blues metropolitano

Transcript

blues metropolitano

BLUES METROPOLITANO:
Harlem e Napoli
Alessandro Buffa
Studi Interculturali
Modulo: «Blues Mediterraneo»
venerdì 7 dicembre 12
“Harlem is the capital of
every ghetto town”
Harlem
Edward Burra
1934
Source: Afro Modern: Journeys Through the Black Atlan:c:
hHp://www.telegraph.co.uk/travel/
picturegalleries/7052578/Afro-‐Modern-‐
Journeys-‐Through-‐the-‐Black-‐
AtlanWc.html?image=5
Invisibility Blues/ «Syncopated temporaliWes» (Paul Gilroy)
“Invisibility, let me explain, gives one a slightly different sense of Wme, you’re never quite on the beat. SomeWmes you’re ahead and someWmes behind. Instead of the swic and impercepWble flowing of Wme, you are aware of its nodes those points where Wme stands sWll or from which it leaps ahead.” Text: Ralph Ellison, Invisible Man (London: Penguin Books, 2001, originally published 1952), 8.
Photo: Gordon Parks, The Invisible Man, Harlem, New York, 1952.
Source: Planet hHp://www.planet-‐mag.com/2012/art/
sarah-‐coleman/gordon-‐parks/
Living Underground
“There is a certain acousWcal deadness in my hole, and when I have music I want to feel its vibraWon, not only with my hear but with my whole body. I’d like to hear five recordings of Louis Armstrong playing and singing “What did I do to be so Black and Blue” – all at the same Wme…Perhaps I like Louis Armstrong because he’s made poetry out of invisibility.”
Text: Ralph Ellison, Invisible Man, 8.
Photo: Gordon Parks, "Invisible Man" Series, New York, 1952.
Across 110th Street
I was the third brother of five Doing whatever I had to do to survive I'm not saying what I did was alright,
Trying to break out of the gheHo was a day to day fight
Bobby Womack, “Across 110th Street”
Link clip (Across 110th Street from Across 110th Street, Barry Shear, 1972: hHp://www.youtube.com/watch?
v=JxCsIX6iU5o venerdì 7 dicembre 12
Tammurriata Blu
Ce sta chi rischia a vita tuH’ e sere pecchè nun trov’ a fa nato mesWere
Mario Merola, «Tammurriata blu»
Link to clip («Tammurriata blu» from I contrabbandieri di Santa Lucia, Alfonso Brescia, 1979): hHp://
www.youtube.com/watch?
v=ybuE_xmqeug
Minor Bronx
Chisto è o bronx napulitano estorsioni e robba ‘mmano e’ l’America d’o 1920 a 16 anni vanno a dinto 7 scippi 3 rapine je me vendo ogni maWna lacceune a buon mercato pe ‘st’America ‘nguaiata. Ma addo’ è juta napule è cu l’addore d’ ‘o ccafè e‘scugnizze so’ cagnate mo’ se chiammano drogate.
E’ ‘n’esercito ‘e guagliune tuHe quante tale e quale ‘e giubbine e ‘e motorine pe’ nu grammo d’eroina
Chisto è ‘ bronx napulitano
Songhe nire e nun ‘o sanno
Vanno a scola pe’ capi’
Ca ‘e caccia l’ogne pe’ nun muri’…
Harlem meets Naples
Piazza Cavour: Blues Cross-‐roads
Link to clip: hHp://www.youtube.com/watch?
v=ug0pqI2QcR4
Apollo Theater
Fate Presto: Post-‐earthquake in Naples
Urban Ruptures
Le occasioni di Rosa, Salvatore Piscicelli, 1981
Link to clip: hHp://www.youtube.com/
watch?v=HQF__qypCOU
•
Blues Metropolitano, Salvatore Piscicelli (1985)
•
The Brother from Another Planet, John Sayles (1984)
AmericanizaWon of Naples
Creolized Mediterranean, Black AtlanWc, Our America
Yes i know my way
ma nun' è addò m'aie purtato tu
Yes i know my way
mo' nun me fuHe cchiù
mo' nun me fuHe cchiù
tu vaje deriHo e i' resto a pere
và tu va tant'io sbareo
Yes i know my way
'e guaie mie 'e saccio i'
ma chi me crede
yes i know my way
ma tu nun puo' venì
ma tu nun puo' venì
i' m'arreseco sulo si vale 'a pena 'e tentà'
ma po' chi mm'o ffa' fa
Siente fa' accussì nun dà reHa a nisciuno
faHe 'e faHe tuoie
ma si haje suffrì' caccia 'a currea
siente fa' accussì
mieHe 'e creature 'o sole
pecchè hanna sapè' addò fà friddo
e addò fà cchiù calore
(Pino Daniele, Yes I Know My Way, 1982)
Link to clip Pino Daniele in Blues Metropolitano: hHp://www.youtube.com/
watch?v=KX-‐aQUjNCCM
Outer-‐naWonal zigzag
“Certainly the ornamentaWon of the Tuaregs reaches a degree of enrichment that exceeds any in the blues and comes very close to that of cante hondo and flamenco. In the singing of many of the parkland and semi-‐desert peoples the use shadings and falling notes that approximate to those of the blues can be widely heard. Father Jones has spoken in general of “the outline of an African tune” which he likens to “a succession of the teeth of a rip-‐saw; a step rise (not usually exceeding a fich) followed by a gentle sloping down, and so on.”
Paul Oliver, “ Savannah Syncopators” (1970) in Paul Oliver, et al. eds, Yonder Come the Blues: The EvoluCon of a Genre (Cambridge: Cambridge University Press, 2012), 69
«Unspeakable Terror» (Paul Gilroy)
Go West Young Man
Keith Piper
1987
Source: Afro Modern: Journeys Through the Black Atlan:c
Hidden Histories of the RevoluWonary AtlanWc
River Queen, from Queen Nanny of the Maroons 2004 Renée Cox Source: Afro Modern: Journeys Through the Black Atlan:c
Brothers from Another Planet
Solomon in Blues Metropolitano
«Brother» in The Brother from Another Planet
Harlem and the Long echo of Dub Music
“When you double or dub, you replicate, reinvent, make one of many versions.”
David Toop, “Replicant: On Dub,” In Christoph Cox and Daniel Warner, eds. Audio Culture (New York: ConWnuum, 2004), 355.
Link to clip (Virgil’s Tour from The Brother from Another Planet): hHp://
www.youtube.com/watch?
v=wq1JJvxjbYc venerdì 7 dicembre 12
Looking Backward to Look Forward
Dub music and fractal history of Black diaspora: “…things dropping out and coming back in, really reclaiming this whole sense of loss, rupture and repair that is very common across the experience of black people in the diaspora.”
Arthur Jafa, Quoted in Michael Veal, Dub (Middletown CT: Wesleyan University Press, 2007), 205.
Link to clip (The last Angel of History, John Akomfrah, 1995):
hHp://www.youtube.com/watch?
v=uE3uqVRGQHY

blues metropolitano

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