Family First

Cover image from "Les Dani de Nouvelle Guinee, Vol. 2"

The world of ethnomusicology is no longer (and hasn't been for a long time) a field primarily occupied by a handful of adventurous men. As academic practices have shifted from being observers to being  participants for lengthy spells of time, ethnographers, anthropologists, musicologists, and others, travel with their families to go live among the cultures being researched. An added bonus of taken the family along is that of access to ceremonies restricted to one gender only, especially in societies that are strongly stratified. Another bonus is that when contacting the most remote peoples, a family will be perceived as peaceful visitors, while a company of men only can be perceived as a threat. Anne-Marie, and Pierre Petrequin visited, recorded, and lived among the Dani of Western Guinea in Indonesia. Some of their recordings were collected on four disks called Les Dani de Nouvelle Guinee. Two recordings, one from Volume 1, and one from Volume 2, are listed in this year's top 100.

Anne-Marie and Pierre Petrequin

Traditional music among distant cultures is often a family affair. With no television, computer, or radio available, families make music for entertainment (or so it seems.) Below are portraits of Irina Khritoroforovna Kolegova and Anna Vasilevna Kolegova. The two perform several tracks together on Kamtchaka:Tambours De Danse De L'extreme-orient Sibérien recorded by Henri Lecomte. I've painted both Anna and Irina Kolegova twice before. Read here to learn more about their recordings.

Anna and Irina Kolegova

In 1923, four of the six children, Paco, Ezequiel, Pepe, and Elisa, of Dr. Francisco Aguilar, created a lute quartet: Cuarteto Aguilar. From Murcia, Spain, the four made a name for themselves until the Spanish Civil War ended their career. The worked with the composer Manuel de Falla, and are pictured in a photo together with Igor Stravinsky. The tune Fiesta Mora en Tanger appears on an LP from the Secret Museum of Mankind series who are, after a lengthy hiatus, compiling new collections again.

Paco and Elise Aguilar

There are plenty of examples of lovers working together in the field of popular music. Caetano Veloso and Gal Costa are an example. The Top 100 2022 features the track Relance, written by Veloso and sung by Costa. (Edit: Despite some cozy pictures together, I don't see evidence the two were lovers. I guess the musicians of "Tropicalismo" were one big family.)

Caetano Veloso and Gal Costa

Family is on my mind a lot these days as I travel back and forth from the US to the Netherlands where my mother is battling a serious illness. Here's her portrait too:

Tonnie van Boekel

 

Miniatures (Top 100 2022)

Allen Ravenstine, Pere Ubu

David Thomas, Pere Ubu

After a little break for a while I'm ready to start the next series of 100, the Top 100 2022. While it was clear for a while already I would stay close to the double portrait concept used in 2021, I am going to make some changes in the process. Looking back on the Top 100 2021, I found that the juxtaposition, or contrast of object and subject was hardly ever as black and white as I had imagined. In stead of focusing on the differences between the people portrayed, I'm now treating them as equal. There's always a relationship between two people (or more) involved in the making of a recording and this relationship is usually much more egalitarian, at least today, as the colonialist attitude of the earlier 20th century I took as a vanishing point last year. Even within early ethnomusicological recordings I found that the relationship between object and subject was often based on equality, certainly not as dismissive as it is portrayed in contemporary criticism. 

I've started collecting the images of the people who will feature in the top 100. It's a mix of familiar faces (to me) and new ones. To become familiar with the musicians, musicologists, and producers of the recordings in the list I thought I would paint a bunch of miniatures onto a canvas. As I did with the two larger recent canvases I am planning to paint 100 miniatures on it. I organized the canvas in such a way that all 100 portraits have a 4x4 inch square available to them. I neatly gridded out the canvas. I will present the images on here in series of 10 at a time. I have now 45 done. Here's the painting thus far. Below it I'll zoom in on the individual people with a little commentary to go with it.

100 Faces of the Top 100 2022, in progress, 24x36 inches

The first images I'll zoom into are all related to the band The Ex. Several of their songs already secured a spot in the 2022 list even though that list is nowhere near completion. The first one to enter was the song Eoleyo, written by the famous Ethiopian composer and percussionist Mulatu Astatke. Eoleyo is not a famous Astatke song, it was only released locally on cassette tape, but the audience at a concert in Addis Ababa burst out in ecstatic approval. The vocal at the concert are by Katharina Borneveld, who is usually the drummer for The Ex. For the occasion Han Bennink, the most famous of Dutch drummers, sat in. Terrie Ex (Terrie Hessels) is the only one from the six portraits below whom I painted before. He produced the record Ilital: New Ethiopian Dance Music, from which Gue by Tirudel Zenebe is listed high in the Top 100. Another famous Ethiopian musician, the saxophonist Getatchew Mekuria, did a whole tour with The Ex. She Ilelle, in the Top 100, was performed on one of those occasions (Groningen.) Andy Moor is the third Ex member I painted. Here are all six:

Tirudel Zenebe

Getatchew Mekuria

Han Bennink

Andy Moor

Katharina Bornefeld

Terrie Ex

The final two images illustrate two songs in one by Cathy Berberian. Her album magnifiCathy I had on tape in the 90s and was thrilled to find a copy on vinyl in a second hand record store in Nijmegen, the Netherlands. Both songs, A Flower and The Wonderful Widow of Eighteen Springs, by the composer John Cage. A Flower (1950) has no words, just sounds, while the text of The Wonderful Widow of Eighteen Springs (1942) is based on a passage in James Joyce's Finnegan's Wake. The musical score to accompany both songs was written for closed piano (the lid closed so that the piano becomes a percussion instrument.)

John Cage

Cathy Berberian