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Celebrating Our Calypso Monarchs 1939- 1980
Celebrating our Calypso Monarchs 1939-1980 T&T History through the eyes of Calypso Early History Trinidad and Tobago as most other Caribbean islands, was colonized by the Europeans. What makes Trinidad’s colonial past unique is that it was colonized by the Spanish and later by the English, with Tobago being occupied by the Dutch, Britain and France several times. Eventually there was a large influx of French immigrants into Trinidad creating a heavy French influence. As a result, the earliest calypso songs were not sung in English but in French-Creole, sometimes called patois. African slaves were brought to Trinidad to work on the sugar plantations and were forbidden to communicate with one another. As a result, they began to sing songs that originated from West African Griot tradition, kaiso (West African kaito), as well as from drumming and stick-fighting songs. The song lyrics were used to make fun of the upper class and the slave owners, and the rhythms of calypso centered on the African drum, which rival groups used to beat out rhythms. Calypso tunes were sung during competitions each year at Carnival, led by chantwells. These characters led masquerade bands in call and response singing. The chantwells eventually became known as calypsonians, and the first calypso record was produced in 1914 by Lovey’s String Band. Calypso music began to move away from the call and response method to more of a ballad style and the lyrics were used to make sometimes humorous, sometimes stinging, social and political commentaries. During the mid and late 1930’s several standout figures in calypso emerged such as Atilla the Hun, Roaring Lion, and Lord Invader and calypso music moved onto the international scene. -
An Investigation Into the Origin of Jamaican Ska Paul Kauppila San Jose State University, [email protected]
San Jose State University SJSU ScholarWorks Faculty and Staff ubP lications Library January 2006 From Memphis to Kingston: An Investigation into the Origin of Jamaican Ska Paul Kauppila San Jose State University, [email protected] Follow this and additional works at: https://scholarworks.sjsu.edu/lib_pub Part of the Music Commons, and the Social and Behavioral Sciences Commons Recommended Citation Paul Kauppila. "From Memphis to Kingston: An Investigation into the Origin of Jamaican Ska" Social and Economic Studies (2006): 75-91. This Article is brought to you for free and open access by the Library at SJSU ScholarWorks. It has been accepted for inclusion in Faculty and Staff Publications by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. "FROM MEMPHIS TO KINGSTON": AN INVESTIGATION INTO THE ORIGIN OF JAMAICAN SKA Kauppila, Paul Social and Economic Studies; Mar/Jun 2006; 55, 1/2; ABI/INFORM Complete pg. 75 Social and Economic Studies 55: I & 2 (2006): 75-91 ISSN: 0037-7651 "F"ROM MEMPHIS TO KINGSTON": AN INVESTIGATION INTO THE ORIGIN OF" .JAMAICAN SKA F'AUL KAUPPILA ABSTRACT The distinguishing characteristic of most Jamaican popular music recordings, including reggae and its predecessor, ska, is an emphasis on the offbeat or afterbeat instead of on the downbeat as found in most American popular music. Many explanations have been proposed to explain this tendency. This study critically examines these theories through historical and musicological analyses and concludes that the prevalence of the downbeat is a mixture of Jamaican folk and African-American popular music influences in its earliest incarnation, but was later deliberately emphasized in an attempt to create a unique new musical style. -
Cultural Maintenance and the Politics of Fulfillment in Barbados’S Junior Calypso Monarch Programme
MASK AND MIRROR: CULTURAL MAINTENANCE AND THE POLITICS OF FULFILLMENT IN BARBADOS’S JUNIOR CALYPSO MONARCH PROGRAMME A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAIʻI AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN MUSIC MAY 2016 By Anjelica Corbett Thesis Committee: Frederick Lau, chairperson Ricardo Trimillos Njoroge Njoroge Keywords: Anjelica Corbett, Calypso, Carnival, Nationalism, Youth Culture, Barbados Copyright © 2016 Anjelica Corbett Acknowledgements Foremost, I would like to thank God because without him nothing would be possible. I would also like to thank the National Cultural Foundation, the Junior Calypso Monarch Programme participants, Chrystal Cummins-Beckles, and Ian Webster for welcoming into the world of Bajan calypso and answering my questions about this new environment. My gratitude also extends to the Junior Calypso Monarch Programme participants for allowing me to observe and their rehearsals and performances