Vaccine (instrument)

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Boulou Bertrand demonstrating Haitian vaksin blowing - North Miami Beach, Florida (June 1990. Cantrell, Brent, Collector) FA5095 - State Archives of Florida, Florida Memory - zoomed 400%25, rotated, sharpened, clipped.jpg
Vaksin [1] [2] [3] (or vaksen, vaccine [4] [5] ), a simple tube bamboo trumpet blown by a musician.
Vaksin & Kone with Parker Fly Mojo - Haiti - MIM PHX (2022-04-06 03.02.27 by Terry Ballard) - whiten, sharpen, clipped.jpg
Vaksin (cylinders in rear-left) and Konè (flared horns in center-front), exhibited at the Musical Instrument Museum (Phoenix)

Vaccine [4] [5] (or sometimes vaksin [1] [2] [3] ) are rudimentary single-note trumpets found in Haiti and, to a lesser extent, the Dominican Republic [6] as well as Jamaica. [3] They consist of a simple tube, usually bamboo, with a mouthpiece at one end.

Contents

They are thus also referred to as banbou [7] or bambú, [6] as well as bois bourrique [4] (or bwa bourik [8] ), granboe, [9] fututo, [6] or boom pipe. [3] They are not to be confused with other Haitian handmade trumpets called konè or klewon, made of a yard-long white metal tube with a flared horn, called kata. [1] [2] [3]

Vaccine players are known as banboulyès. [6]

Origins

Haitian ethnographer Jean Bernard traces the vaksin back to indigenous precolonial peoples of Haiti. [7] However both Thompson [7] and Holloway [10] draw links to the single-note Bakongo bamboo trumpets called disoso, themselves originated in Mbuti hocketing music. Gillis also likens them [11] to trumpets used in Bambara broto music along the Niger, and Jamaican Kumina.

Construction

Traditionally, vaccine are made of a length of bamboo, hollowed-out and dried, [6] with a node membrane pierced [4] [7] [1] and wrapped with leather [12] or bicycle inner-tube rubber to form a mouthpiece at one end. [3] One or more segments are taken from higher or lower in the bamboo trunk [6] to fashion vaccines; usually more than 1 m long and 5 to 7 cm in diameter. [3] Each one is cut shorter or longer in order to produce a higher or lower tone: [7] [6] bas banbou is long and gives a low-pitched sound, and charlemagne banbou is short and is pitched high. [7]

McAlister explains [2] that Afro-Hispaniolan lore involves asking the bamboo plant for its use and leaving a small payment in its place. Landies witnessed this process, which she described as follows: "the harvest of the bamboo was accompanied by an offering. [...] [It] is harvested with the permission of Simbi, a Petwo Lwa who loves water, as bamboo in the Dominican Republic grows in moist land, e.g., along rivers" [6]

On occasion, iron [4] [13] or plastic [7] pipes are substituted for the bamboo.

Playing

A typical vaccine band is composed of three to five players, usually marching abreast of each other. [4] Players use a method called hocketing, whereby each individual blows a single tone rhythmically to create an ostinato motif together. [1] [7] These motifs are usually composed through a process of group improvisation. [7]

To keep rhythm, vaccine players also beat a rhythmic timeline, called kata [1] with a long stick on the side of the tube, making the instrument both melodic and percussive. [4] [7]

Tuning and scale

Within an ostinato, vaccine tones stack up in approximate third intervals to each other—creating tritones and arpeggiated diminished chords, but without a harmonic intent [3] —with the two treble-most vaccines often tuned a semitone apart. [7] [14] Landies also reports [6] other intervals between the lowest two voices. One of the vaccine serves as the tonal center of the motif. [3]

Uses

Most importantly, vaccines are a key component of rara orchestras. In his 1941 article, Courlander wrote that rara bands "seldom have drums and depend almost entirely on vaccines"; [4] though both Lomax's mid-1930s [13] and McAllister's early 1990s [7] [2] studies report many more instruments—mostly percussive—as part of rara orchestras.

Scholars also report vaccines used as signal horns by parties of agricultural workers, [4] [1] fishermen, [4] stevedores [13] as well as sometimes used in dances of the Congo cycle. [4]

References

  1. 1 2 3 4 5 6 7 Gillis, V.; Averill, G. (1991). Caribbean Revels: Haitian Rara and Dominican Gagá (PDF) (Media notes). Smithsonian Folkways Records. doi:10.2307/768727. ISSN   0740-1558. SFW40402.
  2. 1 2 3 4 5 McAlister, E. (2012). "Listening for Geographies: Music as Sonic Compass Pointing Toward African and Christian Diasporic Horizons in the Caribbean". Black Music Research Journal. 32 (2). Chicago: University of Illinois Press: 32. doi:10.5406/blacmusiresej.32.2.0025. JSTOR   10.5406/blacmusiresej.32.2.0025. S2CID   191993531.
  3. 1 2 3 4 5 6 7 8 9 Averill, G. (2014). "Vaksin". Grove Music Online. doi:10.1093/gmo/9781561592630.article.L2255816. ISBN   978-1-56159-263-0 . Retrieved 4 March 2018.
  4. 1 2 3 4 5 6 7 8 9 10 11 Courlander, H. (1941). "Musical Instruments Of Haiti". The Musical Quarterly. XXVII (3): 375, 381. doi:10.1093/mq/XXVII.3.371.
  5. 1 2 "Ra-Ra, a Haitian festival – Gail Pellett Productions". 3 December 2010.
  6. 1 2 3 4 5 6 7 8 9 Landies, M. E. (2011). The band carries medicine: Music, healing and community in Haitian/Dominican Rara/Gagá (Thesis). ISBN   978-1-244-08147-5.
  7. 1 2 3 4 5 6 7 8 9 10 11 12 McAlister, E. (2002). Rara! Vodou, Power, and Performance in Haiti and Its Diaspora. Berkeley: University of California Press. pp.  46, 47, 95. ISBN   978-0-520-22823-8.{{cite book}}: CS1 maint: publisher location (link)
  8. ↑ Averill, G. (1997). A Day for the Hunter, a Day for the Prey: Popular Music and Power in Haiti. Chicago: The University of Chicago Press. p.  237. ISBN   978-0-226-03292-4.{{cite book}}: CS1 maint: publisher location (link)
  9. ↑ Lekis, L. (1956). The Origin and Development of Ethnic Caribbean Dance and Music (Thesis). University of Florida Press.
  10. ↑ Holloway, J. E. (2005). Africanisms in American Culture. Indiana University Press. p. 298. ISBN   978-0-253-21749-3.
  11. ↑ Gillis, V. (1978). Rara in Haiti/Gaga in the Dominican Republic (Media notes). Ethnic Folkways Library. Folkways Records. p. 5. Folkways 4531.
  12. ↑ Walko, K. (12 December 2012). "Intertwining Voodoo and Catholicism in Celebration". Miami University (ATH175 Peoples of the World). Retrieved 9 March 2018.
  13. 1 2 3 Averill, G. (July–December 2008). "Ballad Hunting in the Black Republic: Alan Lomax in Haiti, 1936–37". Caribbean Studies. 36 (2). San Juan, Puerto Rico: Institute of Caribbean Studies: 15, 17. doi: 10.1353/crb.0.0042 . S2CID   145296791.
  14. ↑ Averill, G. (1990). "Thinking Rara: Root Grafts in Haitian popular music" (Document). New Orleans: International Association for the Study of Popular Music.
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