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October 8, 2018  

Shoo bop shoo bop, my baby, ooooo: W.E.B. Du Bois, Sigmund Freud & Barry Jenkins’ Moonlight

Inspired by the recent Black Perspectives “W.E.B. Du Bois @ 150” Online Forum, SO!’s “W.E.B. Du Bois at 150” amplifies the commemoration of the occasion of the 150th anniversary of Du Bois’s birth in 2018 by examining his all-too-often and all-too-long unacknowledged role in developing, furthering, challenging, and shaping what we now know as “sound studies.”

It has been an abundant decade-plus (!!!) since Alexander Weheliye’s Phonographies “link[ed] the formal structure of W.E.B. Du Bois’s The Souls of Black Folk to the contemporary mixing practices of DJs” (13) and we want to know how folks have thought about and listened with Du Bois in their work in the intervening years.  How does Du Bois as DJ remix both the historiography and the contemporary praxis of sound studies? How does attention to Du Bois’s theories of race and sound encourage us to challenge the ways in which white supremacy has historically shaped American institutions, sensory orientations, and fields of study? What new futures emerge when we listen to Du Bois as a thinker and agent of sound?

Over the next two months, we will be sharing work that reimagines sound studies with Du Bois at the center. Pieces by Phillip Luke Sinitiere, Kristin Moriah, Aaron Carter-Ényì, Austin Richey, Julie Beth Napolin, and Vanessa Valdés, move us toward a decolonized understanding and history of sound studies, showing us how has Du Bois been urging us to attune ourselves to it. To start the series from the beginning, click here.

Readers, today’s post by Julie Beth Napolin brings her trilogy to a close, exploring the echoes of black maternal sounding and listening she has amplified in Du Bois in Barry Jenkins’s Oscar-winning film Moonlight (2016).

Essay One: Listening to and as Contemporaries: W.E.B. Du Bois & Sigmund Freud

Essay Two:  (T)racing Mother Listening: W.E.B. Du Bois & Sigmund Freud

–Jennifer Lynn Stoever and Liana Silva, Eds.

The theory of the acousmatic—the idea of a sound whose source is unseen, as it comes to us from Barthes, Chion, and Dolar—rests upon the mother tongue and the Oedipal scene, the dyad of mother and father. There is in “Do ba – na co – ba”–his great- great- grandmother’s song Du Bois remembers hearing passed down through his family–a transmission from the mother, but what kind of transmission? “There is no one extant autobiographical narrative of a female captive who survived the Middle Passage,” Hartman writes in “Venus in Two Acts” (3). History becomes, she continues, a project of “listening for the unsaid, translating misconstrued words” (3-4). The word-sounds “Do ba-na co-ba” are not the translation of a misconstrued word and they bolster a song of survival, of living on.  But there is a silence there. “Do ba-na co-ba,” in a manner of speaking, survives the Middle Passage, and re-opens it as a primary channel of listening and receiving.

The Bantu woman was Du Bois’ grandfather’s grandmother, so many generations removed.

Returning to the vestiges of black motherhood in recent black cinema (including Jordan Peele’s Get Out and Barry Jenkin’s Moonlight), Rizvana Bradley argues that the loss of the mother “in black life more generally, as it repeats through cycles of material loss, … encapsulates racial slavery’s gendered social afterlife” (51). Bradley’s essay is crucial in retrieving the figure of the lost mother even in moments when the mother is absolutely elided as a character, not to appear visually. Horror more generally owes its immersive quality to the womb (enclosed spaces), but Bradley turns to black film form in particular to find in its mise-en-scène (such as in the gravitational field of the “sunken place”) maternal flesh and form.

In the compositional and formal strategies of The Souls of Black Folk, in the punctuated silences that open each chapter, there is a trace of the elided black maternal. The Bantu woman is lost not because Du Bois did not know her (he could not have), but because something of her song transmits a loss and theft that were not symbolic, but literal—a stolen and kidnapped maternal, rather than simply destroyed, as in the Oedipal mandate. It is crucial that the song that is at the core of Du Bois’ memory is transmitted along the maternal line. This maternal voicing is the unspoken wound of Du Bois’ text.

Spillers begins “Mama’s Baby, Papa’s Maybe” from the premise of non-Oedipal psycho-biographies, and these include not only the single mother, but the kidnapped mother. The quotation marks that surround the figure of the “black woman” for Spillers are “so loaded with mythical prepossession” that the agents it conceals cannot be clarified. Spillers takes particular aim at the infamous conclusions of the Moynihan report of 1965 that trace the roots of African American poverty to the figure of the single mother, the underachievement of lower class black males being linked in the report to black women.

In this way, black culture is thought to operate in a matriarchal pattern essentially out of step with a majority culture where a child’s identity and name, by definition, cannot be determined by the maternal line (66). As Lacan insists, it is the Father who gives a child both the Name and the symbolic Law (language). According to this configuration, Spillers argues, the child of the black mother can only be left in a haunting dis-identity. The implications for psychoanalysis are radical: Spillers begins the essay with a “stunning reversal of the castration thematic,” one that displaces its structure “to the territory of the Mother and Daughter, [and] becomes an aspect of the African-American female’s misnaming” (66). Among these misnamings is that black women are often not seen as “women,” omitted from the category and its political inflections. She is left castrated, politically impotent. For in this displacement, the subject positions of “male” and “female” lose—or fail to adhere to—their traditionally conceived symbolic integrity, and this loss begins with the historical experience aboard ship.

“waves and shadows,” image by Flickr User Albatrail

For Spillers, then, it is essential to trace this misnaming and undifferentiation of black women to the physical and psychic conditions of the Middle Passage. When Freud begins Civilization and Its Discontents, he notes an “oceanic feeling” engendered by religion. The oceanic is the longing for return to a pre-subjective state where one is united with all that is, before the cut that is birth and then language (indeed, the oceanic feeling is often attributed to song). Spillers’ move is to read the oceanic literally and structurally at once: there is the Atlantic Ocean and its Middle Passage. The oceanic, in this way, is de-subjectivating; it casts the subject out of itself in a terror of undifferentiation that does not cease with landfall.

But Spillers also implies that, in that (sexual) undifferentiation, a radical political potential can be retrieved. It is not that black feminism retrieves for her a sexual differentiation after becoming an ambiguous thing. It would not be “woman” in any traditional sense, for that New World category rests upon the violence Spillers seeks to describe. Above all, it would not be easy to name.

Du Bois certainly takes up the Father in his poetic epigraphs. But in ending with the Bantu woman’s song—as it seems to anatomize all of the other songs he describes—Du Bois upholds himself as being named by the maternal line. He is unable or perhaps unwilling to make a clarified place for a black female political agent. If we listen with ear’s pricked, we find that she is the submerged, oceanic condition for his speech.

By way of an open-ended conclusion, we can recall the sound of the ocean that punctuates Jenkin’s stunningly lyrical and psychologically complex coming-of-age film, Moonlight. The ocean provides the anchoring location for the psychological action, but also its aesthetic locus, the beginnings of its cinematic language. The sound of the ocean continually marks a desire for “return” to maternal undifferentiation and oneness, and yet, it provides the space for two embodied memories that cannot be compassed by traumatic separation. In the first, a father-like figure, Juan, embraces a young boy, Little, to allow him to float in a nearly baptismal scene of second birth, and in a second scene at the shore, Little experiences with his friend, Kevin, sexual gratification, a coming into his body as a site of pleasure.

The conclusion of the film posits these moments as being in the past. We had experienced them as contemporary, but only later realize they are a well of memory for a now-adult subject who does not know himself. I want to focus, then, on the film’s conclusion, after Kevin and Little (now named Black, his adult re-renaming), meet again after many years. Kevin calls Little/Black on the phone, a defining gesture of reaching out erotically and acousmatically with voices. We later learn that he calls because Kevin has heard an old song that reminded of him of his lost friend. By this voice or call, Black is brought somewhere back to his moment of break to become Little again, as if something in the past must be recuperated for the present. As he drives down the open road to find Kevin, the music of Caetano Veloso soars.

