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Reggae is a music genre that originated in Jamaica in the late 1960s. The term also denotes the modern popular music of Jamaica and its diaspora. A 1968 single by Toots and the Maytals, "Do the Reggay", was the first popular song to use the word reggae, effectively naming the genre and introducing it to a global audience. While sometimes used in a broad sense to refer to most types of popular Jamaican dance music, the term reggae more properly denotes a particular music style that was strongly influenced by traditional mento as well as American jazz and rhythm and blues, and evolved out of the earlier genres ska and rocksteady. Reggae usually relates news, social gossip, and political commentary. It is instantly recognizable from the counterpoint between the bass and drum downbeat and the offbeat rhythm section. The immediate origins of reggae were in ska and rocksteady; from the latter, reggae took over the use of the bass as a percussion instrument.
The music of Jamaica includes Jamaican folk music and many popular genres, such as mento, ska, rocksteady, reggae, dub music, dancehall, reggae fusion and related styles.
Sierra Leone's music is a mixture of native, French, British, West Indian and Creole musical genres.
Obeah, or Obayi, is a series of African diasporic spell-casting and healing traditions found in the former British colonies of the Caribbean. These traditions derive much from traditional West African practices that have undergone cultural creolization. There is much regional variation in the practice of Obeah, which is followed by practitioners called Obeahmen and Obeahwomen.
There are several subgenres of reggae music including various predecessors to the form.
Rara is a form of festival music that originated in Haiti that is used for street processions, typically during Easter Week. The music centers on a set of cylindrical bamboo trumpets called vaksin, but also features drums, maracas, güiras or güiros, and metal bells, as well as alsos which are made from recycled metal, often coffee cans. The vaksin perform repeating patterns in hocket and often strike their instruments rhythmically with a stick while blowing into them. In the modern day, standard trumpets and saxophones may also be used. The genre though predominantly Afro-based has some Taino Amerindian elements to it such as the use of güiros and maracas.
Music of the African diaspora was mostly refined and developed during the period of slavery. Slaves did not have easy access to instruments, so vocal work took on new significance. Through chants and work songs people of African descent preserved elements of their African heritage while inventing new genres of music. The culmination of this great sublimation of musical energy into vocal work can be seen in genres as disparate as Gospel Music and Hip-Hop. The music of the African diaspora makes frequent use of ostinato, a motif or phrase which is persistently repeated at the same pitch. The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody. The banjo is a direct descendant of the Akonting created by the Jola people, found in Senegal, Gambia and Guinea-Bissau in West Africa. Hence, the melodic traditions of the African diaspora are probably most alive in Blues and Jazz.
Jamaican Maroon language, Maroon Spirit language, Kromanti, Jamaican Maroon Creole or Deep patwa is a ritual language and formerly mother tongue of Jamaican Maroons. It is an English-based creole with a strong Akan component, specifically from the Fante dialect of the Central Region of Ghana. It is distinct from usual Jamaican Creole, being similar to the creoles of Sierra Leone (Krio) and Suriname such as Sranan and Ndyuka. It is also more purely Akan than regular Patois, with little to no contribution from other African languages. Today, the Maroon Spirit language is used by Jamaican Maroons. Another distinct ritual language consisting mostly of words and phrases from Akan languages, is also used by Jamaican Maroons in certain rituals including some involving possession by ancestral spirits during Kromanti ceremonies or when addressing those who are possessed and sometimes used as a kind of code.
