledgments xi

       Note on Spelling of Senegalese Names xvii

       INTRODUCTION Sound Track for a Black Atlantic xix

       ONE Kora(son): Africa and Afro-Cuban Music 1

       TWO Havana/Paris/Dakar: Itineraries of Afro-Cuban Music 14

       THREE Son and Sociality: Afro-Cuban Music, Gender, and Cultural Citizenship, 1950s–1960s 33

       FOUR From Sabor to Sabar: The Rise of Senegalese Afro-Cuban Orchestras, 1960s–1970s 57

       FIVE ReSONances Senegalaises: Authenticity, Cosmopolitanism, and the Rise of Salsa M’balax, 1980s–1990s 92

       SIX “Music Has No Borders”: The Global Marketing of a Local Musical Tradition, 1990s–2006 116

       CONCLUSION Making Waves 143

       Notes 149

       Glossary 187

       List of Interviews 189

       Bibliography 191

       Discography 203

       Index 207

       Illustrations 106

       ACKNOWLEDGMENTS

      This book has its origins in a presentation I gave to the Cuban Student Association at Rutgers University–Newark in 1994. The attendees’ enthusiastic response inspired me to take my inchoate ideas and mold them into something more substantial. As I did so, I realized I owed a great debt to my intellectual “fathers,” Robert Christgau and the late John Storm Roberts. I never met either man, but they both have had a significant impact on my life and my current research. As a teenager, I discovered both Latin and African music through Robert Christgau’s reviews in the Village Voice. Many years later John Storm Robert’s inimitable catalogs for his Original Music tutored me in the finer points of global musical traditions. A number of phone conversations with him furthered my training, and his books and cassettes were vital in my intellectual growth.

      I would like to thank the provosts and the vice presidents of academic affairs at Philadelphia University for their support over the years, allowing me to attend numerous conferences on three continents at which I was able to present my research. Many of these presentations enabled me to deepen my thinking about Afro-Cuban music. I especially would like to thank Lee Cassanelli and Ali Dinar at the University of Pennsylvania; the members of the Puerto Rican Studies Association and the Afro-Latino Research Associations; EHESS in Paris; Richard Fardon and Graham Furniss of the School of Oriental and African Studies at the University of London; and Ousmane Sene and Omar Ndongo of the West African Research Centre in Dakar for their astute commentaries on my work.

      I am grateful to three European colleagues who played a significant role in helping me complete my research. Hauke Dorsch, the director of the African Music Archives at the Johannes Gutenberg University in Mainz, Germany, literally gave me the key to the extensive offerings of this outstanding collection. Karin Barber’s editing of an article I published in Africa was so scrupulous and insightful, it necessitated my rethinking important parts of my arguments. Denis-Constant Martin at the University of Bordeaux has provided years of intellectual camaraderie and stimulation. He has clarified a