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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 -
Experience the Energy, Creativity and Diversity That Is Uniquely Trinidad and Tobago: Many Hearts, Many Voices, One Vision
TRINIDAD AND TOBAGO THE BEST OF BOTH WORLDS Experience the Energy, Creativity and Diversity that is uniquely Trinidad and Tobago: Many Hearts, Many Voices, One Vision. 1 STEELPAN MUSIC TAKES TO THE STREETS ARIAPITA AVENUE, PORT OF SPAIN 2 CONTENTS DESTINATION OUR EXPORTS 08 TRINIDAD 34 TO THE WORLD DESTINATION MAKE YOUR MOVE: 15 TOBAGO 39 INVESTING DYNAMIC, UNIQUE, ENERGY 21 CULTURE 43 EVOLUTION BOUNDLESS VIBRANT SERVICES 28 CREATIVITY 50 INDUSTRY exportt.co.tt/expo2020 3 STATEMENT, FROM Experience the Energy, Creativity and THE GOVERNMENT OF Diversity that is uniquely Trinidad and Tobago: TRINIDAD AND TOBAGO Many Hearts, Many Voices, One Vision. The Republic of Trinidad and Tobago is a twin is- land nation, situated at the southern-most end of the Caribbean archipelago. The country is one of the most culturally diverse and dynamic nations in the Caribbean. Our rich heritage is demonstrat- ed through our people, culture, cuisine, and reli- gious festivals. We are also home to the Greatest Show on Earth – Trinidad and Tobago Carnival. At Expo 2020, the Trinidad and Tobago Pavilion celebrates who we are as a people, showcasing our beautiful twin island; and demonstrating our economic resilience. We share with Dubai and the rest of the world, our industries, our innova- THE COAT OF ARMS OF TRINIDAD AND TOBAGO tions, our culture, our diversity and our natural wonders. exportt.co.tt/expo2020 4 STATEMENT, FROM THE GOVERNMENT OF TRINIDAD AND TOBAGO Our National Instrument, the Steelpan is fea- The Trinidad and Tobago Pavilion also showcases tured prominently at the Pavilion. Born out of our the country’s success in the energy sector, which people’s resistance to oppression, the Steelpan has fueled its rapid development into one of is a testament of the innovation which can the most industrialized and innovative nations emerge from the shared hopes and aspirations in the Caribbean. -
CARNIVAL and OTHER SEASONAL FESTIVALS in the West Indies, USA and Britain
CORE Metadata, citation and similar papers at core.ac.uk Provided by SAS-SPACE CARNIVAL AND OTHER SEASONAL FESTIVALS in the West Indies, U.S.A. and Britain: a selected bibliographical index by John Cowley First published as: Bibliographies in Ethnic Relations No. 10, Centre for Research in Ethnic Relations, September 1991, University of Warwick, Coventry, CV4 7AL John Cowley has published many articles on blues and black music. He produced the Flyright- Matchbox series of LPs and is a contributor to the Blackwell Guide To Blues Records, and Black Music In Britain (both edited by Paul Oliver). He has produced two LPs of black music recorded in Britain in the 1950s, issued by New Cross Records. More recently, with Dick Spottswood, he has compiled and produced two LPs devoted to early recordings of Trinidad Carnival music, issued by Matchbox Records. His ‗West Indian Gramophone Records in Britain: 1927-1950‘ was published by the Centre for Research in Ethnic Relations. ‗Music and Migration,‘ his doctorate thesis at the University of Warwick, explores aspects of black music in the English-speaking Caribbean before the Independence of Jamaica and Trinidad. (This selected bibliographical index was compiled originally as an Appendix to the thesis.) Contents Introduction 4 Acknowledgements 7 How to use this index 8 Bibliographical index 9 Bibliography 24 Introduction The study of the place of festivals in the black diaspora to the New World has received increased attention in recent years. Investigations range from comparative studies to discussions of one particular festival at one particular location. It is generally assumed that there are links between some, if not all, of these events. -
Music, Mas, and the Film and Video Segments
Entertainment Services with Special Reference to MUSIC, MAS, AND THE FILM AND VIDEO SEGMENTS Submitted to: MR. HENRY S. GILL Communications Director/Team Leader CARICOM Trade Project Caribbean Regional Negotiating Machinery (RNM) "Windmark", First Avenue, Harts Gap Hastings, Christ Church Barbados Submitted by: MS. ALLISON DEMAS AND DR. RALPH HENRY December 2001 Entertainment Services with Special Reference to Music, Mas, and the Film & Video Segments i Contents EXECUTIVE SUMMARY........................................................................................................VI SECTION I 1.0 INTRODUCTION .......................................................................................................... 1 1.1 Objectives of Study........................................................................................................ 