"We select one or two villages to host cultural activities which conclude at the end of October with the grand celebration of the International Creole Day," said George Alphonse, poet, historian, F.R.C. board member, and the chairperson of St. Lucia Creole Heritage Month Committee. "This year, the committee had chosen four villages to hold those activities for the month: Anse-La-Ray, Dennery, Laborie, and Monchy. This is to contribute to the social-economic development of these villages."
On January 7, the Haitian Americans United, Inc. (H.A.U.) will hold its fifth Annual Haitian Independence Day Gala in Lombado's in Randolph starting at 7 p.m. The gala will honor Haiti's Founding Fathers, especially the General-Emperor Jean Jacques Dessalines, on the occasion, this year, of the 200th anniversary of his assassination in Port-au-Prince. The gala will also commemorate 202 years of the proclamation of Haiti's independence. In Providence, Rhode Island, the Haitian Independence Day was to be celebrated at the new Haitian Bicentennial Memorial Plaza in Roger Williams Park starting at 9 a.m. H.A.U., in collaboration with several other Haitian organizations, was to lay a memorial wreath at the foot of the second Haitian memorial in the United States.
The essay uses ethnographic studies to provide insights into the history and historiography of the African-Atlantic winter celebration known alternately as Jankunu, John Canoe, Jonkonnu, Junkanoo, or John Kuner, celebrated in English-speaking areas of the Caribbean and Central America. Some of the subjects include the festival's religious and/or secular nature, 19th century accounts of the festivals originally held by slaves, and similar West African festivals.
Top music industry stars visited the MMPRM booth, sang some of their songs and signed autographs. Haitian-American Hip-Hop and R'n'B artist Jimmy Carter came with his entourage, including a group called "Starvin Krew and he sang his songs "The World," "If You Want To Roll" and some "free style." Special Kudos go out to E-Uneek who M.C'd along with Emmanuel Marcellus. E-Uneek's rendition of his songs from his CD, "200 Years Of Blood, Sweat and Tears" and "Voule" were well received by the crowd. Sweet Micky a/k/a, "The Bad Boy of Haitian music"'s latest CD, "GNB" was represented at the MMPRM booth as Sweet Micky was in Miami and couldn't make it.
Flags flailed - both by the breeze and by the hands of proud people - to the live onstage musical performances. The stage was set large enough to support a full band and back-up singers, and to support the energy of every performer. The program included several international, big time and small time, artists. Some on the bill were reggae star Tony Rebel, (reggae, Jamaica); Bunji Garlin (Soca, Trinidad); Ken Boothe (Vintage Reggae, Jamaica); Slice International (Soca/Calypso band); Everton Blender (Cultural Reggae, Jamaica); Dadou Pasquet (Kompas, Haiti); Omar Reid (Jamaica's 2006 Festival Song winner) and Dias and the Charms (R&B).
Morgan Heritage though, on their part, should bring out tons of new fans to the festival because of their legendary musical accomplishments. The band of brothers, sisters and other relatives, off springs of famed singer Denroy Morgan, have been able to comfortably navigate the various manifestation of reggae, from dancehall to lovers rock and roots rock. Along the way they have scored numerous hits gleaned from their several well written albums. They include Reggae bring back love, Don't haffi dread, She's still loving me, Nothing to smile about and Down by the river.
Kemper, Denise (author) and Weltring, Wiebke (author)
Format:
Proceedings
Publication Date:
2016
Location:
Agricultural Communications Documentation Center, Funk Library, University of Illinois Document Number: D08817
Notes:
Pages 235-259 in Rob Roggema (ed.), Agriculture in an urbanizing society volume one: proceedings of the sixth AESOP conference on sustainable food planning. United Kingdom: Cambridge Scholars Publishing. 549 pages.
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.
