TAILIEUCHUNG - AFRO-CUBAN BATÁ DRUM AESTHETICS: DEVELOPING INDIVIDUAL AND GROUP TECHNIQUE, SOUND, AND IDENTITY

In regard to the relatively trivial examples of aesthetic objects treated so far, our pleasure rested in each case on an intuitive presentation of something external (on the presentation of `physical phenomena' in Brentano's sense). We have now, however, reached a point where we must turn inward and consider the feelings of higher order aesthetic pleasure which are provoked by our presentations of mental, and particular emotional, phenomena themselves. That is we must turn to those aesthetic experiences which are provoked by what Brentano, Meinong and Witasek called the `inner perception' of psychic phenomena and by the peculiar modifications. | ABSTRACT Title of Dissertation AFRO-CUBAN BATÁ DRUM AESTHETICS DEVELOPING INDIVIDUAL AND GROUP TECHNIQUE SOUND AND IDENTITY Kenneth George Schweitzer Doctor of Musical Arts 2003 Dissertation directed by Professor Robert C. Provine School of Music The Lucumí religion also Santería and Regla de Ocha developed in 19th-century colonial Cuba by syncretizing elements of Catholicism with the Yoruba worship of orisha. When fully initiated santeros priests actively participate in religious ceremonies by periodically being possessed or mounted by a patron saint or orisha usually within the context of a drumming ritual known as a toque de santo bembé or tambor. Within these rituals there is a clearly defined goal of trance possession though its manifestation is not the sole measure of success or failure. Rather than focusing on the fleeting exciting moments that immediately precede the arrival of an orisha in the form of a possession trance this thesis investigates the entire four- to six-hour musical performance that is central to the ceremony. It examines the brief pauses the moments of reduced intensity the slow but deliberate build-ups of energy and excitement and even the periods when novices are invited to perform the sacred batá drums and places these moments on an equal footing with the more dynamic periods where possession is imminent or in progress. This document approaches Lucumí ritual from the viewpoint of batá drummers ritual specialists who during the course of a toque de santo exercise wide latitude in determining the shape of the event. Known as omo Ana children of the orisha Ana who is manifest in drums and rhythms batá drummers comprise a fraternity that is accessible only through ritual initiation. Though they are sensitive to the desires of the many participants during a toque de santo and indeed make their living by satisfying the expectations of their hosts many of the drummers activities are inwardly focused on the cultivation and preservation of this

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