Batey Cero (authenticity)

Batey Cero - De Na'

From the band's website: "Since 2003 the musical group, Batey 0, has been mixing popular rhythms from the Dominican Republic and their neighboring country, Haiti while also combining this with other worldwide musical styles. Their songs reflect the magical and religious beliefs, street culture, and the social problems encountered daily in their native country. Listening to the sound of this band one feels the musical influences formed by their ancestors linked with their contemporary and experimental music."

The following/preceding videos are of Batey Cero performing live and recording live their single "De Na' (Of Nothing)." During the introduction of this song, the lead singer and members of the chorus play vaccines in the hocketing-style of gagá. Then, the guitar enters, strumming chords, while the rhythm section maintains the characteristic gagá sound. As the chorus begins, the guitar begins to imitate the sound of the vaccines while the group chants, "Señor, yo soy de na' (Lord, I'm nothing)." However, "señor" sounds similar to the phrase "Sin yo (Without me/myself)." So the phrase could be interpreted as "Without me, I'm nothing." Nevertheless, religious imagery (conquering mountains, escaping death, eternal health, etc.) pervades throughout the song. Yet, the fusion with rock is undoubtedly unique and questions the authenticity of the music. Is this gagá? They use gagá instruments and sing about similar topics. Some are even initiates into the tradition. However, the majority are musicians/scholars on Afro-latino culture and the sounds of gagá (utilized in the song and others by the group) are no more than representations of Dominican culture. That, in itself, re-addresses the debate on the Dominican-Haitian culture border between gagá and rará. Sure, gagá is of Haitian origin, but when does something become part of another culture? And at what point does ownership matter to an initiate? Gagá reached that at its inception; because of the peculiarities of life on bateyes, gagá evolved independently and under very different auspices than rará. That independence seen in the instrumentation (palos, guiros, etc.) and its offspring (i.e. rock fusion via Batey Cero). I argue that Batey Cero's music is equally as effective as a tradition gagá band for the same reason June Rosenberg uses to describe gagá's purpose in El Gaga:

"Gaga give satisfaction and pleasure to the members of the group and its spectators. It has been said that one of the functions of religion is to give the "luck of recreation" to whoever practices it...Religious music and dance have been an important part in the inspiration of many cultures....To its participants, Gagá offers an essential means of expression of themselves and at the same time entertains its spectators. During the marches and parades, Gagá brings joy and happiness--even if its temporary--to a very sad time: Lent," (204-205).

Look at the video. Those fans are obviously enjoying the music. If not for the gagá elements, but for the rock. Nevertheless, the group is serving its purpose: entertainment AND self-reflection. Batey Cero is gagá music.