Musical Fusion as Contextualized Boundary-PlaySamba Jazz in New York City Marc M. Gidal (bio) Music scholars regularly address "fusion" and "boundaries" together because fusion implies combinations of musical elements and practices whose distinctions help define categorical boundaries, musical or extra-musical. To explain jazz-rock-funk fusion during the 1970s, for example, Kevin Fellezs defined his topic accordingly: "For my purposes fusion will refer to a merging of jazz, rock, and funk music aesthetics and practices and the subsequent (or, better, the further) blurring of these large-scale genre boundaries in articulation with other musical traditions […]"1 Deborah Pacini Hernandez addressed intersections of hybridity, identity, and boundary-work to study "innovative blends" in US "Latino popular music": Despite—and sometimes because of—their interstitial position within the United States' racial imaginary, Latinos' personal and collective hybrid genealogies have served to facilitate the bridging and crossing of musical borders. Indeed, Latinos have generated an extraordinary variety of innovative blends of Latin American, African American, and Euro- American aesthetics, bringing into dialogue with each other in multiple overlapping and intersecting ways.2 To expand this approach, we could frame creative acts of musical fusion and discourses about them through the lens of the sociological concept "symbolic boundary-work," in the sense that they express and bridge differences, symbolic and social.3 Boundary-awareness can happen during boundary-crossing activities that may produce fusions, as well as boundary-maintenance that may favor authenticity. When listeners notice musical combinations that challenge their categorical expectations such as an album that, as Jennifer Lena explains, "is not obviously located within one or another position in the classification system, sociologists will refer to it as a boundary object."4 The dismissive quip that fusing jazz with other genres amounts to "confusion"—asserted by, for example, "jazz purists" about jazz-rock fusions and Indian classical "traditionalists" about Indian-jazz fusions—illustrates judgments about boundary-crossing as well [End Page 52] as the subjectivity of evaluation.5 To juxtapose the terms "musical fusion" and "boundary-work" might, at first glance, seem to combine opposite intentions: the former implies mixture and the latter separation. However, sociologists have explained that studies of symbolic boundary-work examine degrees of flexibility, types of interactions, and effects under the umbrellas of "boundary properties (i.e. permeability, salience, durability, and visibility) as well as mechanisms 'associated with the activation, maintenance, transposition or the dispute, bridging, crossing and dissolution of boundaries.'"6 As I summarized elsewhere, sociological studies of boundary-work through music often correlate musical tastes of listeners/consumers with social stratification, expanding upon Pierre Bourdieu's Distinction; and, by contrast, ethnomusicologists have drawn on symbolic boundary-studies when relating music-making practices with issues of social-group identity.7 To adjust sociological terms for music studies, the "work" in boundary-work might be stated in creative-artistic terms as practice, process, performance, or play. To this end, I suggest that boundary-play suits the variety of boundary- conscious "fusing activities" that musicians use and that audiences, critics, and scholars interpret.8 I use "play" in a broad sense to embrace playing music, creative play, and social play in relation to identity, culture, and society. In short, musical fusion features playful mediations of symbolic and social boundaries. Depending on the context, musicians, listeners, and scholars apply their understandings of categorical similarities and differences when recognizing musical practices that seem borrowed and combined, and when interpreting musical meaning in boundary-play. In this article I explore four interrelated points through a case study of samba jazz, a type of Brazilian-jazz fusion, as played and interpreted in New York City, with comparisons to interpretations of Brazilian jazz in Brazil. My first point is that musical fusion can be explained as symbolic boundary-work, which I am calling boundary-play for its creative-artistic implications. Second, boundary- play can encompass a wide range of musical interactions between and within categories (traditions, genres, styles, etc.), and relates to musicians' multiple competencies, affinities, and identities. Third, the different contexts of musical fusions can influence interpretations of boundary-play even if descriptions of musical fusions may be the same or similar. Specifically, interpretations of Brazilian jazz in Brazil...
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