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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. -
Aj Thesis Corrected.Pages
The Liminal Text: Exploring the Perpetual Process of Becoming with particular reference to Samuel Selvon’s The Lonely Londoners and George Lamming’s The Emigrants & Kitch: A Fictional Biography of The Calypsonian Lord Kitchener Anthony Derek Joseph A Thesis Submitted For The Degree of Doctor of Philosophy Department of English and Comparative Literature Goldsmiths College, University of London August 2016 Joseph 1! I hereby declare that this thesis represents my own research and creative work Anthony Joseph Joseph 2! Acknowledgements I wish to acknowledge the assistance of the Arts and Humanities Research Council (AHRC) in providing financial support to complete this work. I also express my warm and sincere thanks to my supervisors Professors Blake Morrison and Joan Anim-Addo who provided invaluable support and academic guidance throughout this process. I am also grateful to the English and Comparative Literature Department for their logistic support. Thanks to Marjorie Moss and Leonard ‘Young Kitch’ Joseph for sharing their memories. I would also like to thank Valerie Wilmer for her warmth and generosity and the calypso archivist and researcher Dmitri Subotsky, who generously provided discographies, literature, and numerous rare calypso recordings. I am grateful to my wife Louise and to my daughters Meena and Keiko for their love, encouragement and patience. Anthony Joseph London December 16 2015 Joseph 3! Abstract This practice-as-research thesis is in two parts. The first, Kitch, is a fictional biography of Aldwyn Roberts, popularly known as Lord Kitchener. Kitch represents the first biographical study of the Trinidadian calypso icon, whose arrival in Britain onboard The Empire Windrush was famously captured in Pathé footage. -
Contextualizing the "Cannibal Joke" in Calypso and Literature Gordon Rohlehr [email protected]
Anthurium: A Caribbean Studies Journal Volume 3 Issue 2 Calypso and the Caribbean Literary Article 1 Imagination: A Special Issue December 2005 CARNIVAL CANNIBALIZED OR CANNIBAL CARNIVALIZED: Contextualizing the "Cannibal Joke" in Calypso and Literature Gordon Rohlehr [email protected] Follow this and additional works at: http://scholarlyrepository.miami.edu/anthurium Recommended Citation Rohlehr, Gordon (2005) "CARNIVAL CANNIBALIZED OR CANNIBAL CARNIVALIZED: Contextualizing the "Cannibal Joke" in Calypso and Literature," Anthurium: A Caribbean Studies Journal: Vol. 3 : Iss. 2 , Article 1. Available at: http://scholarlyrepository.miami.edu/anthurium/vol3/iss2/1 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]. Rohlehr: CARNIVAL CANNIBALIZED OR CANNIBAL CARNIVALIZED... Congo Man The Mighty Sparrow first performed “Congo Man” at Queen’s Hall, Port of Spain, Trinidad, early in October 1964 (Trinidad Guardian [TG] 5 October 1964). Over four decades since then, he has performed it regularly and recorded it six times (de Four 72). Treating it as a sort of signature tune, Sparrow delights in creating a new version of strange sounds every time he performs it. “Congo Man” has been cited by journalist Debbie Jacob as “Sparrow’s own all- time favourite” (Sunday Express [SE] 10 February 1991). An intriguing calypso that only Sparrow can convincingly perform, “Congo Man” has raised questions about the centuries-old encounter between Africa and Europe in arenas of ethnicity, culture, gender and politics; the racial stereotyping that has been an almost timeless aspect of this encounter; the erasure of any clear image of Africa from the minds of diasporan African-ancestored citizens of the New World, and the carnivalesque performance of “Africa” in the transfigurative masquerades of Trinidad and New Orleans. -
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. -
New Releases
