DOCSLIB.ORG

Rhythms of the Afro-Atlantic World: Rituals and Remembrances

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rhythms of the Afro-Atlantic World: Rituals and Remembrances Nwankwo, Ifeoma C. Rhythms of the Afro-Atlantic World: Rituals and Remembrances. E-book, Ann Arbor, MI: University of Michigan Press, 2010, https://doi.org/10.3998/mpub.317074. Downloaded on behalf of Unknown Institution Rhythms of the Afro-Atlantic World Nwankwo, Ifeoma C. Rhythms of the Afro-Atlantic World: Rituals and Remembrances. E-book, Ann Arbor, MI: University of Michigan Press, 2010, https://doi.org/10.3998/mpub.317074. Downloaded on behalf of Unknown Institution Nwankwo, Ifeoma C. Rhythms of the Afro-Atlantic World: Rituals and Remembrances. E-book, Ann Arbor, MI: University of Michigan Press, 2010, https://doi.org/10.3998/mpub.317074. Downloaded on behalf of Unknown Institution Rhythms of the Afro-Atlantic World Rituals and Remembrances edited by mamadou diouf and ifeoma kiddoe nwankwo The University of Michigan Press Ann Arbor Nwankwo, Ifeoma C. Rhythms of the Afro-Atlantic World: Rituals and Remembrances. E-book, Ann Arbor, MI: University of Michigan Press, 2010, https://doi.org/10.3998/mpub.317074. Downloaded on behalf of Unknown Institution Copyright © by the University of Michigan 2010 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2013 2012 2011 2010 4 3 2 1 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Rhythms of the Afro-Atlantic world : rituals and remembrances / edited by Mamadou Diouf and Ifeoma Kiddoe Nwankwo. p. cm. Includes bibliographical references and index. isbn 978-0-472-07096-1 (acid-free paper) 1. Popular music—Caribbean area—History and criticism. 2. Blacks—Caribbean area—Music—History and criticism. 3. Dance— Caribbean area—History. 4. Hip-hop—Africa. I. Diouf, Mamadou. II. Nwankwo, Ifeoma Kiddoe. ml3486.a1r49 2010 780.89'96—dc22 2010004464 isbn 978-0-472-02747-7 (e-book) Nwankwo, Ifeoma C. Rhythms of the Afro-Atlantic World: Rituals and Remembrances. E-book, Ann Arbor, MI: University of Michigan Press, 2010, https://doi.org/10.3998/mpub.317074. Downloaded on behalf of Unknown Institution Contents introduction 1 Mamadou Diouf and Ifeoma Kiddoe Nwankwo part one: religion The Economic Vitamins of Cuba: Sacred and Other Dance Performance yvonne daniel 19 Performing Pentecostalism: Music, Identity, and the Interplay of Jamaican and African American Styles melvin l. butler 41 “The Women Have on All Their Clothes”: Reading the Texts of Holy Hip-Hop deborah smith pollard 55 part two: dance Rhythmic Remembrances yvonne daniel 79 Citizenship and Dance in Urban Brazil: Grupo Corpo, a Case Study lucía m. suárez 95 Muscle/Memories: How Germaine Acogny and Diane McIntyre Put Their Feet Down susan leigh foster 121 “To Carry the Dance of the People Beyond”: Jean Léon Destiné, Lavinia Williams, and Danse Folklorique Haïtienne millery polyné 136 Nwankwo, Ifeoma C. Rhythms of the Afro-Atlantic World: Rituals and Remembrances. E-book, Ann Arbor, MI: University of Michigan Press, 2010, https://doi.org/10.3998/mpub.317074. Downloaded on behalf of Unknown Institution part three: contemporary music Motherland Hip-Hop: Connective Marginality and African American Youth Culture in Senegal and Kenya halifu osumare 161 New York Bomba: Puerto Ricans, Dominicans, and a Bridge Called Haiti raquel z. rivera 178 Talking Drums: Soca and Go-Go Music as Grassroots Identity Movements deidre r. gantt 200 Warriors of the Word: Rapso in Trinidad’s Festival Culture patricia van leeuwaarde moonsammy 214 Timba Brava: Maroon Music in Cuba umi vaughan 234 Salsa Memory: Revisiting Grupo Folklórico y Experimental Nuevayorquino juan flores and rené lópez 256 Epilogue: Performing Memories—The Atlantic Theater of Cultural Production and Exchange carroll smith-rosenberg 269 contributors 275 index 281 Nwankwo, Ifeoma C. Rhythms of the Afro-Atlantic World: Rituals and Remembrances. E-book, Ann Arbor, MI: University of Michigan Press, 2010, https://doi.org/10.3998/mpub.317074. Downloaded on behalf of Unknown Institution Introduction mamadou diouf and ifeoma kiddoe nwankwo Located simultaneously inside and outside Western modernities and aesthetics, Afro-Atlantic peoples have used music and dance to continually represent and reinvent their multiple bases of identity—physically, emotionally, and intellec- tually.1 Through the two genres, these communities dramatize, articulate, and appreciate their historical narratives in relation to