Research on Caribbean dance has revealed consistent ongoing contredanse-related practices since the 17th c. in the Spanish islands and since the 18th c. in the French, British, Dutch, and former Danish islands. The Caribbean forms that emerged do not stand together in an obvious manner because of diverse names for similar configurations and different forms. The discussion, based on comparative fieldwork and a survey of Caribbean dance practices, attempts to overcome some of these difficulties and to show pointedly that Caribbean quadrilles by many names express the ongoing but submerged agency of African-descended performers, that Caribbean dance history and categorization are lacking, and that the royal pageantry that is associated with quadrille performance is significant.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
256 p, Spotlights the religious performance practices that influence many popular and folk music traditions throughout the Caribbean and the Americas, as well as globally. Myriad styles of music–including rumba, salsa, latin jazz, and hip-hop–have their roots in the religious performance traditions of the African diaspora.
Gainesville: University Press of Florida Gainesville, FL
Location:
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
The following contributions are cited separately in RILM: Isaac Nii AKRONG, Ghanaian Gome and Jamaican Kumina: West African influences (RILM [ref]2010-06100[/ref]); Celia Weiss BAMBARA, Chimin Kwaze: Crossing paths, or Haitian dancemaking in Port-au-Prince (RILM [ref]2010-06101[/ref]); Graciela Chao CARBONERO, Melba NÚÑEZ ISALBE, trans., The Africanness of dance in Cuba (RILM [ref]2010-06095[/ref]); Jill Flanders CROSBY, Susan MATTHEWS, asst., Melba NÚÑEZ ISALBE, asst., Roberto PEDROSO GARCÍA, asst., Secrets under the skin: They brought the essence of Africa (RILM [ref]2010-06096[/ref]); Martha Ellen DAVIS, Dance of the Dominican misterios (RILM [ref]2010-06102[/ref]); Nicolás DUMIT ESTÉVEZ, The drums are calling my name (RILM [ref]2010-06104[/ref]); Hazel FRANCO, Tradition reaffirming itself in new forms: An overview of Trinidad and Tobago folk dances (RILM [ref]2010-06110[/ref]); Julian GERSTIN, Tangled roots: Kalenda and other neo-African dances in the circum-Caribbean (RILM [ref]2010-06091[/ref]); Ramiro GUERRA, Melinda MOUSOURIS, trans., My experience and experiments in Caribbean dance (RILM [ref]2010-06094[/ref]); Susan HAREWOOD, John HUNTE, Dance in Barbados: Reclaiming, preserving, and creating national identities (RILM [ref]2010-06108[/ref]); Susan HOMAR, Contemporary dance in Puerto Rico, or How to speak of these times (RILM [ref]2010-06105[/ref]); Tania ISAAC, Helen, heaven, and I: In search of a dialogue (RILM [ref]2010-06107[/ref]); Ravindra Nath 'Raviji' MAHARAJ, A narrative on the framework of the presence, change, and continuity of Indian dance in Trinidad (RILM [ref]2010-06111[/ref]); Annette C. MCDONALD, Big drum dance of Carriacou (RILM [ref]2010-06109[/ref]); Juliet E. MCMAINS, Rumba encounters: Transculturation of Cuban rumba in American and European ballrooms (RILM [ref]2010-06093[/ref]); Sonjah Stanley NIAAH, Dance, divas, queens, and kings: Dance and culture in Jamaican dancehall (RILM [ref]2010-06099[/ref]); Cynthia OLIVER, Rigidigidim De Bamba De: A calypso journey from start to. . . (RILM [ref]2010-06090[/ref]); Xiomarita PÉREZ, Maria Lara SOTO, trans., How to dance son and the style of a Dominican sonero (RILM [ref]2010-06103[/ref]); Cheryl RYMAN, When Jamaica dances: Context and content (RILM [ref]2010-06098[/ref]); Grete VIDDAL, Haitian migration and danced identity in Eastern Cuba (RILM [ref]2010-06097[/ref]); Janet WASON, Bele and quadrille: African and European dimensions in the traditional dances of Dominica, West Indies (RILM [ref]2010-06106[/ref]).
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
173 p, Contents: O intérprete negro na música brasileira nos séculos XVIII e XIX -- Joaquina Maria da Conceição Lapa (Lapinha) -- Camila Maria da Conceição -- Principais apresentações e repertório de Joaquina Maria da Conceição Lapa (Lapinha) --Pincipais apresentações de Camila Maria da Conceição (1892-1908).
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
The pioneering collector of African American music writes of a trip to West Africa where he found the cultural and historical roots for musical expression from Brazil to Cuba, to Trinidad, to New Orleans, to the Bahamas, to dance halls of west Louisiana and the great churches of Harlem. He recounts experiences from a half-century spent following, documenting, recording, and writing about the Africa-influenced music of the United States, Brazil, and the Caribbean.
