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.
Cheryl Ryman (ed.)
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780813034676
- eISBN:
- 9780813046303
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034676.003.0008
- Subject:
- Music, Dance
Cheryl Ryman offers an intensive view of the complexities and richness of Jamaican folkloric dance. She sets up a detailed context for her unusually complete description of the dances, giving ...
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Cheryl Ryman offers an intensive view of the complexities and richness of Jamaican folkloric dance. She sets up a detailed context for her unusually complete description of the dances, giving insights into ways in which all dance cultures can be identified, the African aesthetics and spirituality that define Jamaican dance, and the way a dance event evolves, reflecting what happens in much of the Caribbean. Ryman's extensive descriptions of such traditions as Jonkonnu, Bruckin Party, Buru, Maypole, Mento, Kumina, the Nine Night dances, including dinki mini and guerre, Maroon Kromanti play nation dances, Etu, Hosay, and Rastafari greatly enhance knowledge of the complications of Jamaica's historic folkloric culture.Less
Cheryl Ryman offers an intensive view of the complexities and richness of Jamaican folkloric dance. She sets up a detailed context for her unusually complete description of the dances, giving insights into ways in which all dance cultures can be identified, the African aesthetics and spirituality that define Jamaican dance, and the way a dance event evolves, reflecting what happens in much of the Caribbean. Ryman's extensive descriptions of such traditions as Jonkonnu, Bruckin Party, Buru, Maypole, Mento, Kumina, the Nine Night dances, including dinki mini and guerre, Maroon Kromanti play nation dances, Etu, Hosay, and Rastafari greatly enhance knowledge of the complications of Jamaica's historic folkloric culture.
Sonjah Stanley Niaah (ed.)
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