Eastern Caribbean nationals will feel at home, as their region's music seems to dominate the lineup. Brother Marvin, Singing Sandra and Crazy are all from T&T. Each offering a different style of delivery, they represent calypso's many flavors. To add to that element, ADLIB Steel Orchestra will add instrumentation to the islands' unique genre. Winners of last year's steel band and calypso competitions at the West Indian-American Day Carnival Association's Labor Day gala on Eastern Parkway in Brooklyn, the 30-member, 11-year-old group promises youth from 7 years old to deliver the beat. St. Paul's J.O.B. Young Adult Choir represents New York in drama, song and dance. Traditional island-style Christmas carols are promised by Charles Dougherty and Circle of Friends Caribbean ensemble.
HAVANA - A group of US lawmakers is working at easing dialogue between Washington and Havana, as President Barack Obama's administration weighs plans to drop its decades-old strategy of isolating communist Cuba. The Senate Foreign Relations Committee's top Republican Richard Lugar, who in February said decades of US sanctions on Havana had failed, wrote to Obama in a March 30 letter that: "additional (US) measures are needed... to recast a policy that has not only failed to promote human rights and democracy, but also undermines our broader security and political interests." U.S. Congressman [Bobby Rush], left, and Rep. [Barbara Lee], D-Calif, second from right, attend a ceremony in front of Martin Luther King monument in Havana, Saturday, April 4, 2009. Seven members of the Congressional Black Caucus arrived in Cuba last Friday to discuss improving relations with the communist government amid speculation that Washington could ease travel restrictions to the island.
Gazing at the amalgam of rich Caribbean artistic expression - bold colors intertwining on canvas, delicately woven wire sculptures, sheer pieces of cloth with intricate handmade designs - one might think she was roaming the corridors of the Metropolitan Museum of Art or the prestigious Guggenheim rather than viewing the one-bedroom Harlem apartment of Caribbean art dealer Anderson Pilgrim. "One of the reasons that Caribbean art has yet to penetrate the New York scene is that it has yet to be fully explored even among Caribbeans", Pilgrim said. "Because of the colonization of the Caribbean islands, and the stifling post-colonial effects, many native Caribbeans didn't begin to explore their abilities until the 1970s, which was a period of real artistic revolution on the islands". A few of the artists he represented were medal winners at the prestigious Biennial Caribbean Festival, held in the Dominican Republic and featuring artists from the Caribbean and Countries in Central America which border the Caribbean.
"If you were going to put two ads for me, put one instead and donate the money for the other to the children at the Cyril Ross Nursery in Tunapuna," [Wendy Fitzwilliam] stated. Persons residing in the New York metropolitan areas wishing to make contributions to the Nursery can forward their donations directly to Steve Solomon, Executive Secretary, St. Vincent de Paul Society, c/o Cyril Ross Nursery, Tunapuna, Trinidad, Caribbean. Make money orders payable to the Society. The NDP administration has been in charge in that tiny Caribbean island ever since it defeated the now defunct St. Vincent Labor Party (SVLP) in the 1984 general election. At that time, attorney-at-law Milton Cato, the insland's first prime minister, led the SVLP, but lost by a margin of 9 to 4.
Another question is why Shaggy's "Hot Shot" was overlooked by voters. Released last summer, the album made it under the Sept. 30, 2000, deadline and fulfills the requirements with original material. The fact the album went virtually ignored for almost a half-year probably contributed to its absence on the list of finalists. Reportedly, the single "It Wasn't Me" gained life when a KIKI-FM deejay down-loaded the tract from the Internet and put it on the radio. The Honolulu station played the track, winning appeal from all of Hawaii. These months later, BET and MTV have spirited the video to return the Boombastic Lover Lover to the charts. The album is now No. 3 on Billboard Magazine's album chart, but nowhere on the Grammy list of five selections. Favored to place, show or win, The Baha Men of the Banamas were a sure bet. Their baseball-friendly "Who Let the Dogs Out" is awaiting verdict in the dance recording category.
