Calypso music

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Calypso rhythm.[1]

Calypso is a style of Afro-Caribbean music that originated in Trinidad and Tobago during the early to 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 1700s.

Calypso drew upon African and French influences, and became the voice of the people. It was characterized by highly rhythmic and harmonic vocals, which was most often sung in a French creole and led by a griot. As calypso developed, the role of the griot (originally a similar traveling musician in West Africa) became known as a chantuelle and eventually, calypsonian. As English replaced "patois" (Antillean creole) as the dominant language, calypso migrated into English, and in so doing it attracted more attention from the government. It allowed the masses to challenge the doings of the unelected Governor and Legislative Council, and the elected town councils of Port of Spain and San Fernando. Calypso continued to play an important role in political expression, and also served to document the history of Trinidad and Tobago.

Calypso in the Caribbean includes a range of genres, including: the Benna genre of Antiguan and Barbudan music; Mento, a style of Jamaican folk music that greatly influenced ska and reggae; Ska, the precursor to rocksteady and reggae; Spouge, a style of Barbadian popular music; Dominica Cadence-lypso, which mixed calypso with the cadence of Haiti; and soca music, a style of Kaiso/calypso, with influences from cadence-lypso, soul, and funk.

Etymology[edit]

It is thought that the name "calypso" was originally "kaiso," which is now believed to come from Efik "ka isu" ("go on!") and Ibibio "kaa iso" ("continue, go on"), used in urging someone on or in backing a contestant.[2] There is also a Trinidadian term "cariso" that is used to refer to "old-time" calypsos.[3] The term "calypso" is recorded from the 1930s onwards. Alternatively, the insert for The Rough Guide to Calypso and Soca (published by World Music Network) favours John Cowley's arguments in Carnival, Canboulay and Calypso: Traditions in the Making: that the word might be a corruption of the French carrouseaux and through the process of patois and Anglicization became caliso and then finally "calypso". Alternatively, they also say that the first mention of the world "calypso" is given in a description of a dance in 1892 by Abbé Masse.[4]

Origins[edit]

Calypso music was developed in Trinidad in the 17th century from the West African Kaiso and canboulay music brought by African slaves imported to that Caribbean island to work on sugar plantations. The slaves, brought to toil on sugar plantations, were stripped of all connections to their homeland and family and not allowed to talk to each other. They used calypso to mock the slave masters and to communicate with each other. Many early calypsos were sung in French Creole by an individual called a griot. As calypso developed, the role of the griot (originally a similar traveling musician in West Africa) became known as a chantuelle and eventually, calypsonian.

Modern calypso, however, began in the 19th century, a fusion of disparate elements ranging from the masquerade song lavway, French Creole belair and the calinda stick-fighting chantwell. Calypso's early rise was closely connected with the adoption of Carnival by Trinidadian slaves, including canboulay drumming and the music masquerade processions. The French brought Carnival to Trinidad, and calypso competitions at Carnival grew in popularity, especially after the abolition of slavery in 1834.

Calypso recordings[edit]

The first identifiably calypso genre song was recorded in 1912, by Lovey's String Band while visiting New York City. In 1914, the second calypso song was recorded, this time in Trinidad, by chantwell Julian Whiterose, better known as the Iron Duke and famous calinda stick-fighter. Jules Sims would also record vocal calypsos. The majority of these calypsos of the World War I era were instrumentals by Lovey and Lionel Belasco. Perhaps due to the constraints of the wartime economy, no recordings of note were produced until the late 1920s and early 1930s, when the "golden era" of calypso would cement the style, form, and phrasing of the music.

Calypso evolved into a way of spreading news around Trinidad. Politicians, journalists and public figures often debated the content of each song, and many islanders considered these songs the most reliable news source. Calypsonians pushed the boundaries of free speech as their lyrics spread news of any topic relevant to island life, including speaking out against political corruption. Eventually British rule enforced censorship and police began to scan these songs for damaging content.

