D'Angelo's Voodoo Technology: African Cultural Memory and the Ritual of Popular Music Consumption
2012; University of Illinois Press; Volume: 32; Issue: 1 Linguagem: Inglês
10.5406/blacmusiresej.32.1.0137
ISSN1946-1615
Autores Tópico(s)South African History and Culture
ResumoThe execution of Call-Response tropes opens symbolic field, where reside long-standing, sublimated conflicts, taboos, and myths of personal and group emotional experience and our relationships to them. --Samuel A. Floyd Jr., The Power of Black Music Voodoo is an ancient African tradition. We use voodoo in drums or whatever, cadences and call-out to our ancestors and that in itself will invoke spirits. And music has to do that, to emotions, spirit. --D'Angelo, Jet Magazine This current volume of Black Music Research Journal posits that, despite great diversity of New World African cultures, examining their religious and musical practices can reveal noteworthy similarities. The trope of Call-Response, outlined in Samuel Floyd Jr.'s landmark The Power of Black Music (1995), provides an important hermeneutic for uncovering such connections. As a metaphor for expressive economy of musical practices, ideas, and experiences across Diaspora, Call-Response tropes focus our attention on perseverance of African cultural memory within United States and Caribbean (95-97). This essay examines mobilization of African cultural memory in work of neo-soul musician Michael Archer. Voodoo (2000), much anticipated follow-up to D'Angelo's 2995 debut album Brown Sugar, debuted at No. 1 on Billboard charts and went on to win 2001 Grammy Award for Best RB Farley 2000). Because of his upbringing, D'Angelo stresses a responsibility toward power of music, specifically the drums, and notes how when used properly as in voodoo they can evoke spirit. …
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