their African, European, and American genealogies. As venues for the staging of these dramas of contact, con›ict, and synthesis, music and dance are crucial sites for the narration of Afro-Atlantic modernities as well as key arenas in which Black agency, creativ- ity, and dominance are at once recognized by the West and claimed by Afro- Atlantic people.2 Along with linked modes of religiosity, music and dance have also ‹gured prominently in scholars’ approaches to documenting the results of the multidi- mensional cultural contact brought about by the Atlantic slave trade. The focus of pioneers like Fernando Ortiz on these genres was not a coincidence but, rather, a recognition of the fact that Afro-Atlantic music and dance simultane- ously carry history and memory within them and show the ways communities have blended past with present realities, yielding wholly new cultures. Widely considered to be the most visible contributions of African-descended commu- nities to the making of the Atlantic world, music and dance have been identi‹ed, along with orality, not only as the main modes of occurrence and dissemination in the world of black culture but also as linked channels of black expressivity and presence in the world scene.3 African music is “always music for dance,”and African dances are “polymorphic music, with the upper and the Nwankwo, Ifeoma C. Rhythms of the Afro-Atlantic World: Rituals and Remembrances. E-book, Ann Arbor, MI: University of Michigan Press, 2010, https://doi.org/10.3998/mpub.317074. Downloaded on behalf of Unknown Institution 2/rhythms of the afro-atlantic world lower parts of the body appearing to move to two different, related clocks.”Not only are they “pleasurable and erotic,” but they are also powerful spiritual grammars and rituals of socialization, languages of interventions in nature and society, contributing to the expression of African religious and cultural beliefs and manifestations of and engagements with historical (dis)continuities.4 This unique collection of essays connects nations from across the At- lantic—Senegal, Kenya, Trinidad, Cuba, Brazil, and the United States, among others—highlighting contemporary popular, folkloric, and religious music and dance as living evidence of the ironically productive potential of this age of consumerist globalization, especially for Afro-Atlantic artists and communi- ties. In this most recent era of ‹nancially driven ›ows of culture and peoples within and among the nations of the Atlantic, Afro-Atlantic music and dance have become prime commodities. As economic commodities they fatten the bank accounts of multinational media companies and well-positioned artists. As cultural commodities they are employed by individuals and communities to craft cultural and ideological weapons for their battles against colonialism and neocolonialism, governmental corruption, and the inequalities created and perpetuated by the same multinational/mercantile system that makes this transnational weaponry possible. Religion and religious cultural products are key commodities in the contemporary moment of globalization, commodities that inspire, illuminate, and disseminate approaches to de‹ning and enacting community and citizenship. Along with secular music and dance, these travel- ing consumer products are constitutive elements of Afro-Atlantic communi- ties’ perceptions, expressions, and enactments of conceptions of identity, often even when they appear to be wholly local. As such, they exemplify what can be usefully termed “globalization creolization.” By tracking the continuous reframing, revision, and erasure of aural, oral, and corporeal traces, the contributors to Rhythms of the Afro-Atlantic World collectively argue that music and dance are living indices of a constant (re)composition and (re)mixing of local sounds, gestures, epistemologies, and memories. These multiple and intersecting itineraries are transformed by con- tinuous movements across time and geography, becoming at once more local and more transnational while also representing African and diasporic commu- nities’ economies of knowledge about the Atlantic world—particularly around issues of citizenship, consumerism, and the social and political mission of arts and artists. Scholars have long sought to map the circuits of Afro-Atlantic music and dance, tracing the travels and revisions of specific sounds, forms, and gestures Nwankwo, Ifeoma C. Rhythms of the Afro-Atlantic World: Rituals and Remembrances. E-book, Ann Arbor, MI: University of Michigan Press, 2010, https://doi.org/10.3998/mpub.317074. Downloaded on behalf of Unknown Institution Introduction /3 among sites. With regard to the role of drums brought along (by slaves) from the African coast,5 in particular, Ned Sublette notes that they “allowed slaves to dance at a certain place on deck” during the Middle Passage and on “Sundays