In 1984, the association opened an expanded Historical Museum at the Miami-Dade Cultural Center in downtown Miami. This 40,000-square-foot facility includes a permanent exhibition that traces the history of South Florida and the Caribbean, a temporary exhibition gallery that features several new exhibitions each year, a theater and classroom area for variety of educational programs, and storage areas for the museum's extensive collections of artifacts and archival materials, including books, manuscripts, maps and more than one million photographs related to the region. In recent year, the Historical Museum has directed increasing attention to Miami's role as a gateway of the Americas. To explore Miami's multifaceted connections with the Caribbean and Latin America, a new program series, Miami: The Gateway City, was introduced in Spring 1999. The objective of the 12-month series is to use the museum as a central forum for public dialogue about current issues facing Miami and as a space for related artistic presentations.
It is not surprising that the Caribbean woman pushes her daughter toward higher education, for she sees education as the greatest tool for social mobility. Education becomes more than just a means of expanding one's realm; it is seen as an armor of protection against hostile forces, an opportunity to be successful so that no one can "tek step wid yuh." Traditionally, women have been the custodians of culture. The Caribbean woman must continuously face this question: "How can I keep the culture intact, maintain our song and dance in these changing times, this electronic age of computer, when our children are struggling against the reins of our value system and often we are so perplexed, not knowing what to do? This, then, is the most valuable lesson the Caribbean mother passes on to her daughter: how to be firm in the midst of society's pressures and remain her individual self and nurture her talents and resources to love her mate and nurture her children, even while she pursues her own dreams. The songs and dance continue.
Here in Florida, Caribbean people may not celebrate with Junkonoos, but with their cousins the Mocko Jumbies. All over South Florida the Kwuya or stilt dance has become quite popular and includes the participation of children as well. This ritual dance is especially popular among Trinidadians. A newly-formed parang group, the Punto Finale, is testimony to the enduring appeal of Caribbean Christmas celebrations even when one is miles away from home. Led y Ruby Limare, with Dr. Dawn Batson as one of the 12 members, this group has been serenading South Floridians with lively Spanish-style Christmas music that has been part of the season's celebrations in Trinidad for centuries. Kwanzaa, which means first fruits of harvest, is a celebration that many Caribbean people can relate to because of its Afro-Centric base and its focus on family life, self-reliance, and culture. Although Kwanzaa begins the day after Christmas, its celebrations embraces this age-old tradition of Christmas day.
The genesis of these carnivals carries the intent of resisting on some level, by Caribbean migrants, the otherwise alienating conditions of life in migration, to "carnivalise" these landscapes with some of the joy and space commensurate with Caribbean carnival. Indeed, Caribbean intellectual contributions have had successful impact on the development of U.S., European and African thought. Still, the Caribbean in most imaginings, and in particular to those who do not know it well, is the place of "sun and fun," a vacation land devoid of serious engagement with the world. Caribbean carnival then is the climax of all those "sun and fun" constructions. Yet, there is a history and politics to carnival - a "carnival of resistance" beyond the outer face of "carnival of tourism" - that demands exposure.
They continued to avoid the racially-motivated behavior of many in the Cuban population in South Florida. In fact, the Caribbean (black?) organizers of the carnival care so little that they were happily prepared to give away the carnival's culture-driven economic and social enterprise to the Cuban community, even if the Cubans didn't really want anything to do with it, like Jewish Miami Beach and WASP downtown didn't. Does this mean that the huge economic infusion that was offered to other communities for acceptance is going to be realized by the people in Opa-Locka? Because, suddenly, it's as if some people belatedly became a little blacker; after all, they're home, they claim, to Opa-Locka. Yeah, right. The carnival organizers have some cojones, if not much sense of appropriateness. They outdid themselves in their fantasizing (but then, that's carnival). They opted for Hialeah and tried to hitch their wagon to Mayor Penelas' new coattail. Somebody needed to remind them of some of the politics involved. Seems Mayor Alex and Mayor [Raul Martinez] `don't tek tea', as we say in the Caribbean. Probably something to do with Alex backing the candidate who ran against Raul. Next stop, Hialeah City Hall. The rest, they say, is history.
