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In Africanness in Action, author Juan Diego Díaz examines musicians' agency, constructions of blackness and Africanness, musical structure, performance practices, and rhetoric in Brazil, and provides a model for the study of African-derived music in other diasporic locales.
Juan Diego Díaz is Assistant Professor of Ethnomusicology at UC Davis. Prior to UC Davis, Díaz held posts as a lecturer at the University of Ghana and postdoctoral fellow at the University of Essex, the latter funded by the Social Sciences and Humanities Research Council of Canada. The funded research investigates the music of the descendants of freed enslaved Africans who resettled from Brazil to Ghana, Togo, and Benin during the nineteenth century. This research has produced a book called Tabom Voices: A History of the Ghanaian Afro-Brazilian Community in Their Own Words (2016) and the documentary film Tabom in Bahia (2017), documenting the visit of a Ghanaian master drummer to Bahia, Brazil. His articles appear in journals such as Ethnomusicology, Ethnomusicology Forum, Analytical Approaches to World Music, and Latin American Music Review.
Introduction
1. Bahia as an Epicenter of African Diasporic Culture
2. Redeeming the Study of African Essentialism
3. Orkestra Rumpilezz: A Big Band Playing Percussion
4. Orkestra Rumpilezz: Complications of African Rhythm
5. Orquestra Afrosinfônica: The Africanization of Erudite Music
6. The Nzinga Berimbau Orchestra: Performances of Bantu Heritage
7. The Tuned Berimbaus of OBADX: Melodic Performances of Africanness
Conclusion: Lessons from Essentialism
