2020 Trinidad Carnival Brochure
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Chapter 4 Calypso’S Function in Trinidadian Society
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: 2016-11-22 137 Chapter 4 Calypso’s Function in Trinidadian Society In this chapter, the potential of calypso music and its associated institutions to construct and maintain identity, and to instigate social reform will be discussed. I will argue that affiliation with those institutions and participation in their related activities, many of which have already been outlined, have fostered the development and transmission of an ingrained tradition. I will also attempt to show that the ingrained tradition has been part of an independent arm of the rigid socio-cultural, socio-psychological and socio-political machinery that rose up to repudiate and deconstruct colonial ideology. In order to accomplish these goals, functions of calypso music within Trinidadian, West Indian and global communities at home and abroad will be examined and correlated to concepts upheld by identity theory, and with posits about social influence explored in the previous chapter. Such examination and correlation will be supported by the following paradigms or models for identity construction and social influence. These paradigms have been reiterated in the works of several scholars who posit within the realm of cultural and social identity: • Socialization processes; • The notion of social text; • Positioning through performer and audience relationships; • Cultural practice and performance as part of ritual; and • Globalization. Processes of Socialization Empirical evidence to support claims that calypso music has contributed to social change may well be generated from historical accounts and from the fact that the structuralist proposition that “performance simply reflects ‘underlying’ cultural patterns and social structures is no longer plausible among ethnomusicologists and anthropologists” (Stokes, 1994, p. -
UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Take a Wine and Roll "IT"!: Breaking Through the Circumscriptive Politics of the Trini/Caribbean Dancing Body Permalink https://escholarship.org/uc/item/33d3r5fz Author Jones, Adanna Kai Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California 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. -
Training and Development in the Carnival Industry a Technical Report
DR. GWENDOLINE WILLIAMS & MARIA MASON -ROBERTS & ASSOCIATES AND KAREN BART -ALEXANDER Training and Development in the Carnival Industry A Technical Report For and on behalf of Vanus Investments Ltd. 2014 #17, H IBISCUS D R I V E , M ACOYA G ARDENS , T UNAPUNA Dr. Gwendoline Williams, Maria Mason Roberts & Associates and Karen Bart-Alexander & Associates A Technical Report on Training and Education in the Carnival Industry Contents 1.0 INTRODUCTION ................................................................................................................................. 2 1.1 Structure of the Report ................................................................................................................. 3 1.2 Scope of the Report ...................................................................................................................... 3 1.3 Limitations..................................................................................................................................... 3 2.0 TRAINING AND DEVELOPMENT IN THE CARNIVAL INDUSTRY: SITUATIONAL OVERVIEW ................ 4 2.1 The Role of Training and Development in the Carnival Industry Development Program ............ 4 2.2 Situational Overview ..................................................................................................................... 5 2.2.1 Training and Development for the Mas Industry .................................................................. 7 2.2.2 Training and Development for the Steelpan Industry ......................................................... -
Carnival and Education in Trinidad and Tobago, 1900-2012
Assignment: Historical Thinking Research Project Hypothesis Statement: Has Carnival in Trinidad and Tobago changed from the 1900s to 2012? 1 TITLE: Carnival in Trinidad and Tobago from the 1900s to 2012. HYPOTHESIS: Has Carnival in Trinidad and Tobago changed from the 1900s to 2012? INTRODUCTION Trinidad and Tobago Carnival and its constituent artistic forms-calypso, steel pan, soca and masquerade have been sources of trenchant social and political commentaries and the subject of considerable controversy throughout its history from its origins in colonial Trinidad, during the period of struggle against colonial rule and in the aftermath of the formation of an independent state. ( Green & Scher pg. 3) With a population descended from natives’ blacks of Africa, Indian, Chinese, several European countries, the Middle East, North and South America Trinidad and Tobago produced a festival which has cumulated and encompassed the imagination of its multiracial citizens. Central to understanding much of the Trinidadian psyche is to understand the festival culture of the island and no festival is greater than the Trinidad Carnival. The dynamism of the festival has sparked its reproduction throughout the rest of the Caribbean island chain, and as far away as Toronto, New York, Miami and Notting Hill. Carnival in Trinidad and Tobago is one of grandeur, colour, revelry, rhythm, and gaiety. Evolving over the past two centuries from an elegant, exclusive affair to a truly all-inclusive national festival, it is by far the most spectacular event on the nation’s calendar. Although a major part of the Trinidad Carnival mystique lies in its unique ability to bring people of diverse backgrounds together in harmonious circumstances, the festival was not born to such noble pursuits. -
African Masquerades
