Mona, Jamaica: University of the West Indies Press
Location:
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
240p., Contents: Introduction : downtown stirs -- The Henry Rebellion, counter-hegemony and Jamaican democracy -- NUFF at the cusp of an idea : grassroots guerrillas and the politics of the seventies in Trinidad and Tobago -- The harder dragon : resistance in Earl Lovelace's Dragon can't dance and Michael Thelwell's Harder they come -- Carl Stone : political science as people's tribune -- Remembering Michael Manley : 1924-1997 -- Careening on the edge of the abyss : driving, hegemony and the rule of law in Jamaica -- Conclusion : the Caribbean Left at century's end.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
1 microfiche, This volume is a record of over 2,000 little known manuscript sources for the study of the West Indies and its history. The major focus is on the collections of the Nation Library of Jamaica, and over 1,280 entries represent that collection.;
The Mystic Revelation of Rastafari, a group of Nyabinghi ceremonial drummers founded by the legendary Count Ossie in the 1950s, is not only making its New York debut but is raising the curtain on the Lincoln Center for the Performing Arts' "Caribbean Roots: Caribbean Routes" festival. Chris Combette, who has been collaborating with Mungal Patasar on several tracks for his new album, opened the show with his beautiful fusion of Caribbean styles - samba, salsa, soca, bossa nova, reggae and zouk sweeping over the auditorium like warm waves. Based in French Guiana, bordering Brazil, Combette has soaked up the melodies of the region, while his lyrics address the nostalgia or alienation of the immigrant, and racist murder in the metropole. Beneath his sinuous, sometimes ethereal music lurked incisive Kwéyol irony and melancholy metaphors. It was left to Kali and his banjo to bring down the curtain on the festival with his brilliant reworking of Martiniquan traditional music, mazurk, biguine, chouval bwa, gwo ka (from Guadeloupe) with reggae, funk and jazz. It was good to hear St. Lucian Luther François, one of the Caribbean's foremost contemporary composers and sax players, adding punch to this excellent band and the finale of a significant festival for Caribbean music.
Kingston Jamaica: University of the West Indies Press
Location:
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
335 p, Rock it Come Over describes the music and lore of slavery from the early sixteenth century through emancipation in 1838 to the mid twentieth century.
