Agricultural Communications Documentation Center, Funk Library, University of Illinois Document Number: D07333
Notes:
Pages 119-143 in Anna-Katharina Hornidge and Christoph Antweiler (eds.), Environmental uncertainty and local knowledge: Southeast Asia as a laboratory of global ecological change. Transcript, Bielefeld, Germany. 284 pages., Examines farmer adaptation to traditional weather knowledge and "modern" meteorological information.
Agricultural Communications Documentation Center, Funk Library, University of Illinois Document Number: D07334
Notes:
Pages 145-183 in Anna-Katharina Hornidge and Christoph Antweiler (eds.), Environmental uncertainty and local knowledge: Southeast Asia as a laboratory of global ecological change. Transcript, Bielefeld, Germany. 284 pages., Calls for sensitivity to local conditions, issues, uncertainties and knowledge. Notes loss in local knowledge. "Agencies need to realise that cultural diversity and local people's knowledge and practices should contribute significantly to our understanding and protection of natural environments."
The concept of limping is widespread in various forms of music and dance in the northern Cibao region of the Dominican Republic. A limp is said to characterize the way in which accordion and percussion instruments interpret rhythms in merengue típico music, and some consider it a feature distinguishing the típico style of merengue from other styles around the country. Traditionally, merengue típico is also danced with a limping movement. Moreover, the typical Carnival characters of the Cibaeño cities Santiago and La Vega are also meant to move with limps. Musicians, dancers, and Carnival celebrants give various verbal explanations to explain the limp’s history and importance, and many of these tie it to stories about devils or other amoral characters. The limp is, however, not only a local stylistic feature, but one that connects Cibaeño culture with other expressions involving limps around the Caribbean region, from blues rhythms to zydeco dancing to the so-called pimp walk. The connective tissue between all these diverse cultural expressions might be Esu, Elegguá, or Papa Legba, the deity of the crossroads who limps, is sometimes syncretized with the Christian devil, and is invoked at the beginning and end of vodou and santería ceremonies. This article uses data collected through interviews with merengue típico musicians and dancers, four years’ participation in Santiago Carnival, and the theories of Henry Louis Gates and Paul Gilroy to explore Black Atlantic expressions in a Dominican context, while explaining the connections between dance and music from a Cibaeño perspective., unedited non–English abstract received by RILM] El concepto de “cojear” está muy extendido en diversos géneros de música y de baile en la región norteña de la República Dominicana denominada el Cibao. Se dice que el “cojo” caracteriza la forma en que el acordeón y los instrumentos de percusión interpretan los ritmos del merengue típico, y algunos lo consideran una característica que distingue el estilo típico cibaeño del merengue de los merengues de otras regiones el país. El merengue típico tradicional también se bailaba “cojeando.” Por otra parte, los personajes típicos del carnaval cibaeño en las ciudades de Santiago y La Vega también avanzan, según se dice, con un “cojo.” Músicos, bailarines, y carnavaleros dan varias explicaciones verbales sobre la historia y la importancia del cojo, y muchas se lo atan a historias sobre diablos y otros personajes amorales. Sin embargo, el cojo no es solamente una característica estilística local, sino una que conecta la cultura cibaeña con otras expresiones del “cojo” en toda la región caribeña, desde los ritmos blues hasta el baile del zydeco y el “pimp walk.” El tejido conectivo entre todas estas diversas expresiones culturales podría ser Esu, Eleguá, o Papa Legba, el dios de las encrucijadas que cojea, que a veces se sincretiza con el diablo cristiano, y a quien se invoca al comienzo y al final de las ceremonias de vudú y de la santería. El presente artículo utiliza los datos recogidos a través de entrevistas con músicos y bailarines del merengue típico, cuatro años de participación en el carnaval santiaguero, y las teorías de Henry Louis Gates y Paul Gilroy para explorar las expresiones del Atlántico Negro en un contexto dominicano, mientras explique las conexiones entre la danza y la música desde una perspectiva cibaeña.
[Jason Morgan], 30, who broke the national record twice this season, and who along with Traves Smikle became the first two Jamaicans to ever represent the country at the Olympics by achieving the Olympic 'A' standard of 65 metres, went into the Games with a season best of 67.15m. However, at the Games he was a shadow of himself, failing to throw beyond 60 metres and was subsequently eliminated during the preliminary round. "Yes, I should have competed better at the Games but I think I became too relaxed, too complacent," he conceded.
The article focuses on Caribbean women who traveled to Great Britain after World War II to train as state-registered nurses and then migrated to Canada. The author provides brief biographical information about the interviewees featured in the paper, compares their recollections with the predominant images and ideas of Black women in Great Britain during that time, and discusses the women's reactions to nursing in Canada. She also explores the interviewees' revelations about their occupation, involvement in organisations that represented their interest, and the lessons they wish to pass on to future generations.
Reviewing the 22 years that have elapsed since Gifford's 1989 report labelled Liverpool as racist, the authors focus on the fact that in a city which has had a British African Caribbean community for over 400 years, there is minimum representation of that community in the city's workforce.
