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The music of Trinidad and Tobago is best known for its calypso music, soca music, chutney music, and steelpan. Calypso's internationally noted performances in the 1950s from native artists such as Lord Melody, Lord Kitchener and Mighty Sparrow. The art form was most popularised at that time by Harry Belafonte. Along with folk songs and African- and Indian-based classical forms, cross-cultural interactions have produced other indigenous forms of music including soca, rapso, parang, chutney, and other derivative and fusion styles. There are also local communities which practice and experiment with international classical and pop music, often fusing them with local steelpan instruments.
The music of Martinique has a heritage which is intertwined with that of its sister island, Guadeloupe. Despite their small size, the islands have created a large popular music industry, which gained in international renown after the success of zouk music in the later 20th century. Zouk's popularity was particularly intense in France, where the genre became an important symbol of identity for Martinique and Guadeloupe. Zouk's origins are in the folk music of Martinique and Guadeloupe, especially Martinican chouval bwa, and Guadeloupan gwo ka. There's also notable influence of the pan-Caribbean calypso tradition and Haitian kompa.
The music of Guadeloupe encompasses a large popular music industry, which gained in international renown after the success of zouk music in the later 20th century. Zouk's popularity was particularly intense in France, where the genre became an important symbol of identity for Guadeloupe and Martinique. Zouk's origins are in the folk music of Guadeloupe and Martinique, especially Guadeloupan gwo ka and Martinican chouval bwa, and the pan-Caribbean calypso tradition.
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The music of the Lesser Antilles encompasses the music of this chain of small islands making up the eastern and southern portion of the West Indies. Lesser Antillean music is part of the broader category of Caribbean music; much of the folk and popular music is also a part of the Afro-American musical complex, being a mixture of African, European and indigenous American elements. The Lesser Antilles' musical cultures are largely based on the music of African slaves brought by European traders and colonizers. The African musical elements are a hybrid of instruments and styles from numerous West African tribes, while the European slaveholders added their own musics into the mix, as did immigrants from India. In many ways, the Lesser Antilles can be musically divided based on which nation colonized them.
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Kasékò is a musical genre from French Guiana. It also designates the drums as well as the dance of this musical genre. This is a fusion of African, European and American styles.
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Biguine is a rhythmic dance and music style that originated from Saint-Pierre, Martinique in the 19th century. It fuses West African traditional music genres, such as Bélé, with 19th-century French ballroom dance steps.
Compas, also known as konpa or kompa, is a modern méringue dance music genre of Haiti. The genre was popularized by Nemours Jean-Baptiste following the creation of Ensemble Aux Callebasses in 1955, which became Ensemble Nemours Jean-Baptiste in 1957. The frequent tours of the many Haitian bands have cemented the style in all the Caribbean. Therefore, compas is the main music of several countries such as Dominica and the French Antilles. Whether it is called zouk, where French Antilles artists of Martinique and Guadeloupe have taken it, or konpa in places where Haitian artists have toured, this méringue style is influential in part of the Caribbean, Portugal, Cape Verde, France, part of Canada, and South and North America.
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A bélé is a folk dance and music from Dominica, Grenada, Guadeloupe, Haiti, Martinique, Saint Lucia, and Trinidad and Tobago. It may be the oldest Creole dance of the creole French West Indian Islands, and it strongly reflects influences from African fertility dances. It is performed most commonly during full moon evenings, or sometimes during funeral wakes. In Tobago, it is thought to have been performed by women of the planter class at social events in the planters' great houses, and the dress and dance style copied by the enslaved people who worked in or around these houses.
Jing Ping is a kind of folk music originated on the slave plantations of Dominica, also known colloquially as an accordion band. Dominican folk music, jing ping bands accompany a circle dance called the flirtation, as well as the Dominican quadrille.
As an overseas department of France, Martinique's culture is French, African and Caribbean. Its former capital, Saint-Pierre, was often referred to as the Paris of the Lesser Antilles. The official language is French, although many Martinicans speak a Creole patois. Based in French, Martinique's Creole also incorporates elements of English, Spanish, Portuguese, and African languages. Originally passed down through oral storytelling traditions, it continues to be used more often in speech than in writing.
The word boula can refer to at least four different drums played in the Caribbean music area.
Bouladjèl is a vocal percussion technique practiced on the French Caribbean island of Guadeloupe. It consists of a poly-rhythmic superposition of percussive vocalizations and hand claps performed as an accompaniment to certain forms of traditional singing, mostly songs of mourning and funeral wakes. A bouladjèl performer is known as a boularien.
References
Zouk-UK: Gwo Ka In The Heart of The City
Example of Gwo Ka in the street of Pointe-a-Pitre in Guadeloupe
- 1 2 3 4 5 Lafontaine, M-C (1985). Terminologie musicale en Guadeloupe : ce que le Créole nous dit de la musique. Langage et société n°32 (pp. 7-24). doi:10.3406/lsoc.1985.2020 http://www.persee.fr/doc/lsoc_0181-4095_1985_num_32_1_2020
- 1 2 3 4 5 Tahon, M., Sitchet, P.-E. (2017). The transmission of voicing in traditional Gwoka: Between identity and memory. Journal of Interdisciplinary Voice Studies, 2 (2), pp.157-175.
- ↑ Camal, J. (2013). Gwoka et Atonalité, une Question de Contexte, https://tanbouolwen.com/2013/06/19/gwoka-et-atonalite-une-question-de-contexte/. Accessed 7 February 2017.
- ↑ Camal, J. (2011). From Gwoka Modènn to Jazz Ka: Music, nationalism, and creolization in Guadeloupe, Ph.D. thesis, Washington, University in St. Louis.
- ↑ "Chanté Noël - Ma vie de Nantillaise ....Entre Nantes et les Antilles". sandycarros.canalblog.com. Dec 8, 2009. Retrieved Sep 9, 2019.
- 1 2 3 4 5 "guadeloupe | Gwoka, Dance, Drumming, Traditional culture, Creole - Ziloka" . Retrieved Sep 9, 2019.
- ↑ Lénablou, Techni' ka, Editions Jasor, 2005
- 1 2 Ledesma and Scaramuzzo, pgs. 289-303
- ↑ "Unesco, Intangible Heritage : Files under process (2014)" . Retrieved Sep 9, 2019.
Lénablou, Techni' ka, Editions Jasor, 2005 https://web.archive.org/web/20090831081325/http://guardian.co.tt/features/entertainment/2009/08/17/bending-continuum Groupes
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