Vaccine (instrument)

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

They are thus also referred to as banbou[7] or bambú,[6] as well as bois bourrique[1] (or bwa bourik[8]), granboe,[9] fututo,[6] or boom pipe.[5] 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.[3][4][5]

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[1][7][3] and wrapped with leather[12] or bicycle inner-tube rubber to form a mouthpiece at one end.[5] One or more segments are taken from higher or lower in the bamboo trunk[6] to fashion vaccines; usually more than 1m long and 5 to 7 cm in diameter.[5] 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[4] 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[1][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.[1] Players use a method called hocketing, whereby each individual blows a single tone rhythmically to create an ostinato motif together.[3][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[3] with a long stick on the side of the tube, making the instrument both melodic and percussive.[1][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[5]—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.[5]

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";[1] though both Lomax's mid-1930s[13] and McAllister's early 1990s[7][4] 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,[1][3] fishermen,[1] stevedores[13] as well as sometimes used in dances of the Congo cycle.[1]

References

1. Courlander, H. (1941). "Musical Instruments Of Haiti". The Musical Quarterly. XXVII (3): 375, 381. doi:10.1093/mq/XXVII.3.371.
2. "Ra-Ra, a Haitian festival - Gail Pellett Productions". 3 December 2010.
3. 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.
4. McAlister, E. (2012). "Listening for Geographies: Music as Sonic Compass Pointing Toward African and Christian Diasporic Horizons in the Caribbean". Black Music Research Journal. Chicago: University of Illinois Press. 32 (2): 32. doi:10.5406/blacmusiresej.32.2.0025. JSTOR 10.5406/blacmusiresej.32.2.0025.
5. Averill, G. (2014). "Vaksin". Grove Music Online. doi:10.1093/gmo/9781561592630.article.L2255816. Retrieved 4 March 2018.
6. Landies, M. E. (2011). The band carries medicine: Music, healing and community in Haitian/Dominican Rara/Gagá (Thesis). Charleston (SC): Proquest Dissertation Publishing. ISBN 978-1-244-08147-5.
7. 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.
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.
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. Averill, G. (July–December 2008). "Ballad Hunting in the Black Republic: Alan Lomax in Haiti, 1936-37". Caribbean Studies. San Juan, Puerto Rico: Institute of Caribbean Studies. 36 (2): 15, 17. doi:10.1353/crb.0.0042.
14. Averill, G. (1990). "Thinking Rara: Root Grafts in Haitian popular music". New Orleans: International Association for the Study of Popular Music. Cite journal requires |journal= (help)