warauduati

Aurelio Martínez, singer, composer, guitarist, and an apprenticed sacred dügü drummer from the small fishing village Plaplaya on the Caribbean coast of Honduras, was named newcomer of the year in 2006 by AfroPop Worldwide for his debut album Garifuna Soul produced by Stonetree Records.

Titled „the new voice of Paranda„, Martínez follows in the footsteps of such legendary paranderos and artists like Alfonso Palacio aka Paul Nabor, Jursino Cayetano, and Lugua Centeno. He is also part of the ensemble The Garifuna Collective featuring Andy Palacio.

Paranda is a Garífuna rhythm as well as a musical genre itself, a mixture of Latin melodies and raw, gritty vocals expressed and accompanied by acoustic guitar and traditional Garífuna percussion instruments like turtle shells, bottles, wood blocks, shakers, and nail scrapers.

„Yalifu“, one of the highlights of the Garifuna Soul concert at the Bliss Center for Performing Arts in Belize City, 2005.

Ethnomusicologist Jacob Edgar, head of music research and product develop- ment at the independent record label Putumayo World Music in the last years, has founded a new record label called Cumbancha, a „Cuban word of West African derivation that refers to an impromptu party or musical jam session“ (Cumbacha). The first release was the album „¡Ay Caramba!“ by Ska Cubano, the second and this time worldwide release an Israeli cross-cultural collabora- tive called The Idan Raichel Project. For 2007 new releases such as „Na Afriki“ by Dobet Gnahore from the Ivory Coast and „Afriki“ by Malian singer Habib Koité are already produced. But what is hitting the World Music Charts at this moment is „Wátina“ by Andy Palacio & the Garifuna Collective.

„A stunning new album featuring an all-star, multigenerational lineup of musicians from the African-Amerindian Garifuna communities of Belize, Guatemala, and Honduras. Filled with enchanting rhythms, powerful melodies and a deep soulfulness that recalls Cape Verdean or Afro-Peruvian music, Wátina serves as a stunning introduction to the music of this unique and inspiring culture.“ (Stonetree Records)

Andy Palacio is one of the most popular musicians in Belize with a deep commitment to preserving his unique Garífuna culture. He was born in the coastal village of Barranco listening to traditional Garifuna music as well as imported sounds from Honduras, Guatemala, the Caribbean, and the United States. As being Garífuna, a cultural blend of West Africans and Island Caribs of St. Vincent in the Lesser Antilles, „Palacio became a leading figure in a growing renaissance of young Garifuna intellectuals who were writing poetry and songs in their native language“ (Cumbancha). After several years of performing in worldwide cultural festivals, supposedly it was Belizean pro- ducer Ivan Duran, founder of the local record label Stonetree Records, who convinced Palacio to focus on less commercial forms of Garífuna music like Punta Rock, an upbeat popular dance form based on Garífuna rhythms. After searching for some of the best Garífuna musicians throughout Honduras, Belize, and Guatemala the ensemble The Garifuna Collective, made up of e.g. Paul Nabor and Aurelio Martinez, two famous Garífuna voices from Belize and Honduras, was born. „Rather then focusing on danceable styles like punta rock, the Collective explores the more soulful side of Garifuna music, such as the Latin-influenced paranda, and the sacred dügü, punta and gunjei rhythms“ (Cumbancha). It seems to have been a good decision since this debut album „Wátina“ of Andy Palacio & the Garifuna Collective is crowned with success so far.

„The meeting point where ancient meets modern, where acoustic slips effortlessly into and out of electric, this album reaches backwards and stretches forwards, defying the listener to pin it down. And yet, far from being disturbing, it is endlessly satisfying and soothing.“ (Observer Music Monthly, 18th March 2007)

For other Belizean and Punta Rock music go to Stonetree Records. Richt now simply enjoy this wonderful song and clip by Andy & the Collectives:

For more information also watch the Wátina: A Look Behind the Music of Andy Palacio, look for Andy Palacio’s Tour Dates or read the story to the album at Stonetree Records or at Cumbancha. Or go and buy …

In 2002 I spent March and April in Santiago de Chile for a short-time trainee- ship in the Non Governmental Organization Centro de Estudios Ciudadanos. Contrary to all my expectations I was requested to start a short research about the necessities and interests of capacities in Mapuche women in the metropolitan area of Santiago. In first place the Centro de Estudios Ciuda- danos dedicated its time to the development and support of the democracy in Chile, but in particular to the women’s rights movement and their assistence in professional and everyday life.