and sharing their love of calypso with me. I would like to thank Dr. Frederick Lau, Dr. Byong-Won Lee, Dr. Ricardo Trimillos, and Dr. Njoroge Njoroge, and the University of Hawai‘i at Mānoa's Music Department for approving this project and teaching me valuable lessons throughout this process. I would especially like to thank my fellow colleagues in the Ethnomusicology department for their emotional and academic support. Finally, I would like to thank my family for support and encouragement throughout my academic career. i Abstract Barbados, like other Caribbean nations, holds junior calypso competitions for Barbadian youth. These competitions, sponsored by Barbados’s National Cultural Foundation (NCF), allow the youth to express their opinions on society. -
Calypso Buys a Bungalow Author(S): Michael Eldridge Source: Callaloo, Vol
There Goes the Transnational Neighborhood: Calypso Buys a Bungalow Author(s): Michael Eldridge Source: Callaloo, Vol. 25, No. 2 (Spring, 2002), pp. 620-638 Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.org/stable/3300591 Accessed: 25/01/2009 18:50 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=jhup. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to Callaloo. http://www.jstor.org THERE GOES THE TRANSNATIONAL NEIGHBORHOOD Calypso Buys a Bungalow by Michael Eldridge Sly Mongoose .. -
Music As Sound, Music As Archive: Performing Creolization in Trinidad
Middle Atlantic Review of Latin American Studies, 2020 Vol. 4, No. 2, 144-173 Music as Sound, Music as Archive: Performing Creolization in Trinidad Christopher L. Ballengee Anne Arundel Communtiy College, Maryland [email protected] This article positions performance as a key concept in understanding creolization. In doing so, it situates music as both sound and archive in analyses of Trinidadian tassa drumming, soca, and chutney-soca. Musical analysis provides useful insights into the processes of creolization, while revealing colonial and postcolonial relationships between groups of people that give shape and meaning to the music, past and present. I draw on notions of music as sound to further analyze the forces that work to control the Trinidadian soundscape by promoting or marginalizing musical styles in an effort to shape musical production according to the ideal of creole culture. I conclude by suggesting that the conventional notion of the archive has from its very beginnings been connected with elite desires to enumerate and historicize positions of power. In this context, musical performances analyzed in this study emerge as subaltern archival practices that run alongside mainstream archives and popular interpretations of history. In listening to Trinidadian music as sound and archive, I trace present and potential social structures while providing new ways of thinking about creolization as performance. Keywords: Indian Caribbean, tassa, soca, chutney-soca, creolization, performance Este artículo posiciona el performance como un concepto clave para entender la creolización. Al hacerlo, sitúa la música como sonido y archivo en los análisis del tamborileo tassa, la soca y la soca-chutney de Trinidad. -
American Music Review the H
American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLIV, Number 1 Fall 2014 The Brooklyn Soca Connection: Frankie McIntosh and Straker Records Ray Allen, CUNY Brooklyn College The emergence of soca (soul/calypso) music in the 1970s was the result of musical innovations that occurred concurrently with a conscious attempt by the Trinidadian record industry to penetrate the bourgeoning world music market. The latter move was prompted in part by the early-1970s international success of Jamaican reg- gae and coincided with the rapid growth of diasporic English-speaking Caribbean communities in North Amer- ica and Europe—sites which promised new production and marketing possibilities for the music. Brooklyn’s Caribbean neighborhoods, which had rapidly expanded in the wake of the 1965 Immigration and Nationality Act, became popular destinations for singers, musicians, arrangers, and record producers. Some lay down roots while other became transnational migrants, cycling back and forth between Brooklyn and their Caribbean homelands to perform and record the new soca sound. Frankie McIntosh, music director and arranger for the Brook- lyn-based Straker Records label, was a key player in the transformation of Trinidadian calypso to modern soca during this period. Before turning to the story of McIntosh and Straker Records a brief re- view of the stylistic characteristics of soca and the critical reception the new music received is in order. By the late 1970s the term “soca” (“so” from soul music, “ca” from calypso) was used in reference to a new style of Caribbean music that blended Trinidadian calypso with elements of African-American soul, funk, disco, R&B, and jazz.1 According to ethnomusicologist Shannon Dudley, soca is differentiated from calypso by its strong, 4/4 rhythmic struc- ture with accents on the second and fourth beats of each measure; emphasis on a syncopated bass line that often incorporates melodic figures; and fast, often frenetic, tempos. -