We can’t be sure if this is extra-diegetic or diegetic music. To be sure, Black would never listen to such a song on his stereo. And yet, the song seems to emanate directly from its affective space. In the language of literature, it is a “free-indirect style,” part character and part author; the film is hearing Black/Little feel. He’s in a space of haunting melody, drenched in personal memory, whose principle scene had been the Florida shore, the ocean lapping providing a (maternal) containing motif for the film, now transmuted into song.

The oceanic, Spillers might remind us, is violent, echoing the passages that made it possible for these two black boys to be there. But the sound is also amniotic, a space of maternal longing, particularly for a character who, in Bradley’s estimation, is positioned as pathological, injured by the missing mother who is, in turn, indicted by the film’s imaginary. To some extent, Moonlight participates in the mother’s misnaming: it cannot see the structures that ensure her lostness. But the film does also push towards some mode of melancholia that, as Michael B. Gillespie argues of Jenkins’ earlier work, would cease to be depressive. Jenkins’ aesthetic practice is transformative, Gillespie suggesting that we use Flatley’s term, “antidepressive melancholia,” as it’s with a stake in the personal past but turned towards the collective future (106).

When the two boys, now men, meet again, several sounds punctuate the scene. They are not words or even phonemes, yet “speak” to provide a sonic geography of feeling that includes or “holds” the viewer, as Ashon Crawley might suggest. Among them is the sound of the bell on the door, which marks hello and goodbye, entry and exit, coming and going (­or “fort-da” in Freud’s lexicon). When Black enters the diner, he is still “Black.” It is only when remembering what happened at the shore, then to say that no man has touched him since, that he becomes Little. He discloses this truth on behalf of a potential in present and a still-nascent future. Kevin cooks for Black, and Jenkins’ is careful to amplify the sound of the spoon stirring. He provides for Black, the film locating Kevin, a male, within the coordinates of maternal care. The sonic crux of the scene—no longer primal, no longer traumatic—is when Kevin plays the song on the jukebox that had drawn him to call to Little/Black in the first place. “Hello, stranger,” Barbara Lewis croons, “it seems like a mighty long time. Shoo bop shoo bop, my baby, ooooo.”

In listening to a song that is from our past, Newtonian time collapses, a shock running from past to present. The film never discloses whether these two had once heard this song together before. It is more likely that its affective map impacts Kevin, that he hears in its melancholic sound a nascence, and with it, a longing to retrieve his own past and repair. Lewis herself, singing in the sixties, is a recalling an already eclipsed fifties doo-wop. The phonemes circle back to their beginnings in “Do ba- na co-ba.” Such sounds are to be opposed to the shot of Little’s mother yelling at him (presumably a slur). There, the sound had cut out of the scene, which recurs for Little in a traumatic nightmare.

In contrast to that violent naming, the boys’ intimacy was defined by, to use Kevin Quashie’s term, “quiet,” a sense of interiority Michael Gillespie explores in his analysis of Jenkins’ first feature film, Medicine for Melancholy.  Shakira Holt and Chris Chien called this dynamic in Chiron and Juan’s relationship “silence as a form of intimate conversance” in their 2017 post about Moonlight.  There is a queer intimacy revived apart from trauma, triangulated by a black woman’s voice, paired with male harmonies, that resonate acousmatically from the jukebox to hold and contain the scene. For psychoanalytic theories of voice, containment is the essential maternal gesture of song.

We begin to wonder what might be possible for the feminine were it to be separated from the maternal dimension, a potential that Jenkins does not explore in this particular film in his oeuvre (as he does in Medicine for Melancholy, for example); each of the women in Moonlight “mother” to some extent. Nonetheless, he disperses the maternal function across male and female subjects, particularly in moments when the film resists depression. In listening with ears pricked, as with Du Bois’ epigraphs, the voices cease to belong to an individual, to be male voices or female voices, but become plural and pluralistic. It becomes possible to ground a politics of listening to the past for remaking in the present in that sound.

 

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I would like to thank Michael B. Gillespie, Amanda Holmes, and Jennifer Stoever for their incredible scholarly assistance and comments in writing this essay trilogy.

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Julie Beth Napolin is Assistant Professor of Literary Studies at The New School, a musician, and radio producer. She received a PhD in Rhetoric from the University of California, Berkeley. Her work participates in the fields of sound studies, literary modernism and aesthetic philosophy, asking what practices and philosophies of listening can tell us about the novel as form. She served as Associate Editor of Digital Yoknapatawpha and is writing a book manuscript on listening, race, and memory in the works of Conrad, Du Bois, and Faulkner titled The Fact of Resonance. Her work has appeared in qui parle, Fifty Years After Faulkner (ed. Jay Watson and Ann Abadie), and Vibratory Modernism (ed. Shelley Trower and Anthony Enns).

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REWIND! . . .If you liked this post, you may also dig:

Moonlight’s Orchestral Manoeuvers: A duet by Shakira Holt and Christopher Chien

“A Sinister Resonance”: Joseph Conrad’s Malay Ear and Auditory Cultural Studies–Julie Beth Napolin

“Scenes of Subjection: Women’s Voices Narrating Black Death“–Julie Beth Napolin

 

October 2, 2017  

SO! Reads: Licia Fiol-Matta’s The Great Woman Singer: Gender and Voice in Puerto Rican Music

In her recent biography of Roland Barthes, Tiphaine Samoyault describes the quality of his speech through what Barthes had called the “grain of the voice,” a quality that “bears witness to a past able to act in the present, a continued memory, a recollecting forwards” (13). The voice, and perhaps most importantly, its potentialities, has been theorized in the realms of critical theory, philosophy, psychoanalysis, and more recently sound studies, as a property that although commonly enacted remains mysterious, beyond the realm of simple intelligibility. Licia Fiol-Matta’s The Great Woman Singer: Gender and Voice in Puerto Rican Music (Duke University Press: 2016).   brilliantly engages many of these theoretical genealogies yet takes an analysis of the voice in surprising new directions. Her focus, as the title indicates, is the career of four “great” Puerto Rican women singers whose careers encompassed a great part of the Twentieth Century. In addition to the theoretical trajectories Fiol-Matta engages, the book is also a welcome addition to the growing field of Latina/o sound studies. Indeed, Latina/o studies’ intersection with sound studies has produced a range of provocative and essential new work that that aim to re-situate how we understand the sonic in Latina/o America.

Once a field dominated by musicologists and historians, sound studies has opened for interdisciplinary scholars new avenues to study the ways in which music and sound intersect with the formation of transnational Latinidad. In particular, many of these studies tend to be anti-canonical, reframing established histories of Latina/o American sounds through expanded forms of listening offered by sound studies. Similarly, listening in new ways to the historical record has allowed scholars in these fields to investigate lesser studied sites or to reframe well established archives. In recent years, we have seen a wealth of exciting (sound) studies that turn our attention and our ears to apprehend how the sonic creates, and often exceeds, forms of knowledge central to these fields. Books such as Deborah R. Vargas’ Dissonant Divas in Chicana Music: The Limits of la Onda  [check the SO! Reads review by Wanda Alarcón], Alexandra T. Vazquez’s Listening in Detail: Performances of Cuban Music, Ana Maria Ochoa-Gauthier’s Aurality: Listening and Knowledge in Nineteenth-Century Colombia, and Dolores Inés Casilla’s Sounds of Belonging: U.S. Spanish Language Radio and Public Advocacy  [check the SO! Reads review by Monica De la Torre] to name a few, have re-centered Latina/o and Latin American studies along the lines of the sonic. Departing from (although indebted to) earlier studies of Latina/o American musical forms, this body of work invites us, borrowing Vazquez’s term, to listen in detail not only to the official record, but to the sonic keys and codes hidden beyond official canons of the continental soundscape. In these projects, as in Fiol-Matta’s work, sound is engaged not only in relation to those who produce it but also those of us who must engage in an expansive project of listening.