Load more

Recommended publications
  • ENG 350 Summer12
    ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Monday - Thursday, 6:30-8:30, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our two required textbook are Bradley and DuBois’s Anthology of Rap (Yale University Press) and Neal and Forman’s That's the Joint: The Hip-Hop Studies Reader are both available at the RIC campus store. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will is also a course blog with a discussion board and a wide array of links to audio and text resources at http://350hiphop.blogspot.com/ WRITTEN WORK: An informal response to our readings and listenings is due each week on the blog.
    [Show full text]
  • Streams of Civilization: Volume 2
    Copyright © 2017 Christian Liberty Press i Streams Two 3e TEXT.indb 1 8/7/17 1:24 PM ii Streams of Civilization Volume Two Streams of Civilization, Volume Two Original Authors: Robert G. Clouse and Richard V. Pierard Original copyright © 1980 Mott Media Copyright to the first edition transferred to Christian Liberty Press in 1995 Streams of Civilization, Volume Two, Third Edition Copyright © 2017, 1995 Christian Liberty Press All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, without written permission from the publisher. Brief quota- tions embodied in critical articles or reviews are permitted. Christian Liberty Press 502 West Euclid Avenue Arlington Heights, Illinois 60004-5402 www.christianlibertypress.com Copyright © 2017 Christian Liberty Press Revised and Updated: Garry J. Moes Editors: Eric D. Bristley, Lars R. Johnson, and Michael J. McHugh Reviewers: Dr. Marcus McArthur and Paul Kostelny Layout: Edward J. Shewan Editing: Edward J. Shewan and Eric L. Pfeiffelman Copyediting: Diane C. Olson Cover and Text Design: Bob Fine Graphics: Bob Fine, Edward J. Shewan, and Lars Johnson ISBN 978-1-629820-53-8 (print) 978-1-629820-56-9 (e-Book PDF) Printed in the United States of America Streams Two 3e TEXT.indb 2 8/7/17 1:24 PM iii Contents Foreword ................................................................................1 Introduction ...........................................................................9 Chapter 1 European Exploration and Its Motives
    [Show full text]
  • Calypso, Education and Community in Trinidad and Tobago: from the 1940S to 2011 1
    Tout Moun Caribbean Journal of Cultural Studies http://journals.sta.uwi.edu/toutmoun/index.asp © The University of the West Indies, Department of Literary Cultural & Communication Studies Calypso, Education and Community in Trinidad and Tobago: From the 1940s to 2011 1 Calypso, Education and Community in Trinidad and Tobago from the 1940s to 2011 GORDON ROHLEHR I Introduction This essay has grown out of an address delivered on Wednesday January 28, 2009, at a seminar on the theme “Education through Community Issues and Possibilities for Development.” It explores the foundational ideas of Dr. Eric Williams about education as a vehicle for decolonization through nation-building, most of which he outlined in Education in the British West Indies,(1) a report that he prepared under the auspices of the Caribbean Research Council of the Caribbean Commission between 1945 and 1947, and published in 1950 in partnership with the Teachers’ Economic and Cultural Association [TECA] of Trinidad and Tobago. Drawing heavily upon De Wilton Rogers’s The Rise of the People’s National Movement,(2) this essay will detail Williams’s association with the TECA and its education arm, The People’s Education Movement [PEM] between 1950 and 1955 when Williams made the transition from research to politics via lectures, first at the Port-of-Spain library, then before massive crowds in Woodford Square. It will also explore the issues of education, community, and nation-building during the early Tout Moun ▪ Vol. 2 No. 1 ▪ October 2013 2 Gordon Rohlehr years of the PNM’s first term in office, when Williams struggled to sell his ideas(2) about educational reform and development to a skeptical and sometimes hostile hierarchy of entrenched interests.
