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Soca music is a genre of music defined by Lord Shorty, its inventor, as the "Soul of Calypso", which has influences of African and East Indian rhythms. It was originally spelled "sokah" by its inventor but through an error in a local newspaper when reporting on the new music it was erroneously spelled "soca"; Lord Shorty confirmed the error but chose to leave it that way to avoid confusion. It is a genre of music that originated in Trinidad and Tobago in the early 1970s and developed into a range of styles during the 1980s and after. Soca was initially developed by Lord Shorty in an effort to revive traditional calypso, the popularity of which had been flagging amongst younger generations in Trinidad due to the rise in popularity of reggae from Jamaica and soul and funk from the United States. Soca is an offshoot of calypso/kaiso, with influences from East Indian rhythms and hooks.
Calypso is a style of Caribbean music that originated in Trinidad and Tobago during the early to mid-19th century and spread to the rest of the Caribbean Antilles by the mid-20th century. Its rhythms can be traced back to West African Kaiso and the arrival of French planters and their slaves from the French Antilles in the 18th century.
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 Dominica includes a variety of genres including all the popular genres of the world. Popular music is widespread, with a number of native Dominican performers gaining national fame in imported genres such as calypso, reggae, soca, kompa, zouk and rock and roll. Dominica's own popular music industry has created a form called bouyon, which combines elements from several styles and has achieved a wide fanbase in Dominica. Groups include WCK, Native musicians in various forms, such as reggae, kadans (Ophelia Marie, and calypso, have also become stars at home and abroad.
Guyanese culture reflects the influence of African, Indian, Amerindian, British, Portuguese, Chinese, Creole, and Dutch cultures. Guyana is part of the mainland Caribbean region. Guyanese culture shares a continuum with the cultures of islands in the West Indies.
The dholak is a two-headed hand drum, a folk percussion instrument. The dholak is most commonly recognised in countries such as India, Pakistan, Bangladesh, Nepal and Sri Lanka, but can also be found amongst the Indo-Diaspora in countries such as Guyana, Suriname, Fiji, Trinidad and Tobago, South Africa and Mauritius. The dholak can be anywhere about 16" to 24" in length. It is widely used in qawwali, kirtan, bhajan, bhangra, chutney, baithak gana, Bollywood film songs, lokgeet and various classical styles such as Hindustani, Carnatic and Trinidadian local classical / Guyanese taan. The drum has two different sized drumheads. There is a smaller drumhead that can be from 5.5 to 8 inches in diameter and is made for sharp notes while the bigger drumhead, which can be from 7.5 to 10 inches in diametre, is made for low pitch. The two drumheads allow a combination of bass and treble with rhythmic high and low pitches. The body or shell of the Dholak can made of sheesham or mango wood. The larger drum head has a compound of tar, clay and sand, called "masala" which is applied to lower the pitch and produce the sound. The smaller drumhead is played with the person's dominant hand, while the larger is played by the person's weaker hand. A dholak can either be fitted with a nuts and bolts or a rope and steel rings for tuning. Commonly in the Indian subcontinent, there are only one set of rings for tuning the treble side of the dholak, while in the Caribbean, hook screws are placed into the sides of the dholak to allow tuning of both the treble and the bass. Dholak can be played in three ways — on the player’s lap, while standing, or pressed down with one knee while sitting on the floor.
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.
The music of Barbados includes distinctive national styles of folk and popular music, including elements of Western classical and religious music. The culture of Barbados is a syncretic mix of African and British elements, and the island's music reflects this mix through song types and styles, instrumentation, dances, and aesthetic principles.
Chutney music is a fusion genre of Indian folk music, specifically Bhojpuri folk music, with Caribbean calypso and soca music, and later with Bollywood music. This genre of music that developed in Trinidad and Tobago is popular in Trinidad and Tobago, Guyana, Suriname, Jamaica, other parts of the Caribbean, Fiji, Mauritius, and South Africa. Chutney music emerged mid-20th century and reached a peak of popularity during the 1980s. Several sub-genres have developed.
The music of Suriname is known for kaseko music, and for having an Indo-Caribbean tradition.
The culture of Trinidad and Tobago reflects the influence of Indian-South Asian, African, Indigenous, European, Chinese, North American, Latino, and Arab cultures. The histories of Trinidad and Tobago are different. There are differences in the cultural influences which have shaped each island. Trinidad and Tobago is an English-speaking country with strong links to the United Kingdom.
