The discovery of the Americas by Columbus in 1492 initiated a whole wave of European immigration towards the west. Nations such as England, France, Spain and Portugal set out across the Atlantic to explore, conquer and colonise huge territories of what are now known as the Northern and Southern American continents. So as to maintain the smooth running of these colonies, these nations brought with them black African slaves. It is of interest to examine how, under different influences and oppressions, the descendants of these slaves have developed to form significantly different cultures.
Today, a very noticeable contrast can be seen between the populations of Central and South America when compared to the black societies of North America. This contrast is particularly distinct in regards to music. It seems apparent that there is far more reminisce and reference to traditional African cultures in the music of Latin America then the Jazz of the North. Is this so? If it is then what number of things could have contributed to it? Could it be due to different oppressing regimes, perhaps dictated by religious differences? Maybe the cultural differences of the colonialists. Possibly even the indigenous natives made a difference. Most likely these things would be true due to a whole combination of contributing elements.
The Spanish were the first to leave for the New World. Within a couple years of Columbus' arrival in the Caribbean they had started to work their way south and inland down the Isthmus. The Portuguese, French and British soon followed. The British and French where most active in what is now known as the USA and Canada as well as the Caribbean islands. The Portuguese settled in what is now known as Brazil and the Spanish conquered territory from today's Mexico all the way down to Chile and Argentina. As well as these large nations there were also various smaller settlements such as the Dutch and Russians. By the 19th century these nations had between them, shipped over 11 to 12 million Black African Slaves.
It would not be possible in this study to attempt to include every relevant culture. In South America alone there are 13 countries each with diverse music traditions and all relevant to a study of Black African Cultural development. Therefore the Caribbean Islands will largely be excluded. Also there will not be time to give a detailed analysis of the many diverse African cultures from which the slaves came before colonialism, although a general understanding of African culture and music is acknowledged in the writing of this essay. Finally due to its particularly rich music and strong African influences, the areas of Spanish and Brazilian colonisation in Latin America will be examined as the primary comparative against the Jazz music of North America. In order to understand what it is that has made these two cultures so different it is necessary to closely examine both in their modern context as well as their history along with considerations towards the cultures that oppressed them.
Although Jazz has vast and varied origins, many of its influences can be found in the 'deep southern' states of North America such as the cotton fields of Mississippi Delta. The main oppressors here were the protestant British who lay down their regime in cold unforgiving rigidity. In an attempt to control black slaves and manipulate them as a work force, they found it necessary to hammer out all expression of African culture. If two slaves were found to speak the same native language they would be separated. Possibly most significantly, the slaves were forbidden their drums, a resource which is of great importance to African traditions. "Drumming, in particular is a highly sophisticated activity in Africa" and is used to accompany many day-to-day events, from religious ritual and worship to marriage ceremonies, celebration and even communication. In what ways the deprivation of their percussion (as well as all other African instruments) affected them is difficult to say but it is evident that African percussion can no longer be found in the music of these people.
However, despite their oppressors, black Africans have often found ways to express and maintain their traditions. For instance the colonial authorities seemed unable to (or chose not to) prevent the singing of work songs. Such forms as call and response can often be seen in Jazz music today. Black slaves were forced to convert to the Christian religion. They were required to go to church and sing hymns although again here we can see an example of them maintaining their own culture by adopting the western hymns and personalising them to create the style now known as gospel music. This is very similar to the vocal styles found in Africa.
Having been deprived of their traditional instruments, around the 1880's/90's, black Africans were permitted to play in marching bands (such as the music of John Phillip Sousa) and funeral marches in New Orleans. This put at their disposal, brass instruments (although not saxophones until later) and percussion that finally gave them a means to a musical outlet. The large 'marching' drum was set on the floor and later developed in to the early American 'trap-kit'.
Today, a very noticeable contrast can be seen between the populations of Central and South America when compared to the black societies of North America. This contrast is particularly distinct in regards to music. It seems apparent that there is far more reminisce and reference to traditional African cultures in the music of Latin America then the Jazz of the North. Is this so? If it is then what number of things could have contributed to it? Could it be due to different oppressing regimes, perhaps dictated by religious differences? Maybe the cultural differences of the colonialists. Possibly even the indigenous natives made a difference. Most likely these things would be true due to a whole combination of contributing elements.
The Spanish were the first to leave for the New World. Within a couple years of Columbus' arrival in the Caribbean they had started to work their way south and inland down the Isthmus. The Portuguese, French and British soon followed. The British and French where most active in what is now known as the USA and Canada as well as the Caribbean islands. The Portuguese settled in what is now known as Brazil and the Spanish conquered territory from today's Mexico all the way down to Chile and Argentina. As well as these large nations there were also various smaller settlements such as the Dutch and Russians. By the 19th century these nations had between them, shipped over 11 to 12 million Black African Slaves.
It would not be possible in this study to attempt to include every relevant culture. In South America alone there are 13 countries each with diverse music traditions and all relevant to a study of Black African Cultural development. Therefore the Caribbean Islands will largely be excluded. Also there will not be time to give a detailed analysis of the many diverse African cultures from which the slaves came before colonialism, although a general understanding of African culture and music is acknowledged in the writing of this essay. Finally due to its particularly rich music and strong African influences, the areas of Spanish and Brazilian colonisation in Latin America will be examined as the primary comparative against the Jazz music of North America. In order to understand what it is that has made these two cultures so different it is necessary to closely examine both in their modern context as well as their history along with considerations towards the cultures that oppressed them.
Although Jazz has vast and varied origins, many of its influences can be found in the 'deep southern' states of North America such as the cotton fields of Mississippi Delta. The main oppressors here were the protestant British who lay down their regime in cold unforgiving rigidity. In an attempt to control black slaves and manipulate them as a work force, they found it necessary to hammer out all expression of African culture. If two slaves were found to speak the same native language they would be separated. Possibly most significantly, the slaves were forbidden their drums, a resource which is of great importance to African traditions. "Drumming, in particular is a highly sophisticated activity in Africa" and is used to accompany many day-to-day events, from religious ritual and worship to marriage ceremonies, celebration and even communication. In what ways the deprivation of their percussion (as well as all other African instruments) affected them is difficult to say but it is evident that African percussion can no longer be found in the music of these people.
However, despite their oppressors, black Africans have often found ways to express and maintain their traditions. For instance the colonial authorities seemed unable to (or chose not to) prevent the singing of work songs. Such forms as call and response can often be seen in Jazz music today. Black slaves were forced to convert to the Christian religion. They were required to go to church and sing hymns although again here we can see an example of them maintaining their own culture by adopting the western hymns and personalising them to create the style now known as gospel music. This is very similar to the vocal styles found in Africa.
Having been deprived of their traditional instruments, around the 1880's/90's, black Africans were permitted to play in marching bands (such as the music of John Phillip Sousa) and funeral marches in New Orleans. This put at their disposal, brass instruments (although not saxophones until later) and percussion that finally gave them a means to a musical outlet. The large 'marching' drum was set on the floor and later developed in to the early American 'trap-kit'.
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