    [Show full text]
  • UNDERNEATH the MUSIC Ellington
    ABSTRACT Title of Document: UNDERNEATH THE MUSIC Ellington Rudi Robinson, Master of Fine Arts, 2008 Directed By: Professor, Jefferson Pinder, and Department of Art I see my work as an expression of a young man growing up in a household of music, books, and highly influential people. During the crack era that becomes prevalent under the tenure of President Reagan. The influences of the past will be the guides to surviving in a time when many friends parish as victims from the abundance of violence. The influences and tragedies are translated into motifs that are metaphors combined to create forms of communication. The hardwood floors, record jackets, tape, and railroad tracks provide a catalyst. These motifs are combined and isolated to tell an intense story that is layered with the history of the Civil Rights Movement, hip hop culture, drugs and music. The work is a conduit to release years of pain dealing with loss and oppression. It is also a vehicle to celebrate the philosophy that joy and pain are synonymous with life. UNDERNEATH THE MUSIC By Ellington Rudi Robinson Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Fine Arts 2008 Advisory Committee: Professor Jefferson Pinder, Chair Professor Patrick Craig Professor Margo Humphries Professor Brandon Morse Rex Weil © Copyright by Ellington Robinson 2008 Preface The smell of the coffee bean aroma surrounded by the books and music, the phone rings. “Good afternoon, thank you for calling Borders Books and Music, how can I help you?” “El! What’s up man, I have some bad news.” This is an all too familiar greeting.
    [Show full text]
  • Council of the District of Columbia Committee of The
    C OUNCIL OF THE DISTRICT OF COLUMBIA C O MMITTEE OF THE WHOLE COMMITTEE REPORT 1350 Pennsylvania Avenue, NW, Washington, DC 20004 DRAFT TO: All Councilmembers FROM: Chairman Phil Mendelson Committee of the Whole DATE: December 17, 2019 SUBJECT: Report on Bill 23-317, the “Go-Go Official Music of the District of Columbia Designation Act of 2019” The Committee of the Whole, to which Bill 23-317, the “Go-Go Official Music of the District of Columbia Designation Act of 2019” was referred, reports favorably thereon, with amendments, and recommends approval by the Council. CONTENTS I. Background and Need .................................................................1 II. Legislative Chronology ...............................................................3 III. Position of The Executive ...........................................................4 IV. Comments of Advisory Neighborhood Commissions .................4 V. Summary of Testimony ...............................................................4 VI. Impact on Existing Law ..............................................................6 VII. Fiscal Impact ...............................................................................6 VIII. Section-by-Section Analysis .......................................................7 IX. Committee Action .......................................................................7 X. Attachments .................................................................................7 I. BACKGROUND AND NEED Bill 23-317, the “Go-Go Official Music of the District
    [Show full text]
  • Hip-Hop & the Global Imprint of a Black Cultural Form