Even with this censorship, calypsos continued to push boundaries, with a variety of ways to slip songs past the scrutinizing eyes of the editor. Double entendre, or double-speak, was one way, as was the practice of denouncing countries such as Hitler's Germany and its annexation of Poland, while making pointed references toward the UK's policies on Trinidad. Sex, scandal, gossip, innuendo, politics, local news, bravado and insulting other calypsonians were the order of the day in classic calypso, just as it is today with classic hip-hop. And just as the hip-hop of today, the music sparked shock and outrage in the moral sections of society.

Countless recordings were dumped at sea in the name of censorship, although in truth, rival US companies did this in the spirit of underhanded competition, claiming that the rivals' material was unfit for US consumption. Decca Records lost untold pressings in this manner, as did its rival, RCA's Bluebird label.

An entrepreneur named Eduardo Sa Gomes played a significant role in spreading calypso in its early days. Sa Gomes, a Portuguese immigrant who owned a local music and phonograph equipment shop in Port of Spain, promoted the genre and gave financial support to the local artists. In March 1934 he sent Roaring Lion and Attila the Hun to New York City to record; they became the first calypsonians to record abroad, bringing the genre out of the West Indies and into pop culture.[5] Lord Invader was quick to follow, and staying in New York City after a protracted legal case involving the theft of his song "Rum and Coca-Cola", a hit by the Andrews Sisters, made his home there along with Wilmoth Houdini, and became one of the great calypsonians of the USA.

Early forms of calypso were also influenced by jazz such as Sans Humanitae. In this extempo (extemporaneous) melody calypsonians lyricise impromptu, commenting socially or insulting each other, "sans humanité" or "no mercy" (which is again a reference to French influence).

Popularity[edit]

The first major stars of calypso started crossing over to new audiences worldwide in the late 1930s. Attila the Hun, Roaring Lion and Lord Invader were first, followed by Lord Kitchener, one of the longest-lasting calypso stars in history—he continued to release hit records until his death in 2000. 1944's "Rum and Coca-Cola" by the Andrews Sisters, a cover version of a Lord Invader song, became an American hit despite the song being a very critical commentary on the explosion of prostitution, inflation and other negative influences accompanying the American military bases in Trinidad at the time.[6] Perhaps the most straight forward way to describe the focus of calypso is that it articulated itself as a form of protest against the authoritarian colonial culture which existed at the time.

Calypso, especially a toned-down, commercial variant, became a worldwide craze with the release of the "Banana Boat Song", or "Day-O", a traditional Jamaican folk song, whose best-known rendition was done by Harry Belafonte on his album Calypso (1956); Calypso was the first full-length record to sell more than a million copies. (Ironically, the music style on that album was mento.) The success of that album inspired hundreds of "Folkies", or the American folk music revival to imitate the "Belafonte style", but with a more folk-oriented flavor. The Kingston Trio would be a good example. 1956 also saw the massive international hit "Jean and Dinah" by Mighty Sparrow. This song too was a sly commentary as a "plan of action" for the calypsonian on the widespread prostitution and the prostitutes' desperation after the closing of the U.S. naval base on Trinidad at Chaguaramas.

In the Broadway-theatre musical Jamaica (1957), Harold Arlen and Yip Harburg cleverly parodied "commercial", Belafonte-style calypso. Several films jumped on the calypso craze in 1957 such as Island in the Sun (20th Century Fox) that featured Belafonte and the low-budget films Calypso Joe (Allied Artists), Calypso Heat Wave (Columbia Pictures), and Bop Girl Goes Calypso (United Artists). Robert Mitchum released an album, Calypso...Is Like So (1957), on Capitol records, capturing the sound, spirit, and subtleties of the genre. Dizzy Gillespie recorded a calypso album Jambo Caribe (1964) with James Moody and Kenny Barron.

