Susanna Sloat
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780813034676
- eISBN:
- 9780813046303
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034676.001.0001
- Subject:
- Music, Dance
This book tells how Caribbean dance is shaped by cultures mixing Africa and Europe and sometimes Asia in a new world. Many authors are cultural leaders on the islands, while others live elsewhere, ...
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This book tells how Caribbean dance is shaped by cultures mixing Africa and Europe and sometimes Asia in a new world. Many authors are cultural leaders on the islands, while others live elsewhere, but have spent years steeped in island cultures.? It starts with connective chapters, on calypso and wining for the Anglophone Caribbean, and on how the French and enslaved Africans spread dances throughout the Caribbean. Cuban chapters focus on the Haitian-influenced culture of Eastern Cuba, Arará and its connection to Africa, a memoir from the father of Cuban modern dance, Africanness, and a search for the roots of international ballroom rumba. It has a comprehensive look at the context and content of Jamaican folkloric dance, one on the inventors of Jamaican dancehall dance and the dances, and a Ghanian take on the Jamaican ritual tradition of Kumina. There are chapters on the Dominican misterios, the subculture of Dominican son, on dancing stars on Dominican television, and on contemporary Haitian choreographers. It includes the history of Puerto Rican experimental dancemakers, the quadrille and bele of Dominica, the personalities of St. Lucia seen through its dances, and also on dance in Barbados and how it has helped create a national identity, on the Big Drum of Carriacou, on the intertwined history of Trinidad and Tobago and its dance, and on the dance traditions of the Indians of Trinidad, from ritual Ramdilla to secular chutney.Less
This book tells how Caribbean dance is shaped by cultures mixing Africa and Europe and sometimes Asia in a new world. Many authors are cultural leaders on the islands, while others live elsewhere, but have spent years steeped in island cultures.? It starts with connective chapters, on calypso and wining for the Anglophone Caribbean, and on how the French and enslaved Africans spread dances throughout the Caribbean. Cuban chapters focus on the Haitian-influenced culture of Eastern Cuba, Arará and its connection to Africa, a memoir from the father of Cuban modern dance, Africanness, and a search for the roots of international ballroom rumba. It has a comprehensive look at the context and content of Jamaican folkloric dance, one on the inventors of Jamaican dancehall dance and the dances, and a Ghanian take on the Jamaican ritual tradition of Kumina. There are chapters on the Dominican misterios, the subculture of Dominican son, on dancing stars on Dominican television, and on contemporary Haitian choreographers. It includes the history of Puerto Rican experimental dancemakers, the quadrille and bele of Dominica, the personalities of St. Lucia seen through its dances, and also on dance in Barbados and how it has helped create a national identity, on the Big Drum of Carriacou, on the intertwined history of Trinidad and Tobago and its dance, and on the dance traditions of the Indians of Trinidad, from ritual Ramdilla to secular chutney.
Susan Harewood and John Hunte (eds)
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780813034676
- eISBN:
- 9780813046303
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034676.003.0018
- Subject:
- Music, Dance
Susan Harewood and John Hunte reveal a wealth of information and insight about how the range of Barbados dance and policy on that island helps form identities, from the historical dances, to efforts ...
More
Susan Harewood and John Hunte reveal a wealth of information and insight about how the range of Barbados dance and policy on that island helps form identities, from the historical dances, to efforts after independence to use dance to promote nation building, to developing the government-funded Barbados Dance Theatre Company, to that uniquely Barbadian organization, the Landship. Issues of class, of who gets government subsidy, of emphasis on the African-derived or European-derived come to the fore within their framing question of decency and indecency. The wukking up to soca and calypso at Crop Over, Barbados' carnival season, is contrasted with a resurgence of ballroom dancing, liturgical dance, and new dance companies.Less
Susan Harewood and John Hunte reveal a wealth of information and insight about how the range of Barbados dance and policy on that island helps form identities, from the historical dances, to efforts after independence to use dance to promote nation building, to developing the government-funded Barbados Dance Theatre Company, to that uniquely Barbadian organization, the Landship. Issues of class, of who gets government subsidy, of emphasis on the African-derived or European-derived come to the fore within their framing question of decency and indecency. The wukking up to soca and calypso at Crop Over, Barbados' carnival season, is contrasted with a resurgence of ballroom dancing, liturgical dance, and new dance companies.