Afro-Quiz Study Material 13-14 2018 African Masquerades Masquerades are a very important part of African culture. Initially, in some African cultures, these masquerades formed part of religious ceremonies. When Africans emigrated to other parts of the world, they carried this aspect of culture with them. Some examples of the retention of masquerades in the African diaspora include Egungun masquerades; Jonkonnu in the Bahamas; Crop Over in Barbados; Carnival in Trinidad and Tobago, other parts of the Caribbean, and Brazil; Caribana and Cariwest in Canada; and the Notting Hill Carnival in England. In this module, you will learn about the Egungun masquerades, Jonkonnu, and Trinidad and Tobago Carnival. Here is a list of activities you will work on: - KWL Chart - Reading - Research - Writing - Listening / Video - Summary 1 Afro-Quiz Study Material 13-14 2018 KWL Chart K W L What I know about What I want to know What I learned about African masquerades about African African masquerades masquerades 2 Afro-Quiz Study Material 13-14 2018 Reading A Masquerade ceremony is a cultural or religious rite, festival, procession, or dance involving the wearing of masks. Music, dancing, and costumes including masks are key elements of masquerades. Where the masquerades form a part of a religious rite, it is believed that the music and dance help to create an atmosphere that is conducive to the masqueraders’ expression of different spirits. According to Akubor and Awolowo (2016), in most African societies, masquerades are linked to ancestors, good fortune, and ensuring that life in the community runs smoothly. Egungun Masquerades Egungun is a visible manifestation of the spirits of departed ancestors who periodically revisit the human community for remembrance, celebration, and blessings. -
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. -
J'ouvert Speaks to the Present
J’ouvert Speaks to the Present: A Kinesthetic Journey through Moments in African-Caribbean History Nai-Whedai Sheriff Ed.M, Temple University MS in Organizational Psychology, Baruch College, City University of New York. Introduction “Your lost sons send you greetings, Mother Africa. From the West Indies, to Bermuda and Bermuda to the United States they sigh after you” (Sherlock, 1963, 749). According to Sloat (2002), the world is moving to Caribbean beats: “Rhythms derived from Africa returned [to her] and [become] newly Africanized rumbas and reggaes” (vii). Many choreographers have been known to incorporate the hip sway known as whinin’ and other indigenous Caribbean dance forms to add a bit of sensuality to their work. Despite the widespread popularity of these dance forms, which are mostly folk, social and ritualized in nature, very little is known about the complex culture from which these dances emerged. According to Hall (2003), “Colonization is not satisfied merely with holding a people in its grip and emptying the native’s brain of all form and content…it turns to the past of oppressed people, and distorts, disfigures and destroys it.” (235). Therefore, the cultural identity of the Caribbean like other diasporic cultures became products of forced migration. The cultural dances are the direct result of Europe’s colonization of the Caribbean and the influence brought over by the enslaved Africans and East Indians. The marriage of cultures produced many blended dances on these islands. While these dances represent some form of identity, belonging and © 2014 Nai-Whedai Sheriff Journal of Emerging Dance Scholarship 1 national history one can hardly explore the dances without first addressing how they came to be and the unfortunate commodification of African slave history in the Caribbean. -
Kevin Adonis Browne Dissertation-Mas Movement for Grad School
The Pennsylvania State University The Graduate School College of the Liberal Arts MAS MOVEMENT: TOWARD A THEORY OF CARIBBEAN RHETORIC A Dissertation in English by Kevin Adonis Browne © 2009 Kevin Adonis Browne Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2009 The dissertation of Kevin Adonis Browne was reviewed and approved* by the following: Keith Gilyard Distinguished Professor of English Dissertation Adviser Chair of Committee John L. Selzer Professor of English Stuart Selber Associate Professor of English Cary Fraser Associate Professor of History and Africana Studies Robin Schulze Professor of English Head of the Department of English *Signatures are on file in the Graduate School ii ABSTRACT This project situates, describes, and analyzes some of the characteristic discursive practices of Caribbean people in the context of a distinct rhetorical tradition. Rhetoric is viewed in this study as communicative activity precipitated by the constellation of social, psychological, spiritual, and material consequences that have shaped the history of the region and continue to impact contemporary expression. The dimensions of Caribbean rhetoric therefore reflect constructions of social reality and allow practitioners and scholars to approach and analyze the issues and challenges faced by Caribbean people. Objects of study include the novels of Earl Lovelace, the prophetic musical performances of David Rudder, and the transformative possibilities afforded by Caribbean discursive activity in digital environments. I use the “Caribbean Carnivalesque” as a major trope for referring to Caribbean behavior that is founded on the epideictic and is tuned specifically to social commentary, agitation, and change. The trope is deployed for two primary purposes: as a key rhetorical device operating among Caribbean people; and as an effective theoretical device for considering how Caribbean people participate in different forms of democratic deliberation and interaction with other groups. -
Proquest Dissertations