Soul shouter Gary "US" Bonds released a calypso album Twist up Calypso (1962) on Legrand records, shortly after returning home from his military post in Port of Spain. Nithi Kanagaratnam from Sri Lanka sang calypso-styled songs in Tamil in 1968, which was a success and earned him the title "Father of Tamil Popular Music". Since Baila rhythm was popular in Sri Lanka, most of his songs were classified as Tamil Baila. The French and pioneer electronic musician Jean Michel Jarre released an album in 1990 called Waiting for Cousteau. The album has four tracks: "Calypso", "Calypso part 2", "Calypso part 3 Fin de Siècle" and "Waiting for Cousteau". It was a dedicated to Jacques-Yves Cousteau in his 80th birthday. This album had a special participation of the Amocco Renegades (a traditional steel-drum band from Trinidad and Tobago). In the first track is possible to notice a strong style influence. Calypso had another short burst of commercial interest when Tim Burton's horror/comedy film Beetlejuice (1988) was released, and used Belafonte's "Jump In The Line" as the soundtrack´s headliner and also "The Banana Boat Song" in the dinner-party scene.

Calypso (Kaiso) in the Caribbean[edit]

Benna[edit]

The Benna is a genre of Antiguan and Barbudan music. It is a calypso-like genre, characterized by scandalous gossip and a call-and-response format. It first appeared after the prohibition of slavery, and became a form of folk communication in the early 20th century, and it spread local news across the islands.

Mento[edit]

Main article: Mento

Mento is a style of Jamaican folk music that predates and has greatly influenced ska and reggae music. Mento is often confused with calypso, a musical form from Trinidad and Tobago. Although the two share many similarities, they are separate and distinct musical forms. During the mid-20th century, mento was conflated with calypso, and mento was frequently referred to as calypso, kalypso and mento calypso; mento singers frequently used calypso songs and techniques. As in Calypso, Mento uses topical lyrics with a humorous slant, commenting on poverty and other social issues. Sexual innuendos are also common.

Ska[edit]

Main article: Ska

Ska is a music genre that originated in Jamaica in the late 1950s, and was the precursor to rocksteady and reggae. Ska combined elements of Caribbean mento and calypso with American jazz and rhythm and blues. It is characterized by a walking bass line accented with rhythms on the upbeat.

Spouge[edit]

Main article: Spouge

Spouge is a style of Barbadian popular music created by Jackie Opel in the 1960s. It is primarily a fusion of Jamaican ska with Trinidadian calypso, but is also influenced by a wide variety of musics from the British Isles and United States, include sea shanties, hymns and spirituals. Spouge instrumentation originally consisted of cowbell, bass guitar, trap set and various other electronic and percussion instruments, later augmented by saxophone, trombone and trumpets.

Cadence-lypso[edit]

Main article: Cadence-lypso

The most influential figure in the development of Cadence-lypso was the Dominican group Exile One (based on the island of Guadeloupe) that cross-fertilized calypso music from the English speaking Caribbean and the cadence rampa of Haiti with influences of Dominican traditional music. While the genre shares many aspects of cadence-rampa; its lyrical content, horn section and up-tempo guitar beat, clearly derived from calypso.

Cadence-lypso has evolved under the influence of Dominican and Caribbean/Latin rhythms, as well as rock and roll, soul and funk music from the United States. By the end of the 1970s, Gordon Henderson defined Cadence-lypso as "a synthesis of Caribbean and African musical patterns fusing the traditional with the contemporary". It was pushed in the 1970s by groups from Dominica, and was the first style of Dominican music to find international acclaim.

Soul Calypso (Soca)[edit]

Main article: soca music

Soca is a style of Caribbean music originating in Trinidad and Tobago. It developed as an offshoot of Kaiso/calypso, with influences from Cadence-lypso, Soul and Funk.

Soca has evolved in the last 20 years primarily by musicians from various Anglophone Caribbean countries including Trinidad, Saint Vincent and the Grenadines, Barbados, Grenada, Saint Lucia, Antigua and Barbuda, United States Virgin Islands, British Virgin Islands, The Bahamas, Dominica, Saint Kitts and Nevis, Jamaica, Belize and Panama. Soca developed in the late 1960s and grew in popularity in the early 1970s. Soca’s development as a musical genre included its fusion with calypso, cadence, Soul and Funk—as demonstrated in Lord Shorty's classic compositions "Sweet music" and "Shanti Om".

