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 Continuing on our journey into creolization in Caribbean music, we are now moving on to Chapter 3 of Tour de Force;  creolization in the Dutch-speaking Caribbean countries.   Chapter 3 covers a lot of countries as some countries from the Lesser Antilles are included. These groups of islands were separated into two groups:  The "Dutch Windward Islands" or the 'SSS islands'- made up of Saba, Sint Eustatius, and the southern half of Saint Maarten. And the "Dutch Leeward Islands" or the 'ABC Islands'- made up of  Aruba, Bonaire, and Curaçao. Now in this post, I don't intend on giving a history lesson on these groups of islands, but instead, I will be focusing on the creolization of music in the Dutch-speaking countries- particularly Tumba music of Aruba.  (Silveira, n.d.) Tumba Music of Aruba Tumba is a style of music native to Aruba. According to the text, Tumba grew from Tambú- a genre made up of percussion, rhythmic hand clapping, and foot-stompi...

 As mentioned in my last post, there are many examples of creolization throughout the book Tour de Force. Not only is creolization displayed in music and food, but also in language.  In chapter one, we discussed creolization in music in the English-speaking Caribbean. Now, in chapter two, we will discuss creolization in the music of the French-speaking Caribbean.  ( https://ziloka.wordpress.com/2009/07/28/bele-when-martinique-dances/) 1) Zouk genre of Martinique and Guateloupe. This genre of music, popularized in both Martinique and Guadeloupe, is distinguished by its electronic rhythm and upbeat tempo. This style evolved from the  Beguine  genre, which rose out of Martinique with its distinct "syncopated rhythm" and upbeat tempo of the tambour drum and tibwa  ( LeGrand, C.G. C., 2019). The Zouk genre takes the 'orchestral, big-band-like beguine' and replaces it with more electronic rhythms and wind intruments. Similar to Soca music of Trinidad and Tobago, ...

 Among the many themes discussed in chapter 1 of Tour De France, creolization is one that interested me the most. There were many examples of creolization discussed throughout the chapter, some of which I touched on in my last post (creolization of music and food in Jamaica). In this post, I will continue to focus on creolization throughout music in the Caribbean by sharing two examples. 1 ) Junkanoo of The Bahamas. This genre is described, by the authors, as one of the most important events on the Bahamian calendar as it is a homegrown tradition  ( LeGrand, C.G. C., 2019). The earliest form of Junkanoo, which was performed in the early morning of Boxing and New Year's day,  is said to consist of homemade costumes made from paper mache and a band comprising of easily accessible instruments (often played by nonmusicians). As the tradition evolved over the years, more elements were added. These consist of the addition of brass and wind instruments, free dancers, and more el...

For my blog's theme, I will be focusing on Creolization in the Caribbean, specifically in Caribbean music. Creolization, according to Tour de Tores, is the "mixing" of music as well as cultural traditions due to migration ( LeGrand, C.G. C., 2019) . The result of this mixing is a new cultural product of entertainment, food, etc. Due to the wide diaspora of the Caribbean, there is a mixture of cultures from several regions such as African, European, and East Asian. It is through the blending of these cultures that creolization happens. An example of creolization in Caribbean music is Reggae.  Reggae music, according to Portes de Roux, is a “complex musical fusion” of Jamaican styles (ska and rock-steady) and American rhythm and blues (Portes de Roux, n.d.).  One of the most well-known reggae artists is Bob Marley. Marley earned his status as one of the greatest artists of Jamaica through his reggae music.  Photo taken from:  https://www.newyorker.com/magazine/2017/07/...

 Hello! Welcome to my blog! My name is Ivori and throughout my blog posts I will record what I have learned in the Survey of Caribbean Music course.