THE ACCUMULATION OF CAPITAL AND THE SHIFTING CONSTRUCTION OF DIFFERENCE: EXAMINING THE RELATIONS OF COLONIALISM, POST-COLONIALISM AND NEO- COLONIALISM IN TRINIDAD By Dylan Brian Rum Kerrigan Submitted to the Faculty of the College of Arts and Sciences of American University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy In Anthropology Chair: William Leap ~-~ ~~vi/~ David Vine Dean of College ~{\\ Ill~\;) Date 2010 American University Washington, D. C. 20016 A~'?ER!CAN UNIVERSITY LIBRARY 199 UMI Number: 3405935 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. ___..Dissertation Publishing --..._ UMI 3405935 Copyright 2010 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. Pro uesf ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 This work is licensed under the Creative Commons 'Attribution-Noncommercial-No Derivative Works 3.0 United States' License. (To view a copy of this license visit http://creativecommons.org/licenses/by-nc-nd/3 .O/us/legalcode) Dylan Brian Rum Kerrigan 2010 DEDICATION For my parents and their parents. THE ACCUMULATION OF CAPITAL AND THE SHIFTING CONSTRUCTION OF DIFFERENCE: EXAMINING THE RELATIONS -
Molten Steel: the Sound Traffic of the Steelpan a Dissertation Presented to the Faculty of the College of Fine Arts of Ohio Univ
Molten Steel: The Sound Traffic of the Steelpan A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Kristofer W. Olsen August 2016 © 2016 Kristofer W. Olsen. All Rights Reserved. 2 This dissertation titled Molten Steel: The Sound Traffic of the Steelpan by KRISTOFER W. OLSEN has been approved for Interdisciplinary Arts and the College of Fine Arts by Andrea Frohne Associate Professor of Interdisciplinary Arts Elizabeth Sayrs Interim Dean, College of Fine Arts 3 ABSTRACT OLSEN, KRISTOFER W., Ph.D., August 2016, Interdisciplinary Arts Molten Steel: The Sound Traffic of the Steelpan Director of Dissertation: Andrea Frohne This dissertation explores the steelpan instrument and steelband performances in three countries: Trinidad & Tobago, Ghana, and the United States. Through engagement with the multiple sites, this dissertation traces the routes of the steelpan, and its distinctive sound, in order to delineate a multidirectional web of sound traffic. Elements of fluidity, influences and travel connected to the steelpan are employed as people and the steelpan itself frequently cross borders literally and figuratively. I make use of a transnational lens and consider complex, interconnected relationships between my three focal countries. Through analysis of the interconnectedness of pan players as well as their situation of isolation, this dissertation challenges static understanding of the steelpan as merely an island instrument. My conception of the transnational steelpan diaspora shows how the instruments, recordings, sounds and rhythms of the steelpan transcend borders in connecting people. Like the predictable and unpredictable nature of vehicular traffic, sound and the instruments that create it move easily to and within some regions of the world and are slowed in others. -
«Forged from the Love of Liberty» Popular Music, Resistance, and Identity in Trinidad and Tobago’S Carnival
G IUSEPPE S OFO «Forged from the Love of Liberty» Popular Music, Resistance, and Identity in Trinidad and Tobago’s Carnival In memory of Pat Bishop, her colours and her notes. «The drum does never forget» RAWLE GIBBONS, Ogun Iyan: As In Pan tarting an article with words as important as «Music, Resistance and Identity» in the subtitle immediately gives readers the impression that the writer’s field of Sresearch should be immense; in these few pages I rather chose to embrace the small story of two small islands, though it is a small story with universal consequences. What I will argue in this paper is that the birth and the development of Trinidad and Tobago’s popular music, of Carnival music in particular, is strictly connected to resistance to European colonization, and that it also was among the fundamental bases for the birth and the development of Trinbagonian identity. Music in Trinidad has in fact represented not only the expression of the thoughts of a nation, but something to fight for, and a funda- mental weapon for the fight against colonialism, and for a new national identity. The twin islands of Trinidad and Tobago celebrated their independence on August 31st 1962. Before that day, though, there was a long history of European colonialism: both islands, originally inhabited by the Caribs and the Arawaks, had in fact experienced dozens of consecutive colonizations, especially by the British, the Spanish, the French, and the Dutch. When the Spanish welcomed other European planters to the island in 1783, with the Cédula de Población, French planters from the neighbouring Caribbean Islands came and brought their rituals over, especially Carnival. -
Carnival, Memory and Identity Giuseppe Sofo Université D'avignon, France, Università Di Roma La Sapienza, Italy
394.25(729.87) Carnival, Memory and Identity Giuseppe Sofo Université d'Avignon, France, Università di Roma La Sapienza, Italy Abstract: The carnival of Trinidad and Tobago is a Keywords: carnival, Trinidad and Tobago, cultural performative ritual of cultural resistance and awakening, resistance, postcolonial identity, carnivalesque claiming a space and celebrating freedom from any kind of oppression. The history of this ritual is strictly I. INTRODUCTION connected to the process of cultural decolonization and political independence of the Caribbean country from the To be able to look forward, you always need to look mother(is)land; it is in carnival and for carnival that back. When I interviewed Pat Bishop, probably the Trinbagonians have successfully fought colonialism to most complete carnival artist of Trinidad and Tobago, gain their freedom. Imported in the Caribbean by French planters, as a ritual of amusement and temporary before telling me what carnival was for her, she wanted freedom, through the encounter with other rituals such to know where I came from, who were my parents, and as African masquerade and canboulay, Trinidad Carnival why I was there. “Errol Hill says to 'forget about became, for the first time in the world, the instrument to origins'”, she told me. “This disturbs me. If you do not earn an actual and non-temporary freedom, and the know why it started, and how it started, you cannot say space for the celebration of a new interethnic national what it is. Only if you know origins you know why it identity, obtained through the ritual itself. happens and what it is” (Bishop in Sofo 2009 : 225).