The “great” woman singer of the title carries multiple valences for the author. It refers of course to the greatness of these singers but also to the ideological strictures that have dictated the very way these singers were received, written about, and interpreted in a larger public sphere that in the book encompasses the continental landscape. Fiol-Matta argues that to conceive of a singer as both great and a woman creates a central divide that forces our listening of female singers into roles dictated by the nation, record companies, fans, and others. In order to challenge this ideological strait-jacked The Great Woman Singer proposes that these great female singers deployed what she calls the “thinking voice,” a form and theory of vocality that turns to a range of theories, primarily psychoanalysis and philosophy, to read the very cultural history of Puerto Rican music during the greater part of the last century.

Fiol-Matta listens in detail to the careers of four singers, Myrta Silva, Ruth Fernández, Ernestina Reyes, and Lucecita Benitez, who throughout their prolific careers were forced to balance their preternaturally gifted voices and defiant public personas against a sexist and homophobic industry and culture that sought to discipline them. In some ways, the histories and careers of each of these singers might seem at first glance to cast them as probable tragic protagonists in a Douglas Sirk melodrama, female figures who are pitted against but ultimately succumb to larger societal forces. A gifted storyteller, Fiol-Matta does provide the reader vivid portrayals of the many challenges that each of these singers faced, yet she pairs these biographical sketches with keen theoretical insight to illuminate how their thinking voice stood against their time. Thus, what emerges throughout The Great Woman Singer is not only a loving portrait of these women, but also a theoretical model that grasps how their extraordinary voices, as well as their performative command of the stage, were able to exist in relation to the weight of the state, culture, and history. Among the book’s most exciting strengths is the encounter between the historico-biographical and a series of deeply theoretical arguments that build throughout. Fiol-Matta deftly combines (to name a few) archival research, cultural history, psychoanalytic theory, queer and feminist theories, close reading, and interviews the author conducted in the course of writing the book.

Ernestina Reyes aka La Calandria, Screen capture by SO!

Although her stated goal is to develop a theory of the thinking voice, Fiol-Matta does so by mining the complex interactions between music’s deployment in the service of state projects, audiences both local and transnational, record companies, the cultural and social history of particular sounds, and the personal and professional lives of the singers themselves. At times such a comprehensive approach feels overwhelming, digressing often from a chapter’s main points to small details of a singer’s oeuvre for example, but this move results necessary to fully illustrate the enormously complex terrains these singers had to navigate. Indeed, the contextual elements of the book provide neophytes to the Puerto Rican and Caribbean sonic landscape the tools to grasp how the voice emerges often against the demands of institutional and cultural forces. However, the driving force of these chapters is an invitation to listen along, so as I read through Fiol-Matta’s chapters I listened along to these voices, enveloping my reading and my listening.

The Great Woman Singer begins with an emblematic moment in the history of Puerto Rican music that helped establish the island’s sonic relation to the rest of Latin America: Lucecita Benítez’s winning performance of “Génesis” at the First Festival of Latin Song in the World. Previous to this moment Puerto Rico, and Lucecita, had occupied a marginal space in the Latina/o American imaginary, but in her performance of composer Guillermo Veneers Lloveras’ song, Benítez reset the script for both.

As Fiol-Matta writes, “no scripts were available to subordinate her and tame her eruption. She was not feminine. She did not sing softly or croon about heterosexual love. She claimed the masculine prerogatives of expressing social and political ideas outside of marriage and motherhood, eschewing the roles that her managers sought to implant in her earliest persona” (3). These opening moments will serve as a refrain through different voices, keys, timbres, and moments throughout the book. The Great Woman Singer, however, is not only a feminist retelling of history, or as Fiol-Matta writes, “It is not a survey of women in music or a tracing of resistance by women to the strictures of music making. My interest in the female pop music star is about querying instances where singularity erupts despite heterosexism and misogyny, through the vehicle of voice” (4). To listen to women seriously, she indicates, is to move away from facile narratives of gender and onto an investigation of what their voice did against the weight of history itself. Like the grain of the voice that began this review, the vocal performances that the book delves into appear to scramble the temporal markers that would contain it.

A central concept in the book is the notion that the voice itself must be understood as a form of thought. As Fiol-Matta writes, to examine the thinking voice of the great woman singer in its historical specificity is a way of thinking gender itself, “a critical theorization of voice and gender, with an anchor in psychoanalytic thought without being exclusively psychoanalytic.” (8). Her approach to the voice functions as the methodology that guides the reader, proposing forms of listening that often escape normative listening practices. Central to the book’s argument is the relationship between music and the state. Indeed, Fiol-Matta refers to the state’s investment in music as a form of “mandated enjoyment” but as she writes, “I unpack enjoyment’s dependency on the performing, female body and detail when, how, and why various forms of control short -circuit, despite their certainty of managing women” (10).

Myrta Silva, Screen Capture by SO!

The first chapter examines the career of Myrta Silva, who enjoyed a long and fruitful career partly because of her mastery of a number of genres, the guaracha and the bolero primary among them. Fiol-Matta puts forward a notion of “cynical ethics” that we can find in Silva’s voice, “a virtuosity that José Esteban Muñoz has linked to queer artistry: the brilliant, conceptual staging of negativity and failure” (19). The height of Silva’s prominence came during the 1940s, her most prolific and successful period. She was an extraordinary figure who interjected herself into traditionally masculine realms, “her positioning was simply unheard of” (21). In the 1950s Silva returned to Puerto Rico from New York, becoming a major figure across media. Fiol-Matta lingers in particular on the excesses of Silva’s body, who in the arc of her career went from a youthful singer to a “sexual bombshell,” eventually to be known as “nuestra gordita,” a figure who had lost the sexual appeal of her youth but who remained iconic in spite of these sexist castings of her body. The chapter listens to Silva’s signature song “Nada.”

The song’s lyrics are self-referential; Silva refers to herself as “nada,” a way of expressing that she does “not want to be looked at/I don’t want to be told what to do, to be touched, spoken to, or be invited to sing/Nothing, I will no longer be called Myrta.” When listening to the song, Silva’s virtuosity becomes immediately apparent as the furious velocity of her voice charges the lyrics in equal amounts with sensuality and negation. As an ostensibly queer artist, this performance of “Nada” signals Silva’s refusal to be coopted by the desires of her male onlookers. As Fiol-Matta makes clear, this positioning is essential to understand the very career of Silva’s body as she morphed from the sensuous “Myrta” to the nearly desexualized “Chencha” later in her career. But her voice “[breached] the distance between signifier and signified and between her persona and person” (33).

The following chapter focuses on Ruth Fernández, one of Puerto Rico’s most prominent black singers. She “entered the star orbit of the music establishment as an exception: the first female lead of any orchestra in Puerto Rico, and also the first black star body in Puerto Rican culture” (67). Blackness, in this chapter, becomes entangled with the question of being itself, with Fernández’s voice a rejoinder that comes into existence against a racist and sexist cultural landscape. Throughout the chapter we hear how Fernández was from her childhood relegated to the sidelines because of her blackness, sometimes quietly, often through the loud marker of “ugliness.” But as with the rest of her case studies, Fiol-Matta shows that Fernández’s trajectory defies any simple narrative that would see her career as a personal triumph against this racism.

Her vocal performance leaps beyond the racist narratives assigned to her blackness although she always had to negotiate them. As the author states, “while Fernández was a pop music singer, she possessed a voice of great volume and color, was naturally virtuosic, and, although not trained, reflected a preference for classically inflected singing that she probably learned or was steered into in school” (68). This education, however, was in itself the result of colonial programs that sought to “civilize” Puerto Rican bodies, but “in this colonial context, her voice opened a gap in the available symbolics of music” (68). The virtuosic register of Fernández’s voice pushed against the racial logics imposed upon Puerto Ricans of African descent, even when descriptions of it understood her blackness as the provenance of her mighty instrument. The chapter is especially attentive to how Fernández’s aural and visual presentation collided and colluded to create a racial sensorium. What emerges in the chapter is a set of difficult negotiations that tether between the official reception of blackness embodied by Fernández’s career and the ways in which the voice, through its signifiers, evades and expands upon those official programs of racial legibility. To approach the black sensorium of Fernández’s career, Fiol-Matta intimates, we must listen past the stories of triumph, hearing as well the wounds that her voice could never quite heal.