2012 NEW RELEASES Caribbean Studies 3-6 African Studies 6 African Diaspora 3-9 Middle Eastern Diaspora 9 Asian Diaspora 9 Indigenous Studies 3, 10-11 Latin American & Latino/a Studies 10-11 Women's Studies 7, 8, 12 Hip-Hop Collection (H2ONewsreel) 13 Education 9, 10 THIRD WORLD NEWSREEL 2012 NEW RELEASES Bad Friday 3 The Amerindians 3 Calypso Dreams 4 CaribbeanTales Collection 5 Edouard Glissant 6 Maison Tropicale 6 Audre Lorde - The Berlin Years 1984 to 1992 7 Marriage Equality 8 Rezoning Harlem 8 Ladies of the Gridiron 8 Enemy Alien 9 Whatever it Takes 9 Finding D-QU 10 Iracema (De Questembert) 10 Tijuana, Nada Más 10 Arizona 11 Janie's Janie (Newly Preserved) 12 Make Out (Newly Preserved) 12 Graffiti Verite' Series 13 HOW TO ORDER We accept institutional purchase orders, credit cards and PayPal purchases. Remember to add $20 for shipping and handling. For information about rentals and community pricing, please contact [email protected]. Website: www.twn.org Email: [email protected] Phone: (212) 947-9277 ext. 11 Fax: (212) 594-6417 Mail: Third World Newsreel, 545 8th Ave, 10th Fl, New York, NY 10018-4307 Our mission is to foster the creation, appreciation and dissemination of social issue media made by or about people of color. The importance of the media promoted by the organization is in its ability to effect social change, to encourage people to think criti- cally about their lives and the lives of others, and to propel people into action. TWN is supported in part by the National Endowment for the Arts, the New York State Council on the Arts, the New York City Department of Cultural Affairs, the Ford Foundation, the Funding Exchange and the North Star Fund, as well as individual donors. -
Sparrow Come Back Home Catalog for Website 2
FEDERATION • HANGMAN'SCEMETERY • SMART BAJAN • ROBBERY WrTH V• B. G. WAR • RENEGADES TAKE YOUR BUNDLE AND GO • NO. 69 • WAHBEEN AND GROG • SPARROW COME BACK HOME LPB 3006 SPARROW COME BACK HOME Carmel Buckley and Mark Harris Delaware Center for the Contemporary Arts Wilmington, Delaware March 1, 2014–June 8, 2014 A Theoretical Archive As Exhibition by Maiza Hixson Sparrow Come Back Home: Calypso and Mighty Sparrow’s Calypsos by Mark Harris Copyright © 2014 by Carmel Buckley and Mark Harris All rights reserved. DCCA-ISBN# 0-9785927-6-X Thanks to to Guy Michael Davis and Katie Parker for their invaluable help with production of the work for the exhibition. Thanks to Chris Harvey for image editing. Thanks to Ann Bremner for proofreading. Thanks to Michaela Birner, Leipold International GmbH, for decal production. Catalogue design by Jim Chapa. This exhibition was supported by Goldsmiths College of Art, University of London. This publication was supported by a grant from the the College of Art & Humanities, The Ohio State University. A THEORETICAL ARCHIVE For their three-month exhibition entitled Sparrow Come Back Home, Carmel Buckley and Mark Harris install a temporary monument AS EXHIBITION to the living Trinidadian legend and Calypso singer Mighty Sparrow, born Slinger Francisco. Suggestive of a record Maiza Hixson store with 272 ceramic reproductions of Sparrow’s albums on shelves, the memorial also stands as a conceptual gesture—toward the commemoration of vintage vinyl and rapidly obsolescent record store. Each standard album-sized ceramic tile sits in chronological order and is emblazoned with a reproduced album cover design appropriated from the front and back of each of Sparrow’s LPs made between 1958 and the present. -
Bop Girl Goes Calypso: Containing Race and Youth Culture in Cold War America Michael S