    Hip-Hop & the Global Imprint of a Black Cultural Form Marcyliena Morgan & Dionne Bennett To me, hip-hop says, “Come as you are.” We are a family. Hip-hop is the voice of this generation. It has become a powerful force. Hip-hop binds all of these people, all of these nationalities, all over the world together. Hip-hop is a family so everybody has got to pitch in. East, west, north or south–we come MARCYLIENA MORGAN is from one coast and that coast was Africa. Professor of African and African –dj Kool Herc American Studies at Harvard Uni- versity. Her publications include Through hip-hop, we are trying to ½nd out who we Language, Discourse and Power in are, what we are. That’s what black people in Amer- African American Culture (2002), ica did. The Real Hiphop: Battling for Knowl- –mc Yan1 edge, Power, and Respect in the LA Underground (2009), and “Hip- hop and Race: Blackness, Lan- It is nearly impossible to travel the world without guage, and Creativity” (with encountering instances of hip-hop music and cul- Dawn-Elissa Fischer), in Doing Race: 21 Essays for the 21st Century ture. Hip-hop is the distinctive graf½ti lettering (ed. Hazel Rose Markus and styles that have materialized on walls worldwide. Paula M.L. Moya, 2010). It is the latest dance moves that young people per- form on streets and dirt roads. It is the bass beats DIONNE BENNETT is an Assis- mc tant Professor of African Ameri- and styles of dress at dance clubs. It is local s can Studies at Loyola Marymount on microphones with hands raised and moving to University.
    [Show full text]
  • PAPERS: the ASSOCIATED NEGRO PRESS, 1918-1967 Part Three Subject Files on Black Americans, 1918-1967
    THE CLAUDE A. BARNETT PAPERS: THE ASSOCIATED NEGRO PRESS, 1918-1967 Part Three Subject Files on Black Americans, 1918-1967 UNIVERSITY PUBLICATIONS OF AMERICA BLACK STUDIES RESEARCH SOURCES: Microfilms from Major Archival and Manuscript Collections August Meier and Elliott Rudwick General Editors THE CLAUDE A. BARNETT PAPERS: The Associated Negro Press, 1918-1967 Part Three Subject Files on Black Americans, 1918-1967 THE CLAUDE A. BARNETT PAPERS: The Associated Negro Press, 1918-1967 Part Three Subject Files on Black Americans, 1918-1967 Seri es A: Agriculture, 1923-1966 Seri es B: Colleges and Universities, 1918-1966 Seri es C: Economic Conditions, 1918-1966 Ser es D: Entertainers, Artists, and Authors, 1928-1965 Ser es E: Medicine, 1927-1965 Ser es F: Military, 1925-1965 Seri es G: Philanthropic and Social Organizations, 1925-1966 Seri es H: Politics and Law, 1920-1966 Seri es I: Race Relations, 1923-1965 Seri es J: Religion, 1924-1966 Seri es K: Claude A. Barnett, Personal and Financial, 1920-1967 Microfilmed from the holdings of the Chicago Historical Society Edited by August Meier and Elliott Rudwick A Microfilm Project of UNIVERSITY PUBLICATIONS OF AMERICA, INC. 44 North Market Street • Frederick, Maryland 21701 NOTE ON SELECTIONS Portions of the Claude A. Barnett papers at the Archives and Manuscripts Depart- ment of the Chicago Historical Society do not appear in this microfilm edition. The editors chose not to include African and other foreign relations materials and to film only the American categories of the Barnett papers that hold the greatest potential research value. Materials of negligible or specialized research interest that were not microfilmed include some pamphlets, some categories composed entirely of news- clippings, partial sets of minutes of institutions which Barnett served as a board member, a small group of materials that are closed to researchers at present, and routine financial records.