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. -
Uk Overseas Territories the Newsletter of Ukota · February 2016
UK OVERSEAS TERRITORIES THE NEWSLETTER OF UKOTA · FEBRUARY 2016 | OT Joint Ministerial Council 2015 | | Princess Royal visits Falklands | | Pitcairn Marine Protection | | BVI for climate change support to islands | TERRITORY NEWS Overseas UKOTA holds Inaugural Overseas Territories Joint 2016 AGM Territories Student Ministerial Conference Council 2015 In July, the Government of Bermuda hosted a meeting for the Leaders and representatives of the Territories, to discuss the issues that they wished to be raised at the Joint Ministerial Council (JMC) 2015. The fourth meeting of the JMC was held in London Incumbent UKOTA Chairman, Benito Wheatley; Fabian Hamilton at the beginning of December. The meeting was MP, Shadow Minister for Foreign Affairs; Andrew Rosindell MP, OT attended by the elected Leaders and representatives APPG Chairman; and Sukey Cameron MBE, 2015 UKOTA Chair. of the Territories to meet with HMG Ministers and Over 150 students from various Overseas officials. On 27th January 2016, UKOTA members Territories travelled to London, in late gathered for their Annual General Meeting. November, to attend the inaugural Overseas The key themes of this year’s Council were Territories Student Conference. building the prosperity and economic development Members formally adopted the UKOTA Annual of the Territories; protecting the most vulnerable Report for 2015. The theme of the conference was ‘Our Islands, members of the communities; pensions; health; Benito Wheatley, UK/EU Representative for Our Future; Sustainable Development’. The education; sports; child safeguarding; and the role the British Virgin Islands, was elected as Chairman; students attending gained a broader understanding of the environment in delivering prosperity. Albert Poggio GMH OBE, UK Representative for of the themes behind sustainable development and the importance of conservation. -
Rock, Rhythm, and Rap
Columbus State University CSU ePress Theses and Dissertations Student Publications 6-2006 Rock, Rhythm, and Rap Wayne Helmly Columbus State University Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Education Commons Recommended Citation Helmly, Wayne, "Rock, Rhythm, and Rap" (2006). Theses and Dissertations. 78. https://csuepress.columbusstate.edu/theses_dissertations/78 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. Digitized by the Internet Archive in 2012 with funding from LYRASIS Members and Sloan Foundation http://archive.org/details/rockrhythmrapOOhelm Columbus State University Rock, Rhythm, and Rap by Wayne Helmly A GRADUATE MUSIC PROJECT SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC IN MUSIC EDUCATION Schwob School of Music Columbus, Georgia o June 2006 ©Wayne Helmly 2006 v Abstract This thesis suggests an alternative approach to teaching general music/music appreciation to students in grades 7-12 that incorporates the history of rock and roll and pop music. An approach to teaching rhythm reading skills through rap music is also suggested using Rockin ' Rhythm Raps by Cheryl Lavender (1998). Rare is the student that has not been saturated with popular culture during most of his or her lifetime. The case is made that teaching what is relevant to students, namely the history of vernacular music, can contribute significantly to the development of music appreciation. Sixteen lessons are provided. These lessons are designed for a middle or high school general music/music appreciation class that meets two to three times a week for six weeks. -
July 2014 Sittings 26-28 of the 2013/14 Session (Pages 2577-2748)