Anthurium: A Caribbean Studies Journal Volume 3 Issue 2 Calypso and the Caribbean Literary Article 2 Imagination: A Special Issue December 2005 Bop Girl Goes Calypso: Containing Race and Youth Culture in Cold War America Michael S. Eldridge [email protected] Follow this and additional works at: http://scholarlyrepository.miami.edu/anthurium Recommended Citation Eldridge, Michael S. (2005) "Bop Girl Goes Calypso: Containing Race and Youth Culture in Cold War America," Anthurium: A Caribbean Studies Journal: Vol. 3 : Iss. 2 , Article 2. Available at: http://scholarlyrepository.miami.edu/anthurium/vol3/iss2/2 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]. Eldridge: Bop Girl Goes Calypso: Containing Race and Youth Culture in... In early July 1957, United Artists rushed into wide release its latest contribution to the burgeoning “teen-pic” genre. The film’s improbable plot revolves around a dour psychology grad student (played by a thirty-eight-year-old Bobby Troup) whose empirical data on mass hysteria show incontrovertibly that rock and roll is about to be supplanted by calypso—much to the dismay of his bald, bespectacled, rock-loving thesis advisor. The professor’s club-owner chum, Barney—a crass, cigar-chomping lunkhead who has bet his business’s future on rock and roll—belligerently dismisses young Bob’s findings. But Professor Winthrop, who ruefully understands that “you can’t argue with science,” contrives to save his skeptical friend from ruin by persuading the club’s main attraction, perky ingenue Jo Thomas (Judy Tyler, who would costar that same year with Elvis Presley in Jailhouse Rock), to study under his own star pupil behind her boss’s back. -
Steel Band Style, Calypso Culture and Childhood Chants: Trinidadian Music for the Classroom a Smithsonian Folkways Lesson Designed By: Sarah J
Steel Band Style, Calypso Culture and Childhood Chants: Trinidadian Music for the Classroom A Smithsonian Folkways Lesson Designed by: Sarah J. Bartolome University of Washington Summary: Students will identify and discuss steel pans and steel and style. Students will find Trinidad on a world map. Students will play a typical rhythmic/harmonic steel band pattern and learn to play a sustained melody in steel band style. Suggested Grade Levels: 3-5, 6-8 Country: Trinidad & Tobago Region: Caribbean Culture Group: Trinidadian Genre: Steel bands Instruments: Maracas, Metallophones Language: English Co-Curricular Areas: Social Studies National Standards: 1, 2, 3, 5, 6, 7, 8, 9 Prerequisites: None Objectives: Understand steel band music & re-create on metallophones Learn and play/sing a typical children’s game song from Trinidad Learn about the history and purpose of calypso music Evaluate and perform “Begin the Beguine” Materials: “Gun Slinger” by Kim Loy Wong from Kim Loy Wong and his Wiltwyck Steel Band (Cat. # FW03834) http://www.folkways.si.edu/kim-loy-wong-and-his-wiltwyck-steel- band/caribbean-world/music/album/smithsonian “I Los’ My Glove” by Various Artists from Caribbean Songs and Games for Children (Cat. # FW07856) (Transcription provided below) http://www.folkways.si.edu/caribbean-songs-and-games-for- children/caribbean/music/album/smithsonian “Picong Duel” by Lord Melody and King Sparrow from Calypso Awakening from the Emory Cook Collection (Cat. #SFW40453) http://www.folkways.si.edu/calypso-awakening-from-the-emory-cook- collection/caribbean/music/album/smithsonian “Begin the Beguine” by Bamboushay Steel Band from Bamboushay Steel Band (Cat. #FW03835) http://www.folkways.si.edu/bamboushay-steel-band/caribbean- world/music/album/smithsonian “Begin the Beguine” by Joe Sullivan from The Musical Moods of Joe Sullivan: Piano (Cat. -
UC Berkeley UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The Caribbean in the World: Imaginative Geographies in the Independence Age Permalink https://escholarship.org/uc/item/5106q78q Author Jelly-Schapiro, Joshua Ian Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California The Caribbean in the World: Imaginative Geographies in the Independence Age By Joshua Ian Jelly-Schapiro A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Geography in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Michael Watts, Chair Professor Jake Kosek Professor Nadia Ellis Professor Jocelyne Guilbault Professor Percy Hintzen Abstract The Caribbean in the World: Imaginative Geographies in the Independence Age by Joshua Jelly-Schapiro Doctor of Philosophy in Geography University of California, Berkeley Professor Michael Watts, Chair “Wherever the sugar plantation and slavery existed,” wrote the famed Trinidadian scholar C.L.R. James, “they