Peet_MUSI322

 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...