Afro-Caribbean music is a broad term for music styles originating in the Caribbean from the African diaspora. These types of music usually have West African/Central African influence because of the presence and history of African people and their descendants living in the Caribbean, as a result of the trans-Atlantic slave trade. These distinctive musical art forms came about from the cultural mingling of African, Indigenous, and European inhabitants. Characteristically, Afro-Caribbean music incorporates components, instruments and influences from a variety of African cultures, as well as Indigenous and European cultures.
Indo-Guyanese or Indian-Guyanese, are Guyanese nationals of Indian origin who trace their ancestry to India and the wider subcontinent. They are the descendants of indentured servants and settlers who migrated from India beginning in 1838, and continuing during the British Raj.
Indo-Caribbean Americans or Indian-Caribbean Americans, are Americans who trace their ancestry ultimately to India, though whose recent ancestors lived in the Caribbean, where they migrated beginning in 1838 as indentured laborers. There are large populations of Indo-Trinidadian and Tobagonians and Indo-Guyanese along with a smaller population of Indo-Surinamese, Indo-Jamaicans and other Indo-Caribbeans in the United States, especially in the New York metropolitan area and Florida. The Washington metropolitan area, Texas, and Minnesota also have small numbers of Indo-Guyanese and Indo-Trinidadians. Indo-Caribbean Americans are a subgroup of Caribbean Americans as well as Indian Americans, which are a subgroup of South Asian Americans, which itself is a subgroup of Asian Americans.
Afro-Guyanese are generally descended from the enslaved people brought to Guyana from the coast of West Africa to work on sugar plantations during the era of the Atlantic slave trade. Coming from a wide array of backgrounds and enduring conditions that severely constrained their ability to preserve their respective cultural traditions contributed to the adoption of Christianity and the values of British colonists.
In Trinidad and Tobago, Guyana, and Suriname, chutney soca music is a crossover style of music incorporating soca and calypso elements and English, Hindustani, and Hinglish lyrics, chutney music, with Western instruments such as the guitar, piano, drum set, and Indian instruments such as the dholak, harmonium, tabla, and dhantal.
Caribbean Hindustani is an Indo-Aryan language spoken by Indo-Caribbeans and the Indo-Caribbean diaspora. It is a koiné language mainly based on the Bhojpuri and Awadhi dialects. These Hindustani dialects were the most spoken dialects by the Indians who came as immigrants to the Caribbean from India as indentured laborers. It is closely related to Fiji Hindi and the Bhojpuri-Hindustani spoken in Mauritius and South Africa.
Citizens or residents of the United Kingdom whose origins lie in Guyana are a part of the country's British Caribbean community. Guyana was a former British colony, British Guiana, responsible for moving large numbers of Africans and Indians for labour in the sugar industry. British Guyanese are notable for their contributions to literature and music.
Baithak Gana is a form of music originating in Suriname by the Indian community. Baithak is a social gathering. It is a mix of Bhojpuri folk songs with other Caribbean influences. It is similar to Chutney music that originated in Trinidad and Tobago. The most popular exponent in Surinam of the genre were Ramdew Chaitoe and Dropati.
References
- ↑ guyaneseonline (2011-10-11). "THE TRADEWINDS – led by Dave Martins". Guyanese Online. Retrieved 2020-05-16.
- 1 2 3 4 Cambridge, Vibert C. (2015-05-21). Musical Life in Guyana: History and Politics of Controlling Creativity. Univ. Press of Mississippi. ISBN 978-1-62674-644-2.
- ↑ "Guyana Music Festival being revived". Kaieteur News. 2009-02-26. Retrieved 2020-05-16.
- ↑ Saywack, Rajendra (1999). "From Caroni gyal to Calcutta woman: A history of East Indian chutney music in the Caribbean". Thomas Hunter College Black & Puerto Rican Studies Department. Archived from the original on 2000-08-23. Retrieved 2021-03-08.
- ↑ Gupta, Girish (2013-12-06). "In Guyana, Feeling Stifled After Needling Government in Song (Published 2013)". The New York Times. ISSN 0362-4331 . Retrieved 2021-03-14.
- ↑ Vincent C. Bates, ed. (August 2015). "Action, Criticism & Theory for Music Education" (PDF). Act.maydaygroup.org. ISSN 1545-4517. Archived (PDF) from the original on 2015-10-05. Retrieved 2015-12-13.
- ↑ "The Sugar Cake Girls - What sweetness!". indocaribbeanworld.com. indocaribbeanworld.com. Archived from the original on September 16, 2016. Retrieved November 23, 2016.