The book turns next to Ernestina Reyes, “La Calandria,” Puerto Rico’s foremost interpreter of the jíbaro genre, or music from the countryside. Her fame was unparalleled, “over the course of two decades, she recorded an uncommonly large number of tracks for a woman, a feat made all the more remarkable because she routinely received sole or main billing, collaborated with the very best vocalists of the country music genre, and was as a matter of course backed by master country music cuatro players, certifying her revered standing” (121). But Reyes’s career serves as a gateway to investigate Puerto Rico’s difficult relationship to the figure of the jíbaro, a symbol of the nation’s countryside, a figure equally admired and derided.

As Fiol-Matta explains, “the Puerto Rican genres of plane, bomba, and jíbaro music became explicitly aligned with the national-popular visions that rewrote music history as a racialized narrative of predominantly Hispanophile origins [that] exalted the peasant figure and relegated Afro-Puerto Ricans to a heritage role” (125). Fiol-Matta posits these distinctions as zoe or “bare life.” But, “compared to the Afro-Puerto Rican subject, the symbolic country dweller lived on, however spectrally, while the descendant of slaves faded away as a relic of the past” (125). Calandria was difficult to classify within the racial spectrum of the jíbaro genre, she is consistently described as “dark-skinned” against the figure’s supposed whiteness as she “astutely navigated this extimacy and understood the contradictory affordances of the nothing” (133). Fiol-Matta sees Calandria’s career as an encounter with the “nonplace” in her performance of a figure, the female jíbaro, that did not readily exist in the cultural imaginary. She “learned to convey the ‘rustic’ via well-traveled techniques of rasp and nasality; she also recurred to the shrill tone, which sounded uneducated to the middle classes, a fact that she must have been well aware of” (135). Indeed, Calandria managed a successful career because of the ways in which she disguised her virtuosity through improvisation, playing both in order to create her figure as a singer. Fiol-Matta is attentive to the genre’s own ambivalent place in the Puerto Rican sonic imaginary, teetering between the folksy and the popular, providing readers with a rich history of the demands of iconicity.

The final chapter returns to Lucecita Benítez and most fully develops the concept of the thinking voice. Listening to Benítez’s powerful performance of “Génesis,” the performance that begins the book and serves as its concluding guide, feels overpowering even with decades standing between its moment and the present. It embodies the thinking voice, “an event that can be apprehended through but is not restricted to music performance. It exceeds notation, musicianship, and fandom, although it partakes of them all. No artist owns the thinking voice; it cannot be marshaled at will or silenced when inconvenient. Its aim is not to dazzle or enthrall, although it may do so” (173).Benítez alongside the other singers in the preceding chapters, doesn’t so much possess this voice as much as she wields it, an encounter between prodigious talent and deep technicality. In the case of Lucecita, perhaps the greatest champion of the Puerto Rican sonic imaginary, the expansiveness of the thinking voice took her from her beginnings as a teen superstar to embrace the seismic political calls toward liberation in the 1960s and 70s, and even sustained her as she became a popular balladeer in the dusk of her career. Fiol-Matta explains, “her deep register was truly wondrous and unique in the constellation of all Latin American and Spanish-speaking singers, not just women” (177).  Lucecita did not emerge unscathed, however. As her recordings and performances took on an increasingly defiant tone, aligning herself with the Cuban revolution and Black liberation, she was blacklisted, her career momentarily suspended. As an older figure, her final career incarnation was as a diva never declared such in part because of her butchness. She never turned her back on her political leanings, but adapted to the necessities to continue her career. The chapter’s conclusion is particularly evocative as Fiol-Matta discloses her own disillusionment at this final phase, attending concerts “waiting for the real Lucecita to come back” (224).

But it is this final desire, unfulfilled, that perhaps provides the impetus for a book invested often in reconciliation. Throughout their careers, all four singers performed songs in which they were the explicit protagonists, calling out (and to) their publics, who often chose to ignore these calls in spite of their fascination with the singers. It’s a position familiar to those of us who have declared ourselves fans only to feel like we have been let down by the object of our fascination. And yet what Fiol-Matta proposes with the thinking voice is not simply a mode of reparative reading that restores her (and our own) fandom, but a serious analytic that blurs the distinction between the listening to and the thinking with. Fiol-Matta knows that this is an especially important move when it comes to female singers, whose careers and personas are used to obscure the difficulty they demand from the listener. The Great Woman Singer then provides us with a guide to listen anew and in new ways.

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Featured Image: Screen Capture of Ruth Fernández by SO!

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Iván Ramos is assistant professor of LGBTQ studies in the department of Women’s Studies at the University of Maryland. He was previously a University of California President’s Postdoctoral Fellow in the Department of Ethnic Studies at UC Riverside.He received his PhD in Performance Studies with a Designated Emphasis in Women, Gender, and Sexuality from UC Berkeley. His first book, Sonic Negations: Unbelonging Subjects, Inauthentic Objects, and Sound between Mexico and the United States, examines how Mexican and U.S. Latino/a artists and publics utilized sound to articulate negation in the wake of NAFTA. Iván’s broader research investigates the links and slippages between transnational Latino/a American aesthetics in relationship to the everydayness of contemporary and historical violence. In Fall 2016, he was a member of the “Queer Hemisphere: América Queer” Residential Research group at the University of California Humanities Research Institute at UC Irvine. His writing has appeared in several journals including Women & Performance: A Journal of Feminist Theory, Studies in Gender and Sexuality, and ASAP/Journal. He has articles forthcoming in the catalog for the exhibition Axis Mundo: Queer Networks in Chicano L.A., sponsored by the Getty Foundation, and the anthology Turning Archival from Duke University Press.

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REWIND!…If you liked this post, you may also dig:

SO! Reads: Dolores Inés Casillas’s ¡Sounds of Belonging!–Monica De La Torre

SO! Reads: Roshanak Khesti’s Modernity’s Ear–Shayna Silverstein

As Loud As I Want To Be: Gender, Loudness, and Respectability Politics–Liana Silva

May 8, 2017  

Troubling Silence: Sonic and Affective Dispossessions of the African Slave Trade

The United States has a slavery problem. Just last week, President Trump name-checked the political right’s current favorite past-president Andrew Jackson, suggesting that as a “swashbuckler,” Jackson would have prevented the Civil War…unlike Lincoln. Buried in Trump’s admiration for Jackson’s supposed intellect and political prowess, is the very real belief that the Southern slaveholding class, including Jackson who owned 150 slaves at the time of his death, would have maintained sovereignty and continued to make their wealth from the institution. Trump’s vile public utterance, which is misguided for many reasons, including the detail that Jackson died in 1845 and, in fact, could not have expressed his disapproval of the conflict as Trump recalled, is par for the course in this recent period wherein inane white supremacist rhetoric is normalized as acceptable in American public discourse.

Normalization of white supremacist rhetoric via American news media

Often, I am reminded of a shocking moment that I witnessed from the field in Bahia, Brazil, back in 2007. As I watched the only American-based news channel available to me in my rental apartment, former-Fox News host Bill O’Reilly began explaining to Senator John McCain that supporters of so-called illegal immigrants were intent on dismantling “the white male, Christian power structure” of the United States.

In the ensuing years, similar expressions of racial anxiety have led to acts of domestic terrorism as well as increased deportations and the surveillance and harassment of Black and Latino communities, reinforcing the stakes of my research. What is the place of African-descended peoples in a nation full of such political hostility? With the racial rhetoric at base level and the fear-mongering at a peak, what do we make of the persistent contemporary contention that America needs to be made great again, effectively, though somewhat covertly, wishing for a return to an era in the purported idyllic American past wherein the racial order depended on and thrived off of literal and figurative forms of Black death? How do we trouble the intentional silence about our actual history and thwart foolish advancements toward replicating the great American past?’

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My book Afro-Atlantic Flight: Speculative Returns and the Black Fantastic (Duke UP, 2017) begins answering these questions. In Afro-Atlantic Flight, I trace the ways that post-civil rights Black American artists, intellectuals, and travelers envision literal and figurative flight back to Africa as a means by which to heal the dispossession caused by the slave trade and the ensuing forms of oppression and societal alienation that have continued in the aftermath.