Since they had almost no information about the integration and situation of indigenous people in the closer and wider commuter belt of Santiago up to that day, they gave me the possibility (in cooperation with World University Service Germany) to gather some startup information and write a small research paper to hopefully iniciate some helpful integration and support programs in the future.

Besides having one of the best times of my life in Santiago, great as well as sometimes strange experiences there (for trying to help and getting involved with Mapuches I was for example called a terrorist in a radio interview at the Universidad de Santiago de Chile) I had the chance to try myself in field research at an early stage of my anthropological studies. Despite that two months were way too short and difficulties of a so far unknown South American lifestyle too big to get enough profound insides, I wrote a short paper in the end of my stay to present to the NGO. Although I know that they picked up my initial materials, my ideas, and proposals, it seems as if the organization doesn’t exist anymore by now. Nevertheless, even not in best Spanish nor comprehensive nor fully developed due to inexperience in those days, I place my paper here at your disposal, may it simply be for your interest or start off point for further investigation…

Estudio sobre Necesidades e Intereses de Capacitación Laboral en Mujeres Mapuches de la Región Metropolitana. Centro de Estudios Ciudadanos, Santiago de Chile. 2002, 1-23(28).

„When a ship sank to the bottom of the Rhine at Neupotz in Rhineland-Palati- nate in the 3rd Century A.D., it took with it over 700 kg of metal artifacts of the Roman period, precious and mundane. Thanks to an international reco- very effort, visitors to the Römisches Museum in Augsburg can soon immerse themselves in the history these artifacts show. The more than 1,000 objects of silver, bronze, tin, and iron dug up from the river are the largest single recovery of metallic articles dating from one of the most fascinating eras in European history. Included are religious articles, weapons, coins, tools, boat and wagon parts, pots and pans.“ (Römisches Museum Augsburg)

After a long missing and almost forgotten wintertime here in the Allgäu in the South of Germany, snowdrops and crocusses had already blossomed and everyone was preparing for an early spring. We should have known better! Even the early days of May we get snow almost every second year. So March is definitely still a winter month. This picture I took a few hours ago. Since yesterday it is snowing softly but continuously … finally!

„Why is Bavaria famous everywhere throughout the world for its Bratwurst?“ I ask myself in a previous entry on the Oktoberfest a couple of weeks ago. Not only for its Bratwurst in general but also for its Weißwurst in particular.

The 22nd of February 1857 the beer cellar „Zum ewigen Licht“ at the Marien- platz in Munich is packed with guests. The business is running well this day. But suddenly, now of all times, the sheep bowel skins, where the butcher usually pours in the sausage meat, are all used up. What to do? Unceremo- niously it occurs to Sepp Moser that he could use pig skins instead. Unfortu- nately though these are way too delicate, bursting open while roasting. An- other brilliant idea comes to Moser’s mind. Why not boil the sausages in hot water? The guests are enthusiastic and the day is saved.

Photo: Stadtarchiv München, Slg. Valentin

If this legend was true, the white sausage would have celebrated its 150th birthday one month ago. After the Weißwurst was born and spread throughout the world, nowadays about 75 million white sausages are produced each year. But the head of Munich’s municipal archives, Richard Bauer, has now investi- gated the origins of the Weißwurst and states that „Munich’s Original“ is in fact not only much older but also stems from somewhere else.

Although the pub „Zum ewigen Licht“ and his leaseholder Sepp Moser existed, there are already records of the famous Weißwurst in 1814, when munichois sucked white sausages during Maibock time (bock beer time in May). These were partly made of pork and veal, spicy seasoned and very hard to digest. Bauer concludes that the Weißwurst is nothing more than a further develop- ment of the Maibockwurst (frankfurter). And this one looks like the French „boudin blanc“, which was already produced since the 14th century.

The Weißwurst not one of Munich’s Originals? The Schutzgemeinschaft Münchner Weißwurst (Association for the Protection of Munich’s Weißwurst), who tries to protect its name though- out Europe as a brand, must be completely devastated. The battle for the Weißwurst as well as for the Nuremberg Bratwurst have their fate in the hands of the European Patent Court right now. If patent judges really protected the white sausage, it could only be produced in Munich and on its outskirts further on. The Butchers‘ Association of Bavaria is against the decision because the majority of Munich’s Original comes from large butcher businesses in Augsburg. Once in a while it is even spread that the better Munich Weißwurst is from around there.