See also[edit]

History of French Antilles culture[edit]

Pierre Belain d'Esnambuc was a French trader and adventurer in the Caribbean, who established the first permanent French colony, Saint-Pierre, on the island of Martinique in 1635. Belain sailed to the Caribbean in 1625, hoping to establish a French settlement on the island of St. Christopher (St. Kitts). In 1626 he returned to France, where he won the support of Cardinal Richelieu to establish French colonies in the region. Richelieu became a shareholder in the Compagnie de Saint-Christophe, created to accomplish this with d'Esnambuc at its head. The company was not particularly successful and Richelieu had it reorganized as the Compagnie des Îles de l'Amérique. In 1635 d'Esnambuc sailed to Martinique with one hundred French settlers to clear land for sugar cane plantations.

After six months on Martinique, d'Esnambuc returned to St. Christopher, where he soon died prematurely in 1636, leaving the company and Martinique in the hands of his nephew, Du Parquet. His nephew, Jacques Dyel du Parquet, inherited d'Esnambuc's authority over the French settlements in the Caribbean. In 1637, His nephew Jacques Dyel du Parquet became governor of the island. He remained in Martinique and did not concern himself with the other islands.

The French permanently settled on Martinique and Guadeloupe after being driven off Saint Kitts and Nevis (Saint-Christophe in French) by the British. Fort Royal (Fort-de-France) on Martinique was a major port for French battle ships in the region from which the French were able to explore the region. In 1638, Jacques Dyel du Parquet (1606-1658), nephew of Pierre Belain d'Esnambuc and first governor of Martinique, decided to have Fort Saint Louis built to protect the city against enemy attacks. From Fort Royal, Martinique, Du Parquet proceeded south in search for new territories and established the first settlement in St.Lucia in 1643, and headed an expedition which established a French settlement in Grenada in 1649. Despite the long history of British rule, Grenada's French heritage is still evidenced by the number of French loanwords in Grenadian Creole, French-style buildings, cuisine and places name (For ex. Petit Martinique, Martinique Channel, etc.)

In 1642 the Compagnie des Îles de l'Amérique company received a twenty-year extension of its charter. The King would name the Governor General of the company, and the company the Governors of the various islands. However, by the late 1640s, in France Mazarin had little interest in colonial affairs and the company languished. In 1651 it dissolved itself, selling its exploitation rights to various parties. The du Paquet family bought Martinique, Grenada, and Saint Lucia for 60,000 livres. The sieur d'Houel bought Guadeloupe, Marie-Galante, La Desirade and the Saintes. The Knights of Malta bought Saint Barthélemy and Saint Martin, which were made dependencies of Guadeloupe. In 1665, the Knights sold the islands they had acquired to the newly formed (1664) Compagnie des Indes occidentales.

Dominica is a former French and British colony in the Eastern Caribbean, located about halfway between the French islands of Guadeloupe (to the north) and Martinique (to the south). Christopher Columbus named the island after the day of the week on which he spotted it, a Sunday (domingo in Latin), 3 November 1493. In the hundred years after Columbus's landing, Dominica remained isolated. At the time it was inhabited by the Island Caribs, or Kalinago people, and over time more settled there after being driven from surrounding islands, as European powers entered the region. In 1690, French woodcutters from Martinique and Guadeloupe begin to set up timber camps to supply the French islands with wood and gradually become permanent settlers. France had a colony for several years, they imported slaves from West Africa, Martinique and Guadeloupe to work on its plantations. In this period, the Antillean Creole language developed. France formally ceded possession of Dominica to Great Britain in 1763. Great Britain established a small colony on the island in 1805. As a result, Dominica speak English as an official language while Antillean creole is spoken as a secondary language and is well maintained due to its location between the French-speaking departments of Guadeloupe and Martinique.

