IDENTIDADES 1 ENGLISH IDENTIDADES 5 ENGLISH | Page 111

“The indecent dances in which blacks
engage when they play their drums are
prohibited; even though they can publicly dance those dances at the feasts we
have in the city, the gatherings they, the
mulattoes, Indians and mestizos have
for merriment, at hidden places, near
the river, or outside the city, are prohibited, as is any kind of merriment, no
matter what it is: all under penalty of
two hundred lashes, and a month of
lockup for anyone who interferes” (Archivo General de la Nación, 8-10-3).

It will be an uncomfortable reading for
the dominant narrative, since my goal
here is to explain how it was and is
(un)seen and ignored by the surrounding society, by governmental institutions and, with few exceptions, academia.
Even if Afro-Argentines love the drum
and see it as essential to their identity,
they are not playing them for fun, when
they do; this also has political implications, as in doing so they are seeking
respect and acknowledgment from society and the State. Thus, it should not
surprise us that the slave owners of yore
also used them in their strategy to control them. It was often that these old
porteño slave owners issued proclamations such is this one, from 1766:

Many knew that the drum was less offensive than it was made out to be. Any
violation of their silence was expressly
condemned. Yet, the drum kept on and
is still being heard.

Santafesino Black Carnival Choral Society. Its director, Demetrio Acosta, alias “El Negro
Arigós,” on horseback. Among his instruments, one can see guitars, violins, and trumpets.
Santa Fe (Departament of La Capital, Santa Fe), s/f © Diario El Litoral

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