2013/14 SESSION of the BERMUDA HOUSE OF ASSEMBLY OFFICIAL HANSARD REPORT July 2014 Sittings 26-28 of the 2013/14 Session (pages 2577-2748) Hon. K. H. Randolph Horton, JP, MP Speaker Disclaimer: The electronic version of the Official Hansard Report is for informational purposes only. The printed version remains the official record. Official Hansard Report 4 July 2014 2577 BERMUDA HOUSE OF ASSEMBLY OFFICIAL HANSARD REPORT 4 JULY 2014 10:03 AM Sitting Number 26 of the 2013/14 Session [Hon. K. H. Randolph Horton, Speaker, in the Chair] DNDC GRANTS PROGRAMME ANNUAL PER- PRAYERS FORMANCE REPORT FOR FISCAL YEAR 2013/14 [Prayers read by Hon. K. H. Randolph Horton, Hon. Michael H. Dunkley: Thank you, Mr. Speaker. Speaker] Mr. Speaker, I have the honour this morning to attach and submit for the information of this Hon- CONFIRMATION OF MINUTES ourable House of Assembly the [DNDC Grants] Pro- gramme Annual Performance Report for [fiscal] year 27 June 2014 2013/14. The Speaker: Honourable Members, the confirmation of the Minutes of the 27th of June will be deferred. The Speaker: Thank you, Premier. Are there any objections to that? [Minutes of 27 June 2014 deferred] There are none. Honourable Premier, you have another paper. MESSAGES FROM THE GOVERNOR Please carry on. PUBLIC ACCESS TO INFORMATION REGULA- The Speaker: There are no messages from the Gov- TIONS 2014 ernor. Hon. Michael H. Dunkley: Yes, thank you, Mr. ANNOUNCEMENTS BY THE SPEAKER Speaker. OR MEMBER PRESIDING I also have the honour to attach and submit for the consideration of this Honourable House of As- The Speaker: I would like to announce that Mr. -
Connected Community Annual Report New Chairman Gil Tucker 2010 –11 Leads Dynamic Path Forward PAGE 20 PAGES 39 –47 16 23 MAGAZINE Spring 2012
SPRING 2012 MAGAZINE Connected community annual report New Chairman Gil Tucker 2010 –11 leads dynamic path forward PAGE 20 PAGES 39 –47 16 23 MAGAZINE Spring 2012 Saltus Grammar School Headmaster Ted Staunton Canadian Accredited Independent Schools Deputy Headmaster Malcolm Durrant Board of Trustees Gil Tucker, Chairman Lisa Baumgartner Graham Collis William J. Cox Kelly Francis Gayle Gorman Sheila Lines Andy Pereira Dominic Powell Sacha Simmons Leonard Teye-Botchway Giorgio Zanol Jennifer Titterton ex officio Feedback Contents Saltus magazine Email: [email protected] Tel: 441/292-6177, ext. 6264 Write: PO Box HM 2224, FROM THE HEADMASTER COMMUNITY Hamilton HM JX, Bermuda 3 A sense of community 16 Saltus Island a treasure Web: www.saltus.bm NEWS COVER STORY Saltus Association PTA Email: [email protected] 4 New Trustees, First Aid Centre 20 Our connected community Donors SALTUS STARS ALUMNI To make a gift, contact 6 Top student achievers 35 Reports from the Real World Berta Barreto-Hogan at [email protected] or donate online at SALTUS STAFF ANNUAL REPORT www.saltus.bm/support/ 10 Department Directors 39 For 2010 –11 online_donations1.asp 441-292-6177, ext. 6248 Saltus editorial support: 32 Cynthia Lancer-Barnes Edited and designed by Rosemary Jones and Paul Shapiro, Brimstone Media Ltd., [email protected], 441/232-2222 Cover photo: Charles Anderson Printed by Island Press on recycled, chlorine-free paper 36 2 SALTUS MAGAZINE FROM THE HEADMASTER Building a sense of community THE THEME for the 2011–12 school year is “A Connected Community.” Like the two previous year’s themes—“Saltus Pride” and “Respect”—this theme will serve as the focus for many internal and external school activities and events. -
Calypso Music Music of the Caribbean
Calypso Music Music of the Caribbean Most of the Caribbean population are descendants of West African slaves and settlers from Europe, India and China. The music of the Caribbean differs from island to island, but each kind has its origins in a mixture of African and European influences. African musical influences include: syncopations (offbeat accents) and cross-rhythms use of percussion call and response singing styles European musical influences include: tonal (based in a key) harmonies and melodies instruments eg guitar Calypso Background • Calypso originated in the Caribbean Islands of Trinidad and Tobago. • Its influences come from West African Protest songs and French ballads (Calypso songs are often sung in French-Creole dialect –> patois). • It developed the most during the 19th Century with colonial slaves. • Slaves were forbidden to communicate to each other and so became united through song. • Calypso had its greatest surge in popularity during the first half of the 20th Century. • Key figures in this popularity surge were: - Lord Invader - Attila the Hun - Roaring Lion (also the most important Calypso historian). • Calypso lasted until the 1970’s, but then its popularity rapidly declined and branched off into other styles. Calypso Music • It is considered mainly dance and party music (carnivals) • The main focus is on the lyrics and the song • It uses verse/chorus structure • Instruments included in Calypso songs are Guitar, Banjo, Steel drum, Various percussion instruments. • Calypso music is highly melodic (influenced from Folk) • It uses relatively simple rhythms and is in 4/4 time • It is usually syncopated Calypso Rhythms The Lyrics • The lyrics usually have a sharp satirical tone (originating from the Slaves bitter lifestyles).