imposed a pattern. It is an original pattern, not European, not African, not a part of the American main,…but West Indian, sui generis, with no parallels anywhere else.” These lines appear in James’s 1963 essay “From Toussaint L’Ouverture to Fidel Castro,” which he appended that year to a new edition of The Black Jacobins, his seminal history of the Haitian Revolution first released in 1938. Writing at a time when the British West Indies’ attainment of independence, coincident with the triumph of the Cuban Revolution, had prompted many Caribbean politicos and intellectuals to propose that the region’s diverse territories confederate into one regional nation, James argued that those territories, no matter their divides of language and history, should be understood to share a common culture and destiny. -
Calypsos of Decolonization Ray Funk [email protected]
Anthurium: A Caribbean Studies Journal Volume 3 Issue 2 Calypso and the Caribbean Literary Article 4 Imagination: A Special Issue December 2005 In the Battle for meE rgent Independence: Calypsos of Decolonization Ray Funk [email protected] Follow this and additional works at: http://scholarlyrepository.miami.edu/anthurium Recommended Citation Funk, Ray (2005) "In the Battle for meE rgent Independence: Calypsos of Decolonization," Anthurium: A Caribbean Studies Journal: Vol. 3 : Iss. 2 , Article 4. Available at: http://scholarlyrepository.miami.edu/anthurium/vol3/iss2/4 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]. Funk: In the Battle for Emergent Independence: Calypsos of... Introduction Earl Lovelace, in one of his essays notes, “Decolonisation … to be the process by which the previously colonized wrestled to achieve some sense of self, some independence as they disengage from colonialism.”1 In another of these essays Lovelace observes, “What characterized the calypsonian throughout his long fight for social acceptance has been his acute sense of his own freedom.”2 This essay focuses on certain calypsos in the decades leading up to Trinidad’s independence in 1962 in which the calypsonian’s sense of his own freedom is manifested in calypsos that focus on the larger struggle for freedom and autonomy for his society. In these calypsos, there is a subversion of the status quo, a move from a respectful deference to colonial rule to a new postcolonial consciousness. -
Bibliography Discography List of Calypsos
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: 2016-11-22 207 Bibliography Abels, Birgit. Unpublished Antrittsvorlesung (Inaugural Speech), University of Göttingen, 2011. Allen, Ray and Nancy Groce, ed. Folk and Traditional Music in New York State. Newfield, NY: New York Folklore Society, 1988. [Special issue of New York Folklore, 14.3-4 (1988).] Appadurai, Arjun. “Grassroots Globalization and the Research Imagination”. Public Culture 12.1 (2000): 1-19. Ashcroft, Bill, Gareth Griffiths and Helen Tiffin. The Empire Writes Back: Theory and Practice in Post-Colonial Literatures. London and New York: Routledge, 1989. Bakhtin, M. Rabelais and his World. Translated by Helene Iswolsky. Bloomington: Indiana University Press 1968 [1941]. Ball-Rokeach, Sandra and Melvin De Fleur. “A Dependency Model of Mass Media Effects”. Communication Research 3 (1976): 3-21. Bar-Tal, Daniel. “Group Beliefs as an Expression of Social Identity”. In S. Worchel, J. F. Morales, D. Paez and J. C. Deschamps. Social Identity. London: Sage, 1998: 93-113. — Group Beliefs: A Conception for Analyzing Group Structure, Processes, and Behavior. New York: Springer Verlag, 1990. Baumann, Richard. “Verbal Art as Performance”. American Anthropologist 77.2 (1975): 290- 311. Béhague, Gerald. Music and Black Ethnicity: The Caribbean and South America. Coral Gables, FL: North-South Center Press, University of Miami, 1994. Béhague, Gerald, ed. Performance Practice: Ethnomusicological Perspectives. Westport, CT: Greenwood Press, 1984. Berry, J. W. “Immigration, Acculturation and Adaptation”. Applied Psychology: An International Review 46 (1997): 5–68.