But for the fact nothing is exactly known. Munich’s Weißwurst though for sure is one of tourists‘ favorites … and with a neat legend as well. Not surprising that the very famous German Weißwurst-Knigge by Werner Siegert, translated in 2004 in „How to eat the genuine Bavarian Weisswurst in a dignified way„, was also published for our Japanese guests now.

Here a few facts:

1) The „real“ Munich Weißwurst consists of a minimum of 51% veal.

2) Other ingredients are: bacon, rind, parsley, lemon peel, onions, herbs (especially macis), and crashed ice.

3) The mixture is filled into pork bowel skins and scalded in hot water (not boiling).

4) Let the Weißwurst stand for eight minutes to be right on time.

5) Always order piece by piece. A pair is only ordered by tourists.

6) In earlier times the Weißwurst was to be consumed by noon, otherwise the sausage would have gone bad because of no possiblilities for refrigeration. Nowadays you are allowed to enjoy throughout the day.

7) There is no ketchup on the side, please! The only three side orders allowed are sweet Bavarian mustard, pretzels, and wheat beer/weissbier.

8) For consumption techniques please observe your local Bavarian sitting next to you or the guide to do it „in a dignified way“.

I am hungry now …

Sources:
– Allgäuer Zeitung, Nr. 36, 13.02.2007, S. 4.
– Süddeutsche Zeitung, 22.02.2007.
– BR-Online.de, 24.06.2004.
– DW-World.de, Deutsche Welle, 19.05.2005.
– DW-World.de, Deutsche Welle, 23.11.2005.

An already wide-known installation by Angelika Böck titled „Stille Post“ (Silent Post) introduces the new exhibition „Afrika – der andere Blick“ (Africa – the other view) at the Kunsthaus Kaufbeuren. Till the 6th of May sculptures of colonial Africa can be marvelled at as a subject to „the other view“ of African artists. Most of the sculptures are courtesy of collector Jo Späth, who operates his own private museum of non-European art in Windach am Ammersee and whose figures in this case concentrate especially on the administrative-execu- tive area such as white colonial masters, military personnel, and policemen with uniforms, arms, pith helmets, and heavy boots to depict the foreign white man. The objects originate from various regions and traditions in Africa, therefore also different in style and quality. Nevertheless the portrayals of colonials are what unites the exhibition, interesting enough that the color of their skin or the complexion is not of importance at all.

This is why Angelika Böck’s installation might be the best example to intro- duce the exhibition. The result of her experiment in Côte-d’Ivoire/Ivory Coast comprises five portraits sculpted in wood – originally her portrayal. She had asked a local African artist to carve her bust. Just like the principle of Silent Post (a kids‘ game in English also known as Chinese whispers or Telephone), the finished sculpture served as a prototype for a second sculpture which was carved in another village. The second was a model for the third, the third for the fourth, and the fourth for the fifth. The metamorphosis is obvious. The busts distance themselves more and more from the original model, and as a result the last bust differs enormously in comparison to the first. Lips become thicker, eyes continually smaller, the hair grows shorter, while breast and nipples get more and more accentuated and defined, first covered up by a T-shirt, in the end with no cloths at all …

Sources:
Dosch, Stefan, 2007: Ein Weißer kann auch schwarz sein. In: Allgäuer Zeitung. Nr. 50, S.12.
Galerie Peter Hermann, o.J.: Stille Post (dt.), Silent Post (engl.).
Kunsthaus Kaufbeuren, 2007: Afrika – der andere Blick. Aktuelle Ausstellung.
Rinke, Jan, 2005: Blickwechsel. In: Afrika-Post. 4/2005, S.59. Online at Presseseite der Galerie Peter Herrmann.
Wendl, Tobias, 1999: Die Installation StillePost von Angelika Böck. In: Wahrnehmung und Differenz. Zur Ausstellung im Iwalewa Haus.

Munich’s Museum of Anthropology also published a catalogue:
Staatliches Museum für Völkerkunde München, 2004: Stille Post. Versuchs- anordnungen in Kunst und Wissenschaft – Angelika Böck und Hans Himmelheber. Katalog (via Amazon).