In Trinidad, the Spanish who were in possession of the island, contributed little towards advancements, with El Dorado the focus, Trinidad was perfect due to its geographical location. Because Trinidad was considered underpopulated, Roume de St. Laurent, a Frenchman living in Grenada, was able to obtain a Cédula de Población from the Spanish king Charles III on 4 November 1783. Following the cedula of population French planters with their slaves, free coloreds and mulattos from the French Antilles of Martinique, Grenada, Guadeloupe and Dominica migrated to the Trinidad. They too added to the ancestry of Trinidadians, creating the creole identity; Spanish, French, and Patois were the languages spoken. The Spanish also gave many incentives to lure settlers to the island, including exemption from taxes for ten years and land grants in accordance to the terms set out in the Cedula. These new immigrants establishing local communities of Blanchisseuse, Champs Fleurs, Paramin, Cascade, Carenage and Laventille. Trinidad's population jumped to over 15,000 by the end of 1789, from just under 1,400 in 1777. In 1797, Trinidad became a British crown colony, with a French-speaking population. This exodus was encouraged due to the French Revolution.

Carnival had arrived with the French, indentured laborers and the slaves, who could not take part in Carnival, formed their own, parallel celebration called canboulay (from the French cannes brulées, meaning burnt cane) - the precursor for Trinidad's carnival and has played an important role in the development of Trinidad's culture. During the carnival season, the slaves performed songs in tents called Kaiso - later Calypso tents. Many early kaiso or calypso were performed in the French creole language and led by a griot or chantwell. As Trinidad became a British colony, the chantwell became known as the calypsonian. The British government tried to ban the celebration of carnival due to its aggressive overtone; this led to canboulay Riots between the Afro-creoles and the police, which banned the use of Stick fighting and African percussion music in 1881. They were replaced by bamboo "Bamboo-Tamboo" sticks beaten together, which were themselves banned in turn. In 1937 they reappeared, transformed as an orchestra of frying pans, dustbin lids and oil drums. These steelpans or pans are now a major part of the Trinidadian music scene.

Calypso's early rise was closely connected with the adoption of Carnival by Trinidadian slaves, including canboulay drumming and the music masquerade processions. The French brought Carnival to Trinidad, and calypso competitions at Carnival grew in popularity, especially after the abolition of slavery in 1834. From Trinidad, the carnival, calypso and steel pan spreaded to the entire English speaking Caribbean islands. Calypso in the Caribbean includes a range of genres, including: the Benna genre of Antiguan and Barbudan music; Mento, a style of Jamaican folk music that greatly influenced ska and reggae; Ska, the precursor to rocksteady and reggae; Spouge, a style of Barbadian popular music.

In Dominica, the chanté mas and lapo kabwit tradition started to become dominated by imported calypso and steel pan music in the early 1960s. After a fire in 1963, the traditional carnival was banned, though calypso and steelpan continued to grow in popularity. Calypso appealed to Carnival-partygoers because the lyrical focus on local news and gossip was similar to that of chanté mas, despite a rhythmic pattern and instrumentation which contrast sharply with traditional Dominican "Mas Domnik" music. Many of the traditional chanté mas (masquerade song) were performed to the calypso beat and later the new reggae beat coming out of Jamaica.

Calypsonians and Calypso Monarch competitions emerged and became extremely popular. Steelbands emerged all around Dominica and the rest of the Caribbean islands. Calypso music has been popular in Dominica since the 1950s; the first Calypso King was crowned in 1959. Bands such as Swinging Stars, The Gaylords, De Boys an Dem, Los Caballeros and Swinging Busters surfaced and began to cut records. The emergence of radio, first WIDBS and later Radio Dominica helped to spread the music.