Through ethnographic, historical, literary, and filmic analyses, I show how a range of cultural producers engage with speculative thought about slavery, the spiritual realm, and Africa, thereby structuring the imaginary that propels future return journeys. I go on to examine Black Americans’ cultural heritage tourism in and migration to Ghana, Bahia, Brazil, and various sites of slavery in the U.S. South to interrogate the ways that a cadre of actors produces “Africa” and refigures master narratives. What I found in my research is that while these material flights do not always satisfy Black Americans’ individualistic desires for homecoming and liberation, there is a corrective: the revolutionary possibilities inherent in psychic speculative returns open up the egalitarian opportunity for the development of a new and contemporary Pan-Africanist stance that works to more effectively address the contemporary resonances of slavery that exist across the Afro-Atlantic.

As I conducted research, I was interested in how narratives about slavery and Africa are crafted as well as how they travel in literature, film, and the cultural roots tourism industry. To be sure, I did not conceive of this project as a sound studies inquiry, but throughout my more than eight years of active research, I was struck often by the sonic and the affective as I examined states of dispossession. For example, if I close my eyes and still myself, I can hear that which emanated from the Black expatriate in Bahia, Brazil, who I asked to reflect on freedom – he began his answer with a solemn, gospel music-inflected improvisation of the word/concept.

I remember the crashing of waves at various points along the Atlantic Ocean; often, I stood somberly and marveled at its power and the seeming fury that reverberates, particularly along and across sites of the transatlantic slavetrade. The ways in which the articulation of narrative scripts at remnants of slavery vary – how tour guides’ oral pacing, tenors, and selected content differ according to the racial composition of the visiting groups struck me as intentional and profitable, though not necessarily contrived. And various interviewees and writers recalled and created, respectively, ghostly felt and heard encounters with their long-dead enslaved ancestors; I remain moved by their welcoming posture to exploring this sensory haunting.

European slave traders forced tens of thousands of African people onto slave ships through the “Door of No Return” at  Elmina Castle, Ghana; many died here before making the “middle passage.”  Built by the Portuguese in 1482, Elmina Castle was the center of the Dutch Slave Trade through 1814  (CC BY-NC-ND 2.0)

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The excerpt that follows is drawn from the fourth chapter of Afro-Atlantic Flight, “Crafting Symbolic Africas in a Geography of Silence: Return Travels to and the Renarrativization of the U.S. South.” In Chapter 4, I sought to listen to and think through the function of silence in master accounts and the subversive sounds of speculative counter-narratives about slavery in the U.S. South.

In the late 1990s, I took an evening walking tour called “The Ghosts of Charleston,” a guided encounter with the supernatural in Charleston, South Carolina. As we strolled around the city’s downtown area and through winding cobblestoned streets, admiring the horse-drawn carriages and rainbow-colored buildings, we paused often at cemeteries, centuries-old homes, hotels, a former jail, and markets to witness the locations of the occult. Our guide opined that a range of elements whereby widespread death occurred—hurricanes, floods, fires, and the Civil War—had rendered the city ripe for paranormal activity. The dead, he intimated, have unfinished business. What struck me about the tour and the numerous visits that I had made to plantations throughout the Lowcountry throughout my childhood in South Carolina during school field trips and family excursions, as well as a researcher in more recent years, is that other than in passing references, Charleston’s history as a major slave port is glossed over in the larger tourism industry to promote representations of the imagined antebellum South of the Lost Cause. In downtown Charleston, a former slave market sits quietly near a more recently constructed block called the Market, which is surrounded by expensive hotels, eateries, and boutiques that serve as background for a sort of souvenir bazaar at which Gullah women and their children weave and sell seagrass baskets crafted using what are believed to be West African techniques passed down from their ancestors [For more on these historical claims, see Gerald L. Davis’s “Afro-American Coil Basketry in Charleston County, South Carolina” in American Folklife.  Also of interest here is Patricia Jones Jackson’s When Roots Die: Endangered Traditions on the Sea Islands].  The silence about slavery betrays the trauma, dispossession, and death suffered to build and sustain the wealth that, if one looks at and listens critically (even to the silence), hovers over the area, mocking the evidence of the great injury that was the transatlantic slave trade.

Charleston 1837 Bed and Breakfast, Image by Flickr User Anthony (CC BY-SA 2.0)

“The Ghosts of Charleston” tour guide’s lone story that described the spirit of a slave was about a boy named George, a decidedly gentle spirit who is said to pester guests impishly at the 1837 Bed and Breakfast. George drowned in 1843 after he jumped into the harbor in pursuit of a ship that was transporting his parents to a Virginia plantation. Today, George taunts hotel patrons by shaking the bed in one room and by turning the lights on and off repeatedly in another. He is sometimes seen playing in the building or swaying in a rocking chair. George’s nuisance, the story goes, is remedied easily when one cracks a whip to frighten him. To relegate Charleston’s cruel history of slavery to the margins of the historical master narrative by repeating stories about slaves that make light of the institution while reinforcing its horrors—ships utilized to separate parent from child, the horrific struggle that ensued as the child fought drowning, and the whip’s lash—rewounds. Most disquieting is that 1837’s guests are encouraged to participate in the past, wherein it becomes a diversion to threaten the spirit of a slave with force, reenacting the role of the master. The lore identifies a playful ghost rather than a sad spirit who is frightened, crying, screaming, gurgling as he writhed in the ocean, or gasping for air. Why is it that the unsilenced ghostly specters of slaves in these Lowcountry master narratives are not enraged and vengeful?

In the post‒civil rights moment, Black Americans are not only returning to the South to live permanently in a reverse migration that has befuddled onlookers, but Black American cultural producers are also working against the region’s geography of silence to illustrate how the ideologies that undergirded past social configurations in the South redound in the present, moving toward a broad Black fantastic frame. Through analyses of these points of return and revision, this chapter contends that Black Americans embrace speculative thought to recast cultural production about the South; challenge what is commemorated as significant in historical preservation; and create alternative “African” worlds in the purview of the racism and the often spurious narratives of progress that reign in the South, particularly at sites of slavery. Such fantastic reimaginings contest and thereby perform a democratization of contemporary master narratives and, for some, attend to the desires of those who are determined to realize Black social life in the American South despite its sordid histories.

Troubling the Silence in Southern Master Narratives

Growing up in Midway with the coloreds, I spent the night at Molly Montague’s house in the bed with five niggers—spent the night with them. In the same bed, eat from the same table, drink from the same thing, play with them every day. I mean, they were family. I mean, as far as I was concerned. They loved you.

Winston Silver’s curious memory of a colorblind childhood in North Carolina in the pre‒civil rights era reflects a disturbing disconnect that his cousin, the film critic and novice documentarian Godfrey Cheshire, explores in the film Moving Midway.

The film was conceived initially to chronicle the relocation of the home at Midway Plantation to a quieter tract of land away from the urban sprawl in Raleigh, North Carolina. Yet as Cheshire scoured historical records and interviewed members of his mother’s family, he found that most narratives about slavery at Midway went unspoken, though it once was a thriving tobacco plantation. During his search, Cheshire discovered that there existed a branch of Black people on his family tree who might be able to assist him in developing a more complete narrative about his familial history. The film, then, traces two interrelated stories. The first is a catalog of a white Southern family’s desire to preserve its plantation home, the “grand old lady” and “sacred center of the family” that sat on property that was settled by their ancestors in 1739. The second story is that of Cheshire’s chance encounter with Robert Hinton, a Black American history professor whose grandfather was owned by Cheshire’s great-great-grandfather. Hinton’s inclusion in the film acts to challenge the myths of purity that the majority of Cheshire’s maternal family members had embraced about their ancestral past.