    [Show full text]
  • Chapter 2 Defining Calypso
    Cover Page The handle http://hdl.handle.net/1887/45260 holds various files of this Leiden University dissertation Author: Charles, Clarence Title: Calypso music : identity and social influence : the Trinidadian experience Issue Date: 2016-11-22 71 Chapter 2 Defining Calypso In the absence of conclusive evidence that points to a singular ethnic source of origin, analysis is launched from the premise that calypso music is a product of the ethno-cultural mosaics found within the boundaries in which it emerged, was developed, and exists as various strains with features that are characteristic, sometimes unique to its host mosaic. Etymology and Anthropology So far efforts by researchers to establish the origin of calypso music as a definite song type have been inconclusive. The etymology of the term ‘calypso’ in reference to that song type has proven to be as equally mysterious and speculation remains divided among contributors. This chapter of the study will touch upon literature that speculates about these issues relative to the emergence and development of the song type on the island of Trinidad. At one end of the discussion about origin Lamson (1957, p. 60) has reported the use of French melodic material in calypso, and Raphael De Leon aka The Roaring Lion (1987) has argued in Calypsos from France to Trinidad: 800 Years of History, that the genre was given the pseudonym ‘calypso’ some time in 1900, and derives from French ‘ballade’ created in 1295. He has also publicly asserted that, there is no evidence to support the claim that it is either a variant of African folk songs or that it was invented by African slaves in Trinidad.
    [Show full text]
  • Downbeat.Com September 2010 U.K. £3.50
    downbeat.com downbeat.com september 2010 2010 september £3.50 U.K. DownBeat esperanza spalDing // Danilo pérez // al Di Meola // Billy ChilDs // artie shaw septeMBer 2010 SEPTEMBER 2010 � Volume 77 – Number 9 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser AdVertisiNg sAles Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] offices 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] customer serVice 877-904-5299 [email protected] coNtributors Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Atlanta: Jon Ross; Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, How- ard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Jennifer
    [Show full text]
  • 8123 Songs, 21 Days, 63.83 GB
    Page 1 of 247 Music 8123 songs, 21 days, 63.83 GB Name Artist The A Team Ed Sheeran A-List (Radio Edit) XMIXR Sisqo feat. Waka Flocka Flame A.D.I.D.A.S. (Clean Edit) Killer Mike ft Big Boi Aaroma (Bonus Version) Pru About A Girl The Academy Is... About The Money (Radio Edit) XMIXR T.I. feat. Young Thug About The Money (Remix) (Radio Edit) XMIXR T.I. feat. Young Thug, Lil Wayne & Jeezy About Us [Pop Edit] Brooke Hogan ft. Paul Wall Absolute Zero (Radio Edit) XMIXR Stone Sour Absolutely (Story Of A Girl) Ninedays Absolution Calling (Radio Edit) XMIXR Incubus Acapella Karmin Acapella Kelis Acapella (Radio Edit) XMIXR Karmin Accidentally in Love Counting Crows According To You (Top 40 Edit) Orianthi Act Right (Promo Only Clean Edit) Yo Gotti Feat. Young Jeezy & YG Act Right (Radio Edit) XMIXR Yo Gotti ft Jeezy & YG Actin Crazy (Radio Edit) XMIXR Action Bronson Actin' Up (Clean) Wale & Meek Mill f./French Montana Actin' Up (Radio Edit) XMIXR Wale & Meek Mill ft French Montana Action Man Hafdís Huld Addicted Ace Young Addicted Enrique Iglsias Addicted Saving abel Addicted Simple Plan Addicted To Bass Puretone Addicted To Pain (Radio Edit) XMIXR Alter Bridge Addicted To You (Radio Edit) XMIXR Avicii Addiction Ryan Leslie Feat. Cassie & Fabolous Music Page 2 of 247 Name Artist Addresses (Radio Edit) XMIXR T.I. Adore You (Radio Edit) XMIXR Miley Cyrus Adorn Miguel Adorn Miguel Adorn (Radio Edit) XMIXR Miguel Adorn (Remix) Miguel f./Wiz Khalifa Adorn (Remix) (Radio Edit) XMIXR Miguel ft Wiz Khalifa Adrenaline (Radio Edit) XMIXR Shinedown Adrienne Calling, The Adult Swim (Radio Edit) XMIXR DJ Spinking feat.
