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SEMESTER AT SEA COURSE SYLLABUS

University of Virginia, Academic Sponsor

Voyage: Fall 2014

Discipline: Music

MUSI 2570-102: Music Cultures: Musical Performance in Africa and the Afro-Atlantic

Lower Division

Faculty Name: Professor Michelle Kisliuk

Credit Hours: 3; Contact Hours: 38

Pre-requisites: None (no formal musical experience is required, although a sense of “musicality”

is preferred). Some background in humanities/arts and/or social sciences is advised.

COURSE DESCRIPTION: This course explores musical performance in Africa (especially Ghana, Senegal, the Central

African Republic, and Morocco) and the African Atlantic (especially Brazil and Cuba) through

reading, discussion, audio and video examples, and significant hands-on practice in music and

dance. We will learn about African and diasporic music/dance styles (and their historical

interconnections because of the trans-Atlantic slave trade), their sociomusical circumstances and

processes, as well as performed resistances and responses to the colonial and post/neo-colonial

encounter. In addition, we will address the politics and processes involved in translating

performance practices from one cultural context to another (we will consider the “secret African

cities” in several of our European ports of call, including France, Spain, and Portugal), as well as

some issues raised by tourist productions (especially in Brazil and Cuba, and also Barbados).

Each student's personal relationship to the material/experience will be integrated into study and

shared in discussion.

Our major field lab (drumming and dancing workshop and performance) will take place in

Ghana (port of Tema), and much of our practical work in class will be focused on preparing for

this lab by learning Ghanaian (Ewe) drumming, dancing, and singing. Readings, discussions, and

written work will focus heavily on topics and issues related to the main music/dance traditions

that we are learning to perform, as well as others we are likely to encounter in ports of call,

though we may venture beyond those areas from time to time. The course will explore both

"traditional" and "popular" styles, leading us to question those categories. There will be several

writing assignments, including ongoing responses to readings and field experiences, a “mini-

autobiography,” a field lab response essay, and a final paper addressing in-depth an aspect

(chosen by each student) of the course material/field lab, and/or other field experiences (approx.

7-10 pages -- and including a 2-page oral presentation version of this material).

COURSE OBJECTIVES:

In-depth exposure to African and Afro-Atlantic performance practices through hands-on

experience and through reading, viewing/listening, and discussion. Consideration of issues

including the interrelationship of aesthetics and politics in particular cultural contexts (and

in particular ports of call) will be integrated throughout the course.

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REQUIRED TEXTBOOKS

AUTHOR: John Miller Chernoff

TITLE: African Rhythm and African Sensibility

PUBLISHER: Chicago

ISBN #: 0-226-10345-5 (paper)

DATE/EDITION: 1979

AUTHOR: Barbara Browning

TITLE: Samba: Resistance in Motion

PUBLISHER: Indiana

ISBN #: 0-25320956-0 (paper)

DATE/EDITION: 1995

AUTHOR: Ketherine Hagedorn

TITLE: Divine Utterances: The Performance of Afro-Cuban Santeria

PUBLISHER: Smithsonian

ISBN #: 978-156098947 (paper)

DATE/EDITION: 1995

TOPICAL OUTLINE OF COURSE NOTE THIS CALENDAR WILL BE REVISED AS WE

GO ALONG<-- AND ELECTRONIC RESERVE READINGS WILL BE ADDED and/or

MOVED AS WE GO

Depart Southampton- August 23:

A1- August 25: Introduction

Overview of course topics, assignments, and approach, getting to know one another

Practicum: Introduction to Ewe drumming, singing, and dancing

View: Listening to the Silence in class (15 mins)

Read for next class: Stone, “Profile of Africa” in Garland Handbook of African Music

(electronic reserve) pp. 2-13

And

Chernoff: Preface and Introduction: “Scholarship and Participation” in African Rhythm and

African Sensibility

A2-August 27: Ghana: Ewe social and musical aesthetics

Discussion and practicum

Read for next class: Chernoff, Chapter 1: “The Study of Music in Africa”

and “Russia and Race: Being African in St Petersburg” electronic reserve (1 pg)

Question to ponder while in port: what kinds of diversity or lack thereof do you notice in this

city. Might there be “hidden” diversities that are not at first apparent?

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African Restaurant in St. Petersberg: Zhukovskogo St, House 57, St. Petersburg, Russia

St. Petersburg: August 29- September 2

A3- September 3: Ghana/Ewe continued

Discussion of Chernoff (and Africans in diaspora) and continuation of practicum in

drumming/singing/dancing.