Midway plantation house, post move, image by Flickr user Preservation North Carolina (CC BY-NC-ND 2.0)

Perhaps the most compelling thread examined centers on Cheshire’s family’s holding steadfastly to memories that were imparted to them by their ancestor Mary Hilliard Hinton (Aunt Mimi), who was fascinated with the idea of pastoral pasts and constructing genealogical maps that connected the Hinton family to the British aristocracy, despite her certain knowledge that various indiscretions by the Hinton slaveholders had resulted in mixed-race Black American kin. What Cheshire reluctantly finds and attempts to rectify is how he is implicated in what he sets out to explore—the lengths to which crafters of genteel, idealistic Southern myths often go to extricate slavery, violence, and racism from how the past is articulated. While the slave plantation serves as a place for wistful Americans to recall the zenith of white superiority, these vestiges of slavery also haunt the region and negate narratives of progress. Black Americans have begun visiting plantation sites and often become vocal about how the lives of their ancestors are erased from the tourism scripts. The moments of rupture in Moving Midway are indicative of what happens when the Black and white branches of a Southern family attempt to come to terms with their ties to blue-blooded ancestors, whose wealth was accumulated through their continued participation in the violence and inhumanity that marked slavery.

Still from Moving Midway trailer, Robert Hinton talks with Godfrey Cheshire

Robert Hinton appears throughout the film as a historical expert and also as someone who Cheshire initially and naively believes holds an emotional stake in ensuring that the land upon which Midway sits and the home itself are preserved positively in the collective memory. Hinton tours the plantation site in search of evidence of slavery and his long-dead ancestors, seeking out slave quarters and grave sites and showing very little interest in Cheshire’s family’s romantic stories about Southern gentility. Early in the film, Hinton is asked to attend a Civil War reenactment with Cheshire and Cheshire’s mother, Elizabeth. This moment highlights the rifts that would arise later between Hinton and Cheshire, who had become friendly during the making of the film. At the reenactment, Elizabeth attempts to convince Hinton that the Civil War was about states’ rights unlike what the (liberal) media and historians suggest about slavery’s significance to the conflict. When Cheshire questions Hinton about his response to the reenactment, a tense moment occurs between him and Cheshire, whose film narration theretofore had been somewhat progressive in its historical analyses of race and slavery in the South:

Hinton: It looked like it was fun for the people involved, but it—it represents to me a misremembering of the war of Southern history and why all this stuff happened. I think the absence of Black people at a thing like this encourages people to think that the Civil War was not about slavery.

Cheshire: Right. But also, there was the argument that was of states’ rights. That that was—wasn’t that the argument? But I mean, don’t look at me like that. That was the argument that was put forward, right?

Hinton: I just think the whole argument about states’ rights is an avoidance, and if slavery had not been an issue, the issue of states’ rights would have never come up. My attitude about this is that I’m perfectly happy to have [the Civil War reenactors] keep fighting the war as long as they keep losing it.

[Both men laugh.]

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“Crafting Symbolic Africas in a Geography of Silence: Return Travels to and the Renarrativization of the U.S. South,” in Afro-Atlantic Flight, Michelle D. Commander, excerpted from pages 173-220. Copyright, 2017, Duke University Press. All rights reserved. Republished by permission of the copyright holder. http://www.dukeupress.edu

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Featured Image: The author  listening to the Atlantic from the Cape Coast Slavecastle in Ghana, courtesy of the author

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Michelle D. Commander is a native of the midlands of South Carolina. She is an associate professor of English and Africana Studies at the University of Tennessee, Knoxville. In 2010, Commander received her Ph.D. in American Studies and Ethnicity from the University of Southern California. She spent the 2012-2013 school year in Accra, Ghana, as a Fulbright Lecturer/Researcher, where she taught at the University of Ghana-Legon. Commander’s research has been supported by numerous organizations including the Ford Foundation, the Fulbright Foundation, and the Irvine Foundation. She is currently working on three projects: a book manuscript on the function of speculative ideologies and science in contemporary African American cultural production; a book-length project on the production of Black counter-narratives of the U.S. South; and a creative nonfiction volume on African American mobility. She has also begun engaging in essay writing for public audiences, which has been cathartic. You can find her essays at The Guardian and The Los Angeles Review of Books.

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Moonlight’s Orchestral Manoeuvers: A duet by Shakira Holt and Christopher Chien

SO! Reads: Shana Redmond’s Anthem: Social Movements and the Sound of Solidarity in the African Diaspora–Ashon Crawley

February 27, 2017  

Moonlight’s Orchestral Manoeuvers: A duet by Shakira Holt and Christopher Chien

On January 10th, 2017, A24 + AFROPUNK + Wordless Music + Spaceland presented Moonlight at the historic Million Dollar Theater in Downtown Los Angeles with the Wordless Music orchestra as live accompaniment. The oldest and once-largest theater in LA, The Million Dollar has a  capacity of around 2000 people. Reviewers Shakira Holt and Chris Chien attended separately, but were brought together on Facebook via SO! editorial magic for a discussion on the sonic valences of the film and the entire event experience.

Shakira Holt is a Southern Cali-based high school lit teacher with a doctorate in English from the University of Southern California. She’s deeply interested in the intersections of race, religion, sexuality, class, and politics. This is her second piece for SO!;  Her first, “‘I Love to Praise His Name’: Shouting as Feminine Disruption, Public Ecstasy, and Audio-Visual Pleasure,” was published five years ago. Moonlight was on her winter break to-do list in December 2016, but the SO! call for a reviewer of the LA showing intrigued and excited her. Jenkins’s film was taking critics and general audiences by storm and already meant so much to so many people.  She approached the screening with a healthy respect and desire to do it justice, walking into the Million Dollar Theatre the night of January 10th completely “fresh,” with scarcely more than trailers and the film’s sponsored social media posts as background.   

Chris Chien is an American Studies and Ethnicity graduate student at the University of Southern California, and is doing research on early Asian gay and lesbian organizing in North America, and these social movements’ place within contemporary transpacific, diasporic narratives of a liberalizing Asia, particularly Hong Kong. He has previously written on Sounding Out! about the sonic materiality of diasporic feeling through the relic of the cassette tape, and has an upcoming article on righteous white violence in the music of trans-hardcore band G.L.O.S.S. He hadn’t seen Moonlight or even a trailer before this screening, but heard from many people he respects that it was magical.  When SO! ed-in-chief JS reached out after seeing him post about attending on FB, he immediately embraced the idea of a conversation with Shakira.

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The special screening of Moonlight in Los Angeles was an enjoyable and important, though mixed, experience. The live music, engineered to perfection, formed a seamless auditory union with the film’s other music; the live orchestra was much more of a visual cue for those attendees who could see the pit than a sonic one. However, the exclusion from live performance of non-orchestral music, especially those genres hailing from African American and Latin American creative spheres, detracted from the event, setting it somewhat amiss. Certainly, the screening paid fitting tribute to classical musicians who make those lush swells and accents happen in film. In truth, however, the screening succeeded most where it would have in a typical screening—in the story itself and in its manifold deep and broad significances.   

Chris Chien:  Just to start off: this was an event. It was drizzling that day, which, let’s be real, felt a little magical in Los Angeles. Seeing the lineup that snaked around the block full of stylish folks dressed in their finest, freshest outfits made it seem like postmodern opera. I had never watched a film in the presence of so many other people but I can say that a collective viewing experience of that scale contributed to the filmic magic.

Shakira Holt: Agreed. Walking through that soft Los Angeles rain up to and then through the crowds made the screening feel momentous and special.

Interior of LA's Million Dollar Theater, by Flickr user Omar Bárcena (CC BY-NC 2.0)

Interior of LA’s Million Dollar Theater, by Flickr user Omar Bárcena (CC BY-NC 2.0)

CC: Inside, it was thrilling to soak in the collective affect: ecstatic applause that filled the cavernous space as well as sniffles, sobs, and laughter during certain scenes but looking back, I would’ve preferred a more intimate viewing experience. The attendees around us came in late, talked, and checked their social media throughout the movie (yes, actually). Director Barry Jenkins did say during the Q&A afterwards that it was the largest viewing audience in North America, so perhaps a little chaos is to be expected! Of course, the major selling point of the event for my group was the live orchestral accompaniment to the film. We were up in the nose-bleeds, though, so we struggled to notice when the orchestra kicked in. We also couldn’t see the pit from our seats, and tended to just assume they were playing when there were strings in the film score. So to us, the orchestra was a bit of a non-event.