    [Show full text]
  • ECOS NÓMADAS Itinerario Musical La Biblioteca De Adultos Ofrece Un Itinerario Musical a Través De Sonidos Con Ecos Viajeros
    ECOS NÓMADAS Itinerario musical La biblioteca de adultos ofrece un itinerario musical a través de sonidos con ecos viajeros. Y es que también los ritmos étnicos son herederos de formas de vida nómada: romaníes, tuareg o masai han dejado su huella en algunos grupos actuales. De este modo, instrumentos, estilos o ritmos ancestrales se han fusionado con músicas contemporáneas, componiendo nuevos sonidos que hermanan culturas y épocas. Esta selección musical nos recuerda que, en tiempos remotos, muchos de nuestros antepasados recorrían los senderos con la vida a cuestas. Sus ecos han pervivido a través del tiempo. Reseñas de José Miguel López , director del programa Discópolis , de Radio 3 , publicadas en: Fonoteca Civican de Ritmos Étnicos: una selección de músicas del mundo. Pamplona: Caja Navarra, 2007 ABAJI. Nomad spirit. Network Medien GMBH, Baaba MAAL. Lam toro. Island Records, 1993 2005 (ASI) (AFR) CONTIENE: Al kafila al akhira/ Iskandar el kabir/ CONTIENE: Hamady boiro (yelle)/ Daande lenol/ Lem Trance eastern blues/ Khosrow/ Al 'assifa/ Mitilini/ Al gi/ Ndelore/ Yela/ Toro/ Daniibe/ Olel/ Sy sawande/ awlad/ Nomad spirit/ Nida/ Tshingane/ Waiting for Hamady bogle djivan/ Min al jabal/ Bi albi/ Badawi/ Kamar wa assal Lam Toro es el quinto disco occidental de Baaba Maal. Abaji es un espíritu nómada donde los haya: trovador Fue el más mezclado de todos los que había hecho beduino con raíces familiares en Libia, Siria, Armenia, hasta ese momento. Baaba Maal estaba muy bien Turquía y Grecia. Nació en Beirut, hablaba francés en relacionado con Peter Gabriel, con quien había casa, árabe en la escuela y turco con su abuela Alicia.
    [Show full text]
  • UNIVERSITY of CALIFORNIA RIVERSIDE Take a Wine and Roll
    UNIVERSITY OF CALIFORNIA RIVERSIDE Take a Wine and Roll “IT”!: Breaking Through the Circumscriptive Politics of the Trini/Caribbean Dancing Body A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Critical Dance Studies by Adanna Kai Jones March 2016 Dissertation Committee: Dr. Anthea Kraut, Chairperson Dr. Marta E. Savigliano Dr. Amalia Cabezas Copyright by Adanna Kai Jones 2016 The Dissertation of Adanna Kai Jones is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS You know how at fundraisers they say, “Every penny counts,” well the same applies to the process of dissertating. Every hug, every smile, every cheer, every piece of advice, every rough draft read, every second of listening, every book borrowed, every meal offered, every dollar granted, and every prayer sent on my behalf, all of these moments pushed me closer to the very real moment of completion. According to the south African philosophy of ubuntu, meaning “I am because we are,” I could only have made it here because of each and every one of you who hugged, smiled, cheered, mentored, read, listened, shared, cooked, and prayed for me. We all participated in a journey that has not only changed how I approach learning and teaching, but it has also changed how I view myself, as well as my purpose in this world. For each and every one of these necessary moments, I am eternally grateful. Thank you all from the bottom of my heart, mind, and soul. And now it is time for the “shout-outs!” With regards to funding for my research in both Trinidad and Barbados, I am grateful for the support of the Dissertation Research Grant and the Dissertation Year Program Fellowship, both of which were received through the University of California, Riverside.
    [Show full text]