Focuses on interrelations between popular music genres in the Spanish Caribbean exemplifying the Dominican Republic. The genre son has been the source of ideological conflicts for the middle and upper classes, particularly for Dominican musicians and intellectuals. The most urgent inquiry is about the local origin of the so considered primary authentic work, the “Son de la Ma’ Teodora'. Analyzing both historiographic and oral sources, the significance and the symbolic value of the musical genre son in the national history and context are discussed., unedited non–English abstract received by RILM] En este artículo se discuten las interrelaciones entre géneros musicales populares en el Caribe Hispánico tal y como aparecen en la República Dominicana. El género son ha sido fuente de conflictos ideológicos entre las clases media y alta dominicana, así como entre músicos e intelectuales. El asunto más polémico en este sentido gira alrededor del origen local de la así considerada primera obra documentada, el “Son de La Ma’ Teodora”. Haciendo uso de diferentes fuentes historiográficas y orales se discute el significado y valor simbólico del género musical son en relación a la historia nacional dominicana.
In spaces of violence, scholars and activists have typically addressed music as sites of resistance. In postcolonial Caribbean, the focus of most studies unsurprisingly has thus been placed on the work music has done for the oppressed—or conversely, on the ways the (neo)colonial regimes have used music to increase their control over the masses. Until recently, few publications have addressed the music that has been performed to fortify and gather people together in times of hardship. In this case, what is at stake is not so much a matter of 'us and them' or of resistance, but rather the ways in which the 'us' is mobilized to strengthen senses of belonging and networks of solidarity. Amidst the escalating everyday violence since the mid-1990s, party music in Trinidad continues to thrive. Instead of dismissing such music as merely a source of escapism or hedonism, I want to examine what makes it so compelling and what it does for people. This paper is based on in-depth study of soca music making and mumerous ethnographic interviews with Trinidadian soca artists and fans over the past 15 years.
The dance-music complexes known as salsa and bhangra have not been subjected to any comparative academic scrutiny, despite clear parallels in their respective histories as cultural processes born out of multiple ruptures and conjunctions, including European colonialism, migrations during the postcolonial period, and transnational cultural and commodity flows. While salsa has resulted from the movement of people, music, and rhythmic cultures across Africa, the Caribbean, and the United States, bhangra evinces their movement across the partitioned space of Punjab, the United Kingdom, and the post-Partition nations of India and Pakistan. Both salsa and bhangra have, moreover, moved beyond original regional ambits to become cultural signifiers (albeit often contested as much as claimed) of wider Latino/a and Desi (pan-South Asian) identities respectively. Undoubtedly, it is the academic and cultural embedding of salsa within a Hispanophone postcolonial paradigm, and of bhangra within its Anglophone counterpart, that has prevented serious comparative work between these two musical expressive cultures which are equally but differently exemplary of the complex relationship between music and migration. Yet across the world, from Delhi to San Francisco, the two dance-music complexes increasingly meet each other in the same space, particularly that of the dance floor. Drawing on such evidence as well as on personal experience of dancing both salsa and bhangra, I will advance in this article a theoretical framework for their comparison as transnational musics, suggesting ways in which such a framework can illuminate the circuits of pleasure and politics that traverse each of these dance musics as embodied histories of a traumatic yet life-affirming postcolonial modernity.
Before finding international success and stardom with a string of well-known radio hits, Billy Ocean grinded on the U.K. circuit for well over a decade. The singer-songwriter released a handful of singles and four relatively unknown albums prior to the breakthrough in the mid-1980s, which included a mix of ballads, Caribbean-influenced R&B, club-shaking disco, synth-filled boogie, and even country-inflected Southern soul. The pre-fame arc of Ocean's career is traced record by record.
Examines the transplantation of the vocal romance from France to the Federalist U.S, focusing on romances by Eugène Guilbert (1758–1839) and Jean-Baptiste Renaud de Chateaudun (fl. 1795). The songs are described as both vehicles of nostalgia for the ancien régime and the French colony of Sainte-Domingue, and aspects of the new post-revolutionary reality. Both composers came from the Caribbean region and settled on the East Coast of the U.S.
Tambrin music on the Caribbean island of Tobago is traditionally performed to entertain people at weddings and other family celebrations. The genre is also connected with healing ceremonies and the belief in ancestral spirits. It can cause trance and possession. Nevertheless, today’s musicians hardly ever play in these traditional contexts. Opportunities to perform arise from political events, folklore festivals, and concerts for tourists. In consideration of theoretical views concerning cultural contacts, preservation, and staged respectively participatory performances, the article deals with different forms of musical interaction and different ways of playing depending on repertory, individual performers, and performance conditions, based on fieldwork conducted between 1995 and 2009, thus comprising the music of two generations of musicians.
Considers the characteristic features of Garífuna music, which are intrinsically related to the history of slavery, warfare, miscegenation, and resistance of this people of African and Caribbean ancestry, living today mainly on the Atlantic Coast of Central America and in the U.S. Based on his analysis of the Wanaragua or Yancunú rhythm, performed in Livingston, Guatemala, by dancers wearing shell rattles (illacu) tied to their ankles, and a musical ensemble consisting of two drums (garaón) and gourd rattles (sisira), the author examines the metric ambiguity of its basic “time line” or 'clave' of 3:3:2 as well as the rhythmic flexibility and unpredictability with which the dancers and musicians relate to it, as a musical expression of the social and cultural conditions created by that history, especially by the processes of miscegenation.