SH: I was down on the floor with the orchestra and could see the pit fairly well, but I completely get your point. Taken with a scene, I would often forget about the live music until movement in the pit would attract my eye, which was always slightly jarring in a really meaningful way. We forget about the work of folks whose labor provides the musical idiom of film we simply expect to be there. Frankly, it was always with a bit of guilt that I would be brought to remembrance of the presence of the musicians who were that critical contribution to the experience I was having.

CC: You’re so right! It’s interesting that to get the effect, there had to be a visual accompaniment, which speaks to both our ocular-centrism and how we’ve been conditioned to take (sound) labor in film for granted. I also recall Jenkins giving a shoutout to the sound engineer for rigging a custom sound system in the theater space in order for the film sound and orchestral sound to work together properly. He was really gracious in pointing out the unseen labor that you mentioned.

SH: So I’d like your thoughts on that opening scene which features extended Liberty City street dialect.

CC: KPCC’s John Horn, the host of the post-screening discussion with the cast and crew (Barry Jenkins, Nicholas Britell, Mahershala Ali, Naomie Harris, Ashton Sanders, and Trevante Rhodes), asked a question about the “Liberty City dialect” in the opening scene of the film. His question assumed that “we” couldn’t understand the dialect of that scene, when clearly, his use of “we” assumes a lot about the audience—I’m sure there were folks in the crowd that could understand perfectly what was going on!

Two young boys from Umojaa Village, Liberty City, Miami, image by Flicker User danny.hammontree, (CC BY-NC-ND 2.0)

Two young boys from Umojaa Village, Liberty City, Miami, 2003, image by Flicker User danny.hammontree, (CC BY-NC-ND 2.0)

I wasn’t one of them, unfortunately, but I was drawn to the politics of that move. The refusal to translate, and the insistence on the authenticity of that voice, which necessarily separates a particular portion of the audience because of knowledge they don’t have, and often are comfortable having. Jenkins also talked at length about the specificity of time and place too. He insisted on representing Liberty City in all its particularities and refused the notion of Moonlight’s wide or universal intelligibility or relatability.

SH: Right. He was very clear about his determination to tell one specific story. Now, on one level, I see it, I get it, and I applaud it. However, on another level, I know that narratives are successful only to the degree that they mine a set of specifics to unearth truths that are universal. I think I’d be hard put to find anyone who would argue against the statement that even in the specificity which Jenkins rightly champions, Moonlight is deeply informed by a powerful universal quality.

screen capture from Moonlight trailer by JS

Ashton Sanders as Chiron, screen capture from Moonlight trailer by JS

CC: And both Ali and Sanders said during the discussion that they felt their embodiment of their respective characters was meant to be relatable to a wide audience. At the same time, Jenkins added that he hoped his method of narrative specificity would inspire other marginalized people to go out and do the same for their own stories, so perhaps he’s more concerned with universal methods than narrative details.

I’m only realizing now that the film just does so damn much, based on how the actors and director imagine their art reaching out to various audiences. One of the most immediate ways is through the use of diverse musical signposts. Others have commented on the gorgeous Barbara Lewis track “Hello Stranger” that Kevin plays on the diner jukebox, (and we could certainly spend all day jumping into the rabbit holes that all the disparate songs on the soundtrack take us to), but I wanted to ask if you had any thoughts on the use of the classic Mexican huapango song “Cucurrucucú Paloma.”

SH: Yes, I did. In a rather convoluted way, I connected that song to the character of Juan, so I’ll back my way into my thinking. The character of Juan is a very special character for me. I don’t think I’ve come across another like him; in fact, I see him as a new type: a trans-American father figure of the African diaspora. Juan is a Cuban native and thus functions as a reach-out to–a gesture towards, a signifier of—Cuba, of course, and, by extension, the rest of the Caribbean, which are American locations not typically identified by their Americanness. I see that Mexican track, “Cucurrucucu Paloma,” as an extension, not of Juan precisely, but of his function. This song is a reach-out to Mexico as another American location that is typically not acknowledged as American. In all truth, it is often imagined and imaged as distinctly anti-American. Through these reach-outs, both characterological and musical, this film initiates a conversation between the U.S. and other parts of the Americas which have been figuratively lopped off from their American identities simply because they fall outside of the United States, which is now almost singularly synonymous with America.  

screen capture of Moonlight trailer by JS

(l-r) Alex Hibbert as Little and Mahershala Ali as Juan, screen capture of Moonlight trailer by JS

Another layer to this, of course, is that the film makes these reach-outs to different parts of the Americas in the specific context of New World blackness, which automatically invokes the slavery which once covered the Americas and produced the enduringly racist economic and social structures from which Juan, Black, and entire communities like Liberty City are largely excluded.

CC: The film is definitely able to telescope some of most intimate and specific concerns into the widest transnational frames. It’s also interesting that we took different things from Jenkins’ use of that song. I didn’t recognize it during the film, but there was a familiarity to the subdued arrangement. My friend mentioned after that it was the same version by the Brazilian composer and singer Caetano Veloso that Wong Kar-Wai uses in Happy Together (1997) (Jenkins has elsewhere talked at length about the influence of Wong), a film about the fraught relationship between two gay Hong Kong Chinese men living in Argentina.

For Wong, the song, mixed with the sound of crashing water from Iguazu Falls in Argentina, signals characters in the midst of a crumbling relationship reaching back to happier times. In Moonlight, it works in a parallel manner, as an affective and sonic cue that envelops Black and Kevin in the very moment of living a future happy memory: the act of reuniting as adults and cruising around their hometown. The sonic touchstone of “Cucurrucucú Paloma” injects a sense of cosmopolitanism in Happy Together, which opens with shots of the lovers’ passports, but does so referentially in Moonlight through its gesture to global cinema.

SH: Precisely. The reach-outs, as we’re calling them, add such depth and such complex meaning to this film in so many different directions. They are in large measure directly responsible for this film’s richness and importance and intellectual and emotional heft. The film redounds with the boundary-shattering cosmopolitanism you mention because it is obsessed with the ways in which entities and forms which don’t typically speak to one another can be placed in conversation with one another and thus enabled to reach conversance with one of another.

Cinematically, as you mention, this U.S. film, overarching in its Americanness, speaks directly to those of Wong Kar-wai musically, visually, thematically, narratively. This thread of conversation and conversance, operative in so many ways and on so many levels, cannot be overstated.

Characterologically, this happens in all of the film’s main relationships but most significantly between Black and Kevin, whose relationship is always characterized by both speech and silence, which serve as conduits for the conversance, or intimacy, they share.

Screenshot

(l-r) Jharrel Jerome as Kevin and Ashton Sanders as Chiron, Screen capture from Moonlight trailer by SO! ed JS

CC: Yes! I love your reading of silence as a form of intimate conversance. It’s such a great way to think about how both people and cultures, putatively “worlds apart,” are in fact always talking to one another. I’ve also seen some writing on the prominent use of classical music, some of which suggested its “incongruousness” to the story, which I’m sure are based in part on problematic assumptions and associations.  

SH: Right. There is a decidedly poignant conversation between this black, male, gay, urban narrative and orchestral music, which is a noteworthy choice. And yes, there are other musical genres represented in the film, but Jenkins seems especially to venerate orchestral music above the other genres. I mean, he did single it out for the live music screening, which necessarily raises its profile above the hip-hop, the R&B, the huapango.

In fact, in the wake of the special screening, those other genres, though important, might be interpreted as intervening on or interrupting the ongoing, and seemingly more important, conversation underway between the black, male, gay, urban narrative and orchestral music. In this context, we might see the prominence of the classical music as a rhetorical bid for the inclusion of this black, male, gay story in a distinctly white, Western cultural canon—not as a quest for whiteness per se but rather as a quest for the ontological normativity which whiteness has long enjoyed.

Perfectly supporting, perhaps even enabling, this conversation between this narrative and classical music is the very telling–quite political, really–application of the “chopped-and- screwed” mixing technique to the classical music in the score. That orchestral music, which is generally perceived as the music of the white elite classes–music, which, even when it is composed and produced in the US, still reads as distinctly European in origin and orientation–should be handled in the same way as the chopped-and-screwed masterpieces of people such as DJ Screw, OG Ron C, and Swishahouse, is more than just a little funny. It is deliciously subversive and, given the political moment, downright democratic and egalitarian.