In the 1960s, a number of Haitian musicians to the French Antilles (Guadeloupe and Martinique) brought with them the kadans (another word named for the genre "compas"), a sophisticated form of music that quickly swept the island and helped unite all the former French colonies of the Caribbean by combining their cultural influences. Webert Sicot, the originator of cadence recorded three LPs albums with French Antilles producers: two with "Celini disques" in Guadeloupe and one with "Balthazar" in Martinique. Haitian compas or cadence bands were asked to integrate Antillean musicians. Consequently, the leading "Les Guais troubadours", with influential singer "Louis Lahens" along other bands, played a very important role in the schooling of Antilleans to the méringue compas or kadans music style. Almost all existing Haitian compas bands have toured these Islands that have since adopted the music and the dance of the meringue. These were followed by French Antillean mini-jazz artists like Les Gentlemen, Les Leopards, and Les Vikings de Guadeloupe.

In 1969, Gordon Henderson of Dominica decided that the French Overseas Department of Guadeloupe had everything he needed to begin a career in Creole music. From there, lead singer Gordon Henderson went on to found a kadans fusion band, the Vikings of Guadeloupe – of which Kassav' co-founder Pierre-Eduard Decimus was a member. At some point he felt that he should start his own group and asked a former school friend Fitzroy Williams to recruit a few Dominicans to complete those he had already selected. The group was named Exile One. The band added various Caribbean styles to their musical identity such as reggae, calypso and mostly cadence or compas as the band moved to Guadeloupe. In 1973, Exile One (based on the island of Guadeloupe) initiated a fusion of cadence and calypso "Cadence-lypso" that would later influence the creation of soca music. The Trinidadian Calypso and Haitian kadans or méringue were the two dominants music styles of Dominica so Exile One, that featured calypso, reggae and mostly kadans or compas, called its music Cadence-lypso however, most of the bands repertoire was kadans.

Later in 1975, Lord Shorty of Trinidad visited his good friend Maestro in Dominica where he stayed (at Maestro's house) for a month while they visited and worked with local kadans artists. You had Maestro experimenting with calypso and cadence ("cadence-lypso"). Sadly a year later Maestro would die in an accident in Dominica and his loss was palpably felt by Shorty, who penned "Higher World" as a tribute. In Dominica, Shorty had attended an Exile One performance of cadence-lypso, and collaborated with Dominica's 1969 Calypso King, Lord Tokyo and two calypso lyricists, Chris Seraphine and Pat Aaron in the early 1970s, who wrote him some kwéyòl lyrics. Soon after Shorty released a song, "Ou Petit", with words like "Ou dee moin ou petit Shorty" (meaning "you told me you are small Shorty"), a combination of calypso, cadence and kwéyòl. Soca's development includes its fusion of calypso, cadence, and Indian musical instruments—particularly the dholak, tabla and dhantal—as demonstrated in Shorty's classic compositions "Ïndrani" and "Shanti Om".

Due to the popularity of Exile One, There was a virtual explosion of kadans bands from Dominica - Grammacks, Liquid Ice, Midnight Groovers, Black Affairs, Black Machine, Mantra, Belles Combo, Milestone, Wafrikai, Black roots, Black Blood, Naked Feet and Mammouth among others. Leading vocalists of the period include Gordon Henderson, Jeff Joseph, Marcel "Chubby" Marc, Anthony Gussie, Mike Moreau, Tony Valmond, Linford John, Bill Thomas, SinkyRabess and Janet Azouz among others. Dominican kadans bands became popular in Martinique, Guadeloupe, Haiti and other islands in the Caribbean and Africa.

The full-horn section kadans band Exile One led by Gordon Henderson was the first to introduce the newly arrived synthesizers to their music that other young cadence or méringue bands from Haiti (mini-jazz) and the French Antilles emulated in the 1970s. Gordon Henderson's Exile One turned the mini-jazz combos into guitar-dominated big bands with a full-horn section and the newly arrived synthesizers, paving the way for the success of large groups like Grammacks, Experience 7, among others. Drawing on these influences, the supergroup Kassav' invented zouk and popularized it in the 1980s.