Rap Kreyòl, started in Haiti in the early ‘80s by the Late Great Master Dji, who witnessed how American Hip Hop gave birth to French Hip Hop while living in France. Hence, he moved back to Haiti and started the Hip Hop movement that took Haiti by storm. Consequently, many of those kids which Hip Hop spoke to in their special language for the first time continue to rap in Haitian Creole even after being in the United States the most part of their lives. Artists like Oz'mosis and Bennchoumy still rap in Haitian Creole still today. Often, hardcore beats are used while the artist raps in Haitian Creole. Rap kreyòl has been part of the Haitian culture since the early 1980s with groups such as Original Rap Staff, King Posee, Rap Kreyòl S.A., Masters of Haiti, Fighters, Blackdo, Fam-Squad, Supa Deno, Prince Berlin, and Muzion attaining prominence, but lately has become very popular with Haitian youth. Another notable group from the 1990s is Black Leaders. The impact of Black Leaders and its members is lasting. Though known primarily for his role in Black Leaders, Don Roy is still an active contributor to Haitian music across many genres. Since the peak of his notoriety, Don Roy has chosen to create in other genres. While still working in a production capacity in genres such as Rap Kreyòl and Reggae, Don Roy has chosen to create and work with prominent artists of the modern roots/Rasin movement.
The gumbe or bench drum is a frame drum found in French Guiana, Jamaica and Sierra Leone. It has a small size, with square frame and one head of goat skin.
Twoubadou music is a popular genre of guitar-based music from Haiti that has a long and important place in Haitian culture. The word comes from troubadour, a medieval poet-musician who wrote and sang songs about courtly love. Like the troubadours of old, the Haitian twoubadou is a singer-composer who accompanies himself on songs that tell about the bitterness and humor of love, often using risqué or suggestive lyrics.
Haitian rock, or rock kreyòl, started as rock n roll in Haiti in the early 1960s. It was played by rock bands called yeye bands. The name yeye derives from the Beatles lyrical verse, "yeah, yeah, yeah", which took off in the United States and was listened to by upper class Haitian families who had access to the radio. Young Haitians formed small electric guitar-based bands. These yeye rock bands were short-lived, as the addition of compas to their repertoires resulted in a sound was called mini-jazz, or mini-djaz in Haitian Creole.
Kontradans or the French-Haitian Contredanse, is creolized dance music formed in the 18th century in the French colony of Saint-Domingue (Haiti) that evolved from the English contra dance, or, which eventually spread throughout the Caribbean, Louisiana, Europe and the rest of the New World from the Creoles of Saint-Domingue.
The Sierra Leone Creole people are an ethnic group of Sierra Leone. The Sierra Leone Creole people are descendants of freed African-American, Afro-Caribbean, and Liberated African slaves who settled in the Western Area of Sierra Leone between 1787 and about 1885. The colony was established by the British, supported by abolitionists, under the Sierra Leone Company as a place for freedmen. The settlers called their new settlement Freetown. Today, the Sierra Leone Creoles are 1.2 percent of the population of Sierra Leone.
Rockfort is a community in Kingston, Jamaica that is bounded by Long Mountain range to the north, the sea and Springfield Gardens to the south, Mountain View and Rollington Town to the west, and Harbour View to the east.
The traditional Jamaican Maroon religion, otherwise known as Kumfu, was developed by a mixing of West and Central African religious practices in Maroon communities. While the traditional religion of the Maroons was absorbed by Christianity due to conversions in Maroon communities, many old practices continued on. Some have speculated that Jamaican Maroon religion helped the development of Kumina and Convince. The religious Kromanti dance is still practiced today but not always with the full religious connotation as in the past.
Kromanti dance or Kromanti play is a Jamaican Maroon religious ceremony practiced by Jamaican Maroons. It is rooted in traditional African music and religious practices, especially those of the Akan people of Ghana. The name Kromanti derives from Kormantin where a historical slave fort in the coast of Ghana was located. Many slaves shipped to Jamaica during the Atlantic Slave trade originated from present–day Ghana in West Africa.
References
- 1 2 3 4 "Kenneth Bilby". The James Hillman Symposium, The Dallas Institute of Humanities & Culture. Retrieved June 9, 2020.
- 1 2 "Kenneth Bilby Collection of audio field recordings". University of Chicago, Black Metropolis Research Consortium. Retrieved June 9, 2020.
- 1 2 Bilby, Kenneth M. (1983). "How the "older heads" talk: a Jamaican Maroon spirit possession language and its relationship to the creoles of Suriname and Sierra Leone". New West Indian Guide. 57 (1–2): 37–88. doi: 10.1163/13822373-90002097 . Retrieved June 9, 2020.