Prepare mini-autobiography for next class

Read Wiki on “Afro Germans” (electronic reserve)

Gdansk Poland: September 5-7

Rostok Germany Sept 8-9

A4- September 10: Share mini autobios

Continue with practicum

Read for next class:

Chernoff, Chapters Two: and Three: “Music in Africa” and “Style in Africa”

A5- September 12: Ghana continued

Discussion of Chernoff

Practicum

Film: “Le Havre” dir. Aki Kaurismäki

Readblog: An African in Antwerp:

http://juskosave.blogspot.com/2008/12/african-in-antwerp-residents-story.html

(on electronic reserve)

Mata Mata and Pili Pili

Hoogstraat 44, Antwerp 2000, Belgium

Antwerp: September 14-16

Le Havre: September 17-19

A6-September 20: Ghana continued

Discussion and practicum

For next class finish Chernofff (Chapter 4 “Values in Africa”)

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A7- September 22:

Chernoff reading “collage”

Practicum

http://www.yale.edu/glc/tangledroots/Barbadosed.htm

Recommended: 3sixty5 Restaurant Dublin (Friday night!) 15/16 Sampson Lane Off Moore Street Dublin 1

Dublin: September 24-27

A8- September 28:

Read: Locke: Drum Gahu part 1 (electronic reserve)

Practicum

A9- September 30:

http://www.torontosun.com/travel/international/2008/08/31/6622766-sun.html

Lisbon: October 1-2

In transit: October 3

Cadiz: October 4-5

A10- October 7:

Kapchan, selections from Traveling Spirit Masters

Casablanca: October 8-11

A11-October 13: Senegal

Read: Selections from Patricia Tang Masters of the Sabar

A12- October 15: Senegalese hip-hop

Dakar: October 16-19

A13- October 21:

- October 29: Intensive practicum in Ewe

Drumming, dancing, singing in preparation for field lab.

Read for next class:

Locke, Drum Gahu pp

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A14- October 23: Intensive practicum in Ewe

Drumming, dancing, and singing

Takoradi: October 25-26

Tema: October 27-28 FIELD STUDY DAY

A15 Response to and evaluation of field lab

3-4 pages of written response to field experience due next class. Be sure

to integrate/contrast with ideas from class and readings.

Ghana quiz: Information and practicum

Introduction to Brazil

Begin Browning, Samba (pages tba)

A16- October 31:

Continue readimg Browning, Samba

Study Day: November 2

A17-November 3:

Continue readimg Browning, Samba

A18- November 5:

Finish Browning, Samba

Rio de Janeiro: November 7-9

In-transit: November 10-11

Salvador: November 12-14

A19- November 15:

Brazil quiz and

Intro Cuba

Read for next class Hagedorn Introduction and Chapter 1

A20- November 17:

Discuss Hagedorn

For next class Hagedorn Chapters 2 and 3

Study Day: November 19

A21-November 20:

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Discuss Hagedorn, integrate info on Barbados

Hagedorn, Chapter 4

Practicum

Bridgetown: November 22-24

A22-November 25:

Barbados discussion,

Practicum (BaAka music)

Complete Hagedorn for next class

A23- November 27:

Overview of Cuban popular musics

Selections from Robin Moore

Havana: November 29- December 2:

Study Day- December 3

A24-December 4 (A Day Finals):

Oral presentations of final projects.

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FIELD WORK

Field lab attendance is mandatory for all students enrolled in this course. Please do not book

individual travel plans or a Semester at Sea sponsored trip on the day of our field lab.

The field lab for this course will be in Tema, Ghana on Tuesday, 28 October.

This will be an intensive ewe drumming/dancing/singing master class and performance event

with master drummer Emmanual Agbeli of the Dagbe Cultural Center in Kopeia, Ghana.

Ewe Drumming, Dancing, Singing: Intensive Workshop and Evening

Ceremony/Performance

Emmanuel Agbeli will lead students in an intensive training workshop in Ewe drumming,

dancing, and singing (for which the class will prepare during the voyage). Emmanuel directs the

Dagbe Cultural Institute in Volta Region, Ghana, and is a world class teacher of Ewe traditions,

from a family of famous drummers and dancers. Dinner will be local Ghanain food. In the

evening we will attend a traditional event or ceremony that includes Ewe drumming, dancing,

and singing.

Academic Objectives:

1. Intensive first-hand experience in African learning context

2. Intensive first-hand experience in African performance context

3. Intense interaction with local cultural experts and members of community in the context of

traditional culture

You will keep a field journal throughout the voyage, and integrate into your weekly reading

response a related response to your field experience in each port, including explorations of “secret

African cities.” Each response/resport will be graded on a three-point scale ( 3 = outstanding, 2 =

adequate, 1= handed in something but inadequate 0 = not handed in).

METHODS OF EVALUATION / GRADING RUBRIC

Ensemble learning and overall participation %35 (this refers to quality of attention during

practicum labs as well as success in learning rhythms, movements and songs). Attendance at all

class meetings/practica is mandatory.

Term project %30

All other written assignments including reading/field journal %35

Essays. Typed/printout double spaced. Be sure to edit/refine and proofread all essays.

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RESERVE LIBRARY LIST

AUTHOR: Patricia Tang

TITLE: Masters of the Sabar

PUBLISHER: Temple

ISBN #: 978-1-59213-420-5

DATE/EDITION: 200

ELECTRONIC COURSE MATERIALS

Podcasts: Afropop Worldwide (PRI)

Many readings currently on UVA Collab will be provided by instructor.

AUTHOR:

HONOR CODE

Semester at Sea students enroll in an academic program administered by the University of

Virginia, and thus bind themselves to the University’s honor code. The code prohibits all acts of

lying, cheating, and stealing. Please consult the Voyager’s Handbook for further explanation of

what constitutes an honor offense.

Each written assignment for this course must be pledged by the student as follows: “On my honor

as a student, I pledge that I have neither given nor received aid on this assignment.” The pledge

must be signed, or, in the case of an electronic file, signed “[signed].”