Kassav' was formed in 1979 by Pierre-Edouard Décimus and Paris studio musician Jacob F. Desvarieux. Together and under the influence of well-known Dominican and Guadeloupean kadans-lypso or compas bands like Experience 7, Grammacks, Exile One and Les Aiglons they decided to make Guadeloupean carnival music recording it in a more fully orchestrated yet modern and polished style. Kassav' created its own style "zouk" by introducing an eleven-piece gwo ka unit and two lead singers, tambour bélé, ti bwa, biguine, cadence-lypso: calypso and mostly Cadence rampa or compas with full use of the MIDI technology. Kassav was the first band in the Caribbean to apply the MIDI technology to their music. In the 1980s they took Caribbean music to another level by recording in the new digital format. The style lost ground in the late 1980s due to the strong presence of cadence or compas, the main music of the French Antilles.

A special style within the zouk is "zouk love", characterized by a slow, soft and sexual rhythm. The inspiration for the zouk love style of rhythmic music comes from the Haitian compas, as well as music called cadence-lypso - Dominica cadence as popularized by Grammacks and Exile One. The lyrics of the songs often speak of love and sentimental problems.

The music kizomba from Angola and cola-zouk or cabo love from Cape Verde are derivatives of this French Antillean compas music style, which sounds basically the same, although there are notable differences once you become more familiar with these genres. A main exponent of this sub-genré is Ophelia Marie of Dominica. Other Zouk Love artists come from the French West Indies, the Netherlands, and Africa.

In Brazil, the zouk rhythm is used to dance the Brazilian Lambada. Since adding lots of new steps and changing the characteristics from Lambada, a new name was given to this dance "Zouk-lambada", with was originally 'zouk Love', later just called 'zouk'. Today, the Brazilian Zouk has changed and thus, the name 'Traditional Zouk' has been given to the dance that was first taught by Adilio and Renata in the beginning of the 1990s, which is now didactically used all over the world.

In the late '80s, the WCK or Windward Caribbean Kulture, was formed by a group of highly creative young Dominican musicians. The band heralded in a new and much needed resurgence of live music and created a new wave in Dominicas musical evolution. They began experimenting with a fusion of cadence-lypso, the native lapo kabwit drum rhythms and elements of the music of jing ping bands. This group came together to fill a void left by several of Dominica's most internationally recognized bands such as Exile One and Grammacks. While the Cadence-Lypso sound is based on the creative use of acoustic drums, an aggressive up-tempo guitar beat and strong social commentary in the native Creole language, the new sound created by WCK, focused more on the use of technology with a strong emphasis on keyboard rhythmic patterns.

The band played a blend of the local Cadence-lypso and traditional Jing ping, chanté mas and lapo kabwit rhythms, which would later be labelled "bouyon", a genre which they are credited with creating. Dominican-born Derick "Rah" Peters is considered to be one of the most influential figure in the development of the bouyon genre. Bouyon as popularized largely by the WCK band blends in jing ping, cadence-lypso, and traditional dances namely bèlè, quadrille, chanté mas and lapo kabwit, mazurka, zouk and other styles of caribbean music. From a language perspective, Bouyon draws on English and Kwéyòl.

Bouyon music is popular across the Caribbean, and is known as "bouyon gwada" or jump up music in Guadeloupe and Martinique. A popular offshoot within the bouyon gwada is call "bouyon hardcore", a style characterized by its lewd and violent lyrics. This musical style is characterized by texts "slackness" sexually explicit. It is a form of radicalized bouyon of Dominica. Some call it bouyon gwada (Guadeloupe bouyon) to mark its difference and its themes are often the same.

Footnotes[edit]

  1. ^ Blatter, Alfred (2007). Revisiting Music Theory: a guide to the practice, p. 28. ISBN 0-415-97440-2.
  2. ^ Richard Allsopp, Dictionary of Caribbean English Usage (Oxford University Press, 1996), p. 131.
  3. ^ Mendes (1986), p. 30.
  4. ^ John Cowley, Carnival, Canboulay and Calypso: Traditions in the Making, Cambridge University Press, p. 98.
  5. ^ Funk, Ray. "Roaring Lion (Raphael Arius Kairiyama De Leon AKA Hubert Raphael Charles, 15.6.08 – 11.7.99)".
  6. ^ Consuming the Caribbean.

References[edit]

External links[edit]