Examines how Connecticut-born reggaetón artist Notch incorporates oratorical, visual, and musical cues in his music video, Qué te pica (What's itching you?), to establish connections between Latino and Caribbean communities in the U.S. These communities have typically been disavowed by hegemonic racial categories that distinguish between them. While Notch’s music disrupts these particular racial hierarchies, he also maintains hetero-normative patriarchal relations in his video. An analytic, Afro-Latino space is proposed to account for the ways that reggaetón as a musical genre, and Notch more specifically, unsettle certain distinctions between blackness and Latinidad, while simultaneously relying on stereotypes of black hypermasculinity.
With Joe Arroyo's passing on 26 July 2011, the world has lost a superstar and true innovator of modern Latin music. His work combined lyrics of protest, romance, and spirituality with a joyful music that was at once fresh and accessible. The sixth album Arroyo put out with La Verdad marked a transition from a less adventurous to a more radical approach, where the diverse mix heard on later records is fully embraced for the first time. With Me le fugué a la candela (I escaped the fire) his players gelled, and the pan-Caribbean sound they became famous for came into its own, especially on side two.
Examines Caribbean representations of race, gender and ethnicity, and how these influenced the labor allocations of female migrant workers in St Maarten's tourism economy. From the late 1970s to the 1990s, thousands of poor women from Haiti and the Dominican Republic worked in the service sector of St Maarten's tourism economy. St Maarten's black population, and especially its male residents, interacted with the migrant women, and created gendered and social-sexual images that privileged the Latina/mulatta women over the black Haitian women. These gendered/racial stereotypes helped to incorporate the Haitian and Dominican women into specific and different labor sectors of the tourism economy.
Argues that the emergence of hip hop in the South Bronx can be explained by the way in which several social-political factors dictated by the needs of the world economy converged with the resistance and labor of black people in the United States and the Anglo-Caribbean in the late 1960s and early 1970
Reports on the researchers' findings 20 years after Lord Gifford's inquiry into race relations in the city after the 1980s Toxteth riots. Gifford reported on the prevalence of racial attitudes, racial abuse, and racial violence directed against the Black citizens of Liverpool. The authors' research focused on education and specifically the low percentage of Black teachers compared to the whole teaching workforce and the percentage Black population in the city.
An accumulation of research evidence suggests that early pubertal timing plays a significant role in girls' behavioral and emotional problems. If early pubertal timing is a problematic event, then early developing Black girls should manifest evidence of this crisis because they tend to be the earliest to develop compared to other girls from different racial and ethnic groups. Given the inconsistent findings among studies using samples of Black girls, the present study examined the independent influence of perceived pubertal timing and age of menarche on externalizing behaviors and depressive symptoms in a nationally representative sample of Black girls (412 African American and 195 Caribbean Black; M = 15 years). Path analysis results indicated that perceived pubertal timing effects on externalizing behaviors were moderated by ethnic subgroup. Caribbean Black girls' who perceived their development to be early engaged in more externalizing behaviors than Caribbean Black girls' who perceived their development to be either on-time or late. Age of menarche did not significantly predict Black girls' externalizing behaviors and depressive symptoms. The onset of menarche does not appear to be an important predictor of Black girls' symptoms of externalizing behavior and depression. These findings suggest ethnic subgroup and perceived pubertal timing are promising factors for better understanding the adverse effects of early perceived pubertal timing among Black girls. Adapted from the source document.
Addresses the socially controversial issue of the public expression of sexuality in dance in the Caribbean. Of particular interest is the phenomenon of 'wining' or 'wukkin' up', dancing involving pelvic gyrations. The focus is on changes taking place in societies in which there is supposedly the continued dominance of a male patriarchal figure. Can these changes be anything more than a new form of male control of female sexuality and public sexual expression?
Examines differences in disability among eight black subgroups distinguished by place of birth and Hispanic ethnicity. We found that all foreign-born subgroups reported lower levels of physical activity limitations and personal care limitations than native-born blacks. Immigrants from Africa reported lowest levels of disability, followed by non-Hispanic immigrants from the Caribbean.
Uses data on both region and country of birth for black immigrants in the United States and methodology that allows for the identification of arrival cohorts to test whether there are sending country differences in the health of black adults in the United States. Results show that African immigrants maintain their health advantage over U.S.-born black adults after more than 20 years in the United States. In contrast, black immigrants from the Caribbean who have been in the United States for more than 20 years appear to experience some downward health assimilation.
The examination of Leonora Miano's work offers a great example of how, through literature, a new form of Negritude could be identified. This paper intends to highlight her American (including Caribbean) literary inspirations and how the rising Franco-Cameronese novelist has compounded them with her African upbringing and family ties which allows her to reflect on what she calls "Afropeaness".
The educational, occupational and income success of the racial minority immigrant offspring is very similar for many immigrant origins groups in the United States, Canada and Australia. Analysis reveals common patterns of high achievement for the Chinese and South Asian second generation, less for other Asian origins, and still less for those of Afro-Caribbean black origins.
Compares memoirs by Maya Angelou, Barack Obama, and Caryl Phillips. The Caribbean-born Afro-Britain Caryl Phillips published The Atlantic Sound (2000), an account of African diasporic identity that moved between understanding, compassion, and a harsh belief that Africa cannot take on the role of a psychologist's couch, that "Africa cannot cure." These three memoirs offer insight into the complex and highly contested nature of identity throughout the African diaspora, and present very personalized reflections on the geography, politics, and history of Africa as a source of identity and diasporic belonging.
Examines what may be termed a historical fracture in the black diaspora in the United States, where African Americans and African Caribbeans still struggle to maintain and solidify friendships. Offers a close textual reading of Brown Girl Brownstones and The Friends to fully explore what fuels the tensions between group members. Concludes that coalition building and a rekindling of former friendships can heal this ruptured diaspora.
