The relationship between music and the manouche people (Part 1)
How can manouche swing be considered essentially Tsigane music? First and foremost because this music is “the one they practice among themselves; between members of a community in which they identify.”
Gypsies of all generations, have always been extremely attentive to the developments of different kinds of music; developments that -now more than ever- can be assimilated in large quantities through mass media such as radio, television and cinema. We can even say that there is a certain penchant towards the use of audio/video products, and often the trailers are fully equipped with everything needed. In this context, just like in the “outside world”, children and youngsters always have the latest hits in their ears, but there isn’t actually a real interest in the hit parade and the top ten.
The most commonly appreciated and valued element the manouche people listen to, is probably the voice: a clean, sophisticated and fancy voice. The opera, operetta and vocal jazz are three examples of highly appreciated musical genres. Regarding instrumental music, it seems that instrumental jazz in all its forms and Brazilian bossa nova are very much loved.
Rock and pop, on the contrary, do not generate much interest, being two genres usually associated with the process of globalization. That’s a phenomenon that greatly worries the manouche people and that generates a particular perspective in their vision of the relationship between media and music, leading them to shut out the trends that are popular within the so-called stationary society.
Adding to this perception of a music we can call “external” there’s also the existence of specific musical elements considered “internal” to the manouche community. We can even say that in this community, music occurs in much larger proportions than in other Tsigane groups around Europe, even to the point that there are manouche communities in which all members are musicians. This precise musical identity has some characteristics that make reference to community life, like a family musical practice that permeates the instrumental tradition constantly being generated. Also, a relatively “fixed” repertoire which draws from heterogeneous elements including the lesson of Django Reinhardt, the paramount manouche guitarist, holding a privileged position.
In Manouche music the leading instrument is -without a doubt- the guitar. The violin, too, plays a very important role, as well as the upright -or also electric- bass, that’s seldom missing. The tradition is essentially “stringed”, so to speak. Learning the skills to play is something that happens in everyday life, starting from an early age, through the teaching of the elders: at gatherings, at parties or around the fire, the kids discover the desire to learn. With family celebrations and religious journeys, the occasions that draw towards learning music are endless. The teachers are always present, being the fathers, cousins and uncles, always ready to impart their wisdom to younger generations.
The main learning system is generally based on imitation, through the direct observation of instrumental practice. It’s no wonder, then, that it’s precisely within manouche music that these particular traits, so characteristic and so difficult to define, are found. “C’est dans le sang” as those directly involved say, thereby demonstrating a completely natural relationship with life, to which culture is inextricably linked, “Ainsi la culture dans les coul Veines”.
Luca Leimer
Oncle Archibald