In a piece for SO, Kemi Adeyemi discusses how the technique was created in Houston by the late DJ Screw in the latter years of the 20th century as a sonic representation of the “loosened, detached body-feeling” of the (black male) body under the influence of the substance lean. Adeyemi explains how lean, a mixture of codeine and sweet soda or juice, has become a chief coping mechanism especially of hip-hop-identified black males trapped in their unrelenting contention with aggressive racist assault that is usually directly responsible for their premature deaths via what Adeyemi identifies as the “discursive entanglements of race, labor, and drugs…in the neoliberal state.”

The “chop” part of chopping and screwing involves adding rhythmic breaks of repetition into a song, hearkening back to the turntable mixing of classic hip-hop. Playing off of Adeyemi’s analysis, I read this chopping as auditory representation of the inescapability of the pace of modern life, particularly the beat of life in a lethally racist context that will not be denied. The “screw” aspect involves the slowing of the song’s overall tempo, which transmogrifies the original track into a plea for more time just to be and for more space to be unmoored from all the dangers poised to assail the black body.

Dave Tomkins, in a piece for mtv.com, quotes composer Nicholas Britell who wonders at the seeming magic of chopping and screwing to “open up all these new harmonics and textures…[and also to] stretch and widen out” phrases and words, enabling the listener to “marinate in the words more.” Britell notes that chopping and screwing the orchestral music of Moonlight’s score produced similar effects, explaining, “The same thing happens for the music, when it goes into those lower-frequency ranges. The sound becomes a feeling.” Tomkins points out that the “feeling” is often one of dread or coming doom that is distinctly black, male and urban, which dovetails Adeyimi’s discussion of chopping and screwing’s origins and cultural context. The film, then, forces the Eurocentric elite into conversance with blackness that is also gay, urban, Southern, hip-hop-identified, and beset by a range of lethal pressures.

Moreover, the orchestral music, in its chopped-and-screwed state, becomes a critical conveyance of deep meaning of the narrative. In the January 10th post-screening discussion, Britell emphasized how chopping and screwing produced “those lower-frequency ranges” by dropping the pitches of each instrument so that each was made to sound like another, deeper, more resonant one. This sonic masking speaks directly to the film’s central issues of voice, true identity, and intimacy.

Discussion between director Barry Jenkins and composer Nicholas Britell discussing “chopping and screwing” the score of Moonlight (starts at 4:10). 

CC: The selection and transformation of music in Moonlight is definitely doing something to challenge all sorts of normative assumptions. And not just cultural assumptions either but our understanding of the experience of music and film altogether.  Jenkins said in a separate discussion that the insertion of silence/music reflects Chiron’s consciousness, what he calls the “cogno-dissonance” of being Chiron. The idea of turning inward in the face of trauma was important to Jenkins. He and the sound crew apparently used surround sound and played with mixing to unbalance the audience’s sonic perception as a way to simulate this experience of trauma, which I think may have been less apparent in this particular theater setup. The thoughtful play on the phenomenology of sound shows us that music, at least in the Moonlight universe, is the substance of life.

SH: Yes. Music in this film is of the utmost importance, making direct and often very strong comment on every aspect of modern life, even to the point of marking trauma by speaking the unspeakable. As we’ve discussed before, various musical genres are put to the task of translating, interpreting, expressing life and its traumas.

However, there is one genre that is quite noticeably absent from this film. The absolute avoidance of the black church and its music is striking and lands a deft blow to a site within African American culture that has been stridently anti-gay despite its own embrace of rich, abundant LGBTQ artistic and cultural contribution. The reproach is so fierce, the black church is not allowed to exist in the film even on the plane of the lamest obligatory church tropes with which we are all too familiar. There is no Sunday service, no booming, looming vestmented preacher, no hymn-humming, Scripture-quoting grandma—not even a religious crisis set to a chopped-and-screwed Mahalia Jackson or Clara Ward track. The closest we get to religion is the swimming lesson as Juan, the trans-American father of the African diaspora, baptizes Little in the waters of the Middle Passage and teaches him how to survive in them. The context here is much more cultural and historical than it is religious. This thoroughgoing circumvention of the black church and gospel music in a film that traffics in reach-outs connotes nothing less than obdurate, unreprievable censure.

Screen capture by SO! ed JS

Hibbert as Little and Ali as Juan, Screen capture from Moonlight trailer by SO! ed JS

CC: This avoidance is especially interesting in light of the long history of gospel influence in the artistry of founding Black queer artists like Little Richard and Sister Rosetta Tharpe. And the exclusion of the Black church and its sonic registers interacts provocatively with the foregrounding of hip hop in Black’s arc since that genre has been characterized in some quarters as homophobic (though that critique can be reductive and itself plagued by racialized stereotyping).

SH: And in some instances, it has been homophobic, though that seems to be changing with the times and their increasing embrace of both the black secularism and the openness towards diverse black sexualities which Moonlight celebrates.

CC: So, what do you think you will remember most about this night, and this singular performance?

Vintage Postcard of Grauman's Million Dollar Theatre, Downtown Los Angeles,

Vintage Postcard of Grauman’s Million Dollar Theatre, Downtown Los Angeles, which opened in 1918.

SH: This night is one that I think I’ll always love and remember for many reasons–the moody weather, the dinner beforehand with my old friend, Dr. Ruth Blandon, the buzzing excitement of the crowds, our spotting the amazing Mahershala Ali seated just across the aisle from us, the tour de force film, the panel discussion afterwards–but perhaps one of the greatest reasons will be that sense of overwhelming connection I felt that night. It was simply electric. I don’t know about you, but I felt deeply connected to the city itself that night, to Los Angeles–especially old, historic, LA, the LA that my grandmother moved to as a five-year old back in 1940. My grandmother will be 82 this coming September, so she’s still very much here in the flesh, but I felt especially close to her, or really, to what I imagine was her five-year old self. Thinking about her precipitated a connection to that old theatre. I wondered how many times she had been there, or knowing her penchant for mischief, how many times she had snuck in.

And then, in a more diffuse but not less important way, I felt a kinship with all the strangers in the theatre, gathered there that evening for a single purpose. So it is fitting to me that an event celebrating a film which devotes itself so thoroughly to “reach-outs,” as we’ve called them here, to these critical, radical conversations in pursuit of conversance, would have also so generously provided me an opportunity to experience my own, very personal reach-outs and connections. What about you?

CC: Absolutely agreed. I don’t have as much of a connection to this city as you, being part of the dreaded transplant-class, but it speaks to the power of events such as this that I feel it more. There’s something to our exchange, too, that speaks not only to the importance of the film, but also, in this time of threatened funding to the arts, the critical nature of collective enjoyment and, indeed, production of daring new art by queer people of color.

The film reaches out and touches folks who don’t often get that experience and there’s no better example of this than the closing sequence. The film ends with Black talking to Kevin about the absence of intimate touch in his life and then a moment of the beautiful silent conversance that you pointed out earlier. The parting shot is of the most tender contact, over which we hear the sound of crashing waves. This visual-sonic collage suggests that the act of gay black men touching is elemental, almost tectonic—at once basal but also a force of nature; at once deeply individual (the actual final image is a dive inward, of young Chiron looking back at us from a darkened beach), but also an image of ceaseless, living tenderness, like the rolling waves on the Liberty City shores. I think the two thousand people in the room that night, both of us included, however differently we may all have perceived it, felt that touch.

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Miami Beach, Image by Flickr User Beaster 725, (CC BY-NC-ND 2.0)

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Featured Image: Screen capture of Alex Hibbert as Little from Moonlight Trailer by JS

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tape reelREWIND!…If you liked this post, you may also dig:

Fade to Black, Old Sport: How Hip Hop Amplifies Baz Luhrmann’s The Great Gatsby– Regina Bradley

Quiet on the Set?: The Artist and the Sound of a Silent Resurgence– April Miller

Sonic Connections: Listening for Indigenous Landscapes in Kent Mackenzie’s The Exiles–Laura Sachiko Fujikawa

Enacting Queer Listening, or When Anzaldúa Laughs–Maria Chaves Daza

 

 

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