2 1.2 Delimitations and Limitations....................................................................................... 2 1.3 Outline of Study............................................................................................................. 3 1.4 Intellectual Property Rights.......................................................................................... 4 1.5 Industrial Organisation ................................................................................................ 7 1.6 Music........................................................................................................................... 11 1.7 Street Festivals........................................................................................................... -
CARIBBEAN AMERICAN HERITAGE MONTH Caribbean History and Culture
U . S . D E P A R T M E N T O F T H E I N T E R I O R CARIBBEAN AMERICAN HERITAGE MONTH Caribbean History and Culture WHY CARIBBEAN AMERICAN HERITAGE MONTH? Caribbean American Heritage Month was established to create and disseminate knowledge about the contributions of Caribbean people to the United States. H I S T O R Y O F C A R I B B E A N A M E R I C A N H E R I T A G E M O N T H In the 19th century, the U.S. attracted many Caribbean's who excelled in various professions such as craftsmen, scholars, teachers, preachers, doctors, inventors, comedians, politicians, poets, songwriters, and activists. Some of the most notable Caribbean Americans are Alexander Hamilton, first Secretary of the Treasury, Colin Powell, the first person of color appointed as the Secretary of the State, James Weldon Johnson, the writer of the Black National Anthem, Celia Cruz, the world-renowned "Queen of Salsa" music, and Shirley Chisholm, the first African American Congresswoman and first African American woman candidate for President, are among many. PROCLAMATION TIMELINE 2004 2005 2006 Ms. Claire A. Nelson, The House passed the A Proclamation Ph.D. launched the Bill for recognizing the making the Resolution official campaign for significance of official was signed by June as National Caribbean Americans the President in June Caribbean American in 2005. 2006. Heritage Month in 2004. D E M O G R A P H Y Caribbean Population in the United States Countries 1980-2017 Ninety percent of Caribbean 5,000,000 people came from five countries: Cuba, Dominican Republic, Jamaica, Haiti, 4,000,000 Trinidad, and Tobago. -
Danielle Sirek, Phd Candidate [email protected] 418-5340 Supervisor: Dr
MUSICKING AND IDENTITY IN GRENADA: STORIES OF TRANSMISSION, REMEMBERING, AND LOSS DANIELLE DAWN SIREK A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy Awarded for a Collaborative Programme of Research at the Royal Northern College of Music by the Manchester Metropolitan University December 2013 For my family, for my colleagues, for my students: May you find stories of ‘who you are’, and feel connected to others, through your musicking ii Acknowledgements I am grateful for the unending support, academic and personal, that I have received throughout the research and writing of this dissertation. Firstly I would like to thank my husband Adam Sirek, my parents Kim and Marius LaCasse, and my father- and mother-in-law Jan and Elizabeth Sirek, who have been my constant support in every possible way throughout this journey. My thankfulness to you is immeasurable. And to my baby Kathryn, whose smiles were a constant source of strength and encouragement, my thanks and love to you. I would like to express my sincere gratitude to my co-supervisory team, Drs Felicity Laurence and Byron Dueck, who devoted seemingly unending hours closely analysing my thesis, discussing ideas with me, and providing me with encouragement and inspiration in many more ways than just academic. I am truly grateful for their guidance, expertise, and for being so giving of their time and of themselves. I learned so much more than research techniques and writing style from both of them. -
Narratives of Resistance in Trinidad's Calypso and Soca Music Meagan A. Sylvester, UWI, St. Augustine Trinidad and Tobago Drma
105 Narratives of Resistance in Trinidad’s Calypso and Soca Music Meagan A. Sylvester, UWI, St. Augustine Trinidad and Tobago [email protected] or [email protected] Abstract In Trinidad, the historical, socio-political and economic conditions which gave rise to the birth of Calypso are usually highlighted, in the existing literature, however, there is very little information regarding the oppositional lyrics of current Soca songs. By concentrating on the praxis of cultural resistance exemplified in the narratives of selected Carnival, Calypso and Soca songs, this article expands the existing discourse. Trinidad’s Carnival, post-emancipation, has important societal roles and functions. This article demonstrates that Carnival functions as performative rituals of resistance, individual and community awakening and identity development. Carnival’s established roles, functions and rituals are deliberately designed to disrupt the status quo. Keywords: Carnival, Calypso, Soca, Resistance, Respectability, Reputation Introduction Several synergies exist between the festival, the exuberant behaviours associated with the annual Carnival, and the art form of Calypso music and song. The respected, Trinidadian folklorist, J. D. Elder (1968), for example, states that the music and art of Trinidad and Tobago’s Carnival (the premiere, national cultural festival), manifests publicly, the oppression of established economic and social systems. Elder’s view concurs with that of Hill (2007), specifically, that social thought is illustrated visibly, in the communal and individual experiences that are demonstrated through sound. For Milla Riggio (2004), Carnival is an artistic institution in which music, song, dance, costumes, masks, handicraft, religion, poetry and sculpture depict the performers’ and artists’ creativity, worldviews, belief systems and philosophies of life. -
Rules and Regulations 2019
Rules, Regulations And Procedures Contents MISSION STATEMENT AND OBJECTIVES ..................................... 1 OVERALL GUIDELINES ...................................................................... 2 SECTION I - COMPETITION GUIDELINES ..................................... 5 PART I- COMPETITION STRUCTURE .................................... 5 Preliminaries .................................................................... 5 Semi-finals ........................................................................ 5 Finals ................................................................................. 6 PART II- GROUP/ ORGANIZATION GUIDELINES ............. 7 PART III- INDIVIDUAL PARTICIPANT GUIDELINES ....... 9 PART IV- TUTOR GUIDELINES ............................................. 10 PART V- ADJUDICATION GUIDELINES ............................. 14 PART VI - TIMEKEEPING GUIDELINES .............................. 18 SECTION II- LA REINE RIVE (MISS BEST VILLLAGE) ............... 22 PART 1- GENERAL ................................................................... 22 PART 2- SELF-EXPRESSION ................................................... 24 PART 3- TALENT ...................................................................... 25 PART 4- EVENING GOWN ..................................................... 27 PART 5- HAIR, MAKEUP & MOBILITY................................ 29 PART 6- ON STAGE QUESTION ............................................ 31 SECTION III - FOLK PRODUCTIONS ............................................. 34 PART 1- -
Calypso and the Bacchanal Connection Earl Lovelace [email protected]
Anthurium: A Caribbean Studies Journal Volume 3 Issue 2 Calypso and the Caribbean Literary Article 6 Imagination: A Special Issue December 2005 Calypso and the Bacchanal Connection Earl Lovelace [email protected] Follow this and additional works at: http://scholarlyrepository.miami.edu/anthurium Recommended Citation Lovelace, Earl (2005) "Calypso and the Bacchanal Connection," Anthurium: A Caribbean Studies Journal: Vol. 3 : Iss. 2 , Article 6. Available at: http://scholarlyrepository.miami.edu/anthurium/vol3/iss2/6 This Essay is brought to you for free and open access by Scholarly Repository. It has been accepted for inclusion in Anthurium: A Caribbean Studies Journal by an authorized editor of Scholarly Repository. For more information, please contact [email protected]. Lovelace: Calypso and the Bacchanal Connection Calypso and the Bacchanal Connection1 Calypsonians really ketch hell for a long time To associate your self with them was a big crime. If your sister talked to a steelband man The family want to break she hand Put she out, lick out every teeth in she mouth. Pass You outcast! (The Mighty Sparrow, “Outcast”) This calypso, “Outcast” by The Mighty Sparrow tells the story of calypso and of calypso’s men and women as undesirables, at that time relegated by society to what I call the bacchanal space, the jamette or underworld space in the Creole culture of Trinidad and Tobago.2 It was sung sometime in the sixties. So a conference like this on calypso forty years later indicates to us the distance that we have travelled. We owe debts of gratitude to calypsonians like Sparrow, Kitchener, Chalkdust, Shadow, and Rudder, but are specially grateful to people like Gordon Rohlehr, Chalkdust, and Louis Regis, to name a few, who have brought home to us the wealth of calypso production, the variety of its concerns and its significance to us as achievement and history. -
Top 20Th Century Other Awards
Top 20th Century Other Awards This calypso survey was conducted by Kaisoca International in Toronto via an internet poll to idnetify the Top 100 Calypsos of the 20th Century. There were a total of 825 entries submitted and results were tabulated from these entries. Kaisoca International is a calypso resreach organization headed by George Maharaj many thanks to John Child from England for his input with the dates of release of calypso and also to Oliver Dixon for his work on the tabulations of the results. These results were published in The Trinidad Mirror, The Trinidad Guardian, The Trinidad Express, The Toronto Caribbean Camera, The Share of Toronto, so you going to Carnival Magazine, Folkroots Magazine of England. The results of the top calypsos of the 20th century: The Top 25 Soca Hits of the Century 1. Sugar Bum Bum - Lord Kitchener 1978 2. Meh Lover - Lord Nelson 1983 3. Tiny Winey - Byron Lee 1985 4. Hot Hot Hot - Arrow 1983/4 5. Soca Man - Baron 1990 6. Get Something and Wave - Superblue 1991 7. Na Na Na - Second Imij 8. Dollar Wine - Colin Lucas 1991 9. Teaser - Becket 1990/1 10. Moving - Nigel Lewis 1996 11. Soca Baptist - Blueboy 1980 12. Judit - Scrunter 1985 13. Shaking it - Shandileer 1989 14. Gimme the Ting - Lord Kitchener 1984 15. Dingolay - Shadow 1994 16. I Don't Mind - Winston So So 1986 17. Paul - Crazy 1993 18. Golo - Second Imij 19. Parkway Rock - Rootsman 1986 20. Maimi Vibes - Rootsman 1987 21. Subway Jam - Swallow 1981/2 22. Jump (On the Count of Four) - Second Imij 1992 23. -
Calypso and the World Music Market Gordon Rohlehr
“We Getting the Kaiso That We Deserve” Calypso and the World Music Market Gordon Rohlehr Over the past six decades, calypsonians have had to produce their songs for that many-headed monster, the market, while retaining close contact with their communities and struggling to maintain aspects of ca- lypso tradition in a rapidly changing world. Market forces have steadily pushed calypso toward commodi- fication, teaching singers to do for profit what their ancestors did for fun, entertainment, relaxation, edifi- cation, or self-knowledge. Synchronized now to the heavy life-pulse of a so-called “world music,” calypso has emerged beyond the confines of its original small communities. It has begun to behave like other popular musics. Calypsonians are not naive; they are aware of real dangers as well as the possibility of tan- gible rewards of playing for the world market. A growing appreciation of the paradoxical nature of commodification can be heard in many of the calyp- sos which over the past three decades have monitored change and erosion in Trinidad’s musics, festivals, and performance styles. Calypsonians have maintained a bitter and ominous discourse about the state of cul- ture and the situation of art and artists in the post- independence era. Some of these calypsos or calypso-influenced songs in which such discourse has taken place have been Stalin’s “Steelband Gone” (), “If I Did Know” and “Where Limbo Gone” (), and “De Jam” (); Chalkdust’s “We Is We” (), “Kaiso versus Soca” (), “The Spirit Gone” (), “Uncle Sam . Gregory “G.B.” Own We” (), “Quacks and Invalids” (), and “Kaiso Sick in the Hos- Ballantyne performing at pital” (); Relator’s “Radio Stations” (ca. -
Chutney and Indo-Trinidadian Cultural Identity
City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 1998 Chutney and Indo-Trinidadian Cultural Identity Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/319 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] PopularMusic (1998) Volume 17/1. Copyright© 1998 Cambridge University Press. Printed in the United Kingdom Chutney and Indo-Trinidadian cultural ide~tity PETER MANUEL Since the early 1980s Indian diasporic communities have attained sufficient size, affluence, self-awareness and generational distance from South Asia to have cre ated a set of popular music styles that are autonomous and distinctive rather than strictly derivative of Indian models. While the bhangra music of British Punjabis has attracted some scholarly and journalistic attention, chutney, a syncretic Indo Caribbean popular music and dance idiom, is little known outside its own milieu. This article constitutes a preliminary socio-musical study of chutney. Chutney is a product of the East Indian communities of Guyana, Suriname, and especially Trinidad. Indians had originally immigrated to the region under a programme of indentured labour sponsored by British and, in Suriname, Dutch colonists from 1845 to 1917. Most of the immigrants came from the Bhojpuri speaking regions of present day Bihar and Uttar Pradesh. While the first few generations of workers tended to remain in relatively insular and impoverished rural enclaves, in recent decades Indo-Caribbeans have come to participate much more actively in their countries' mainstream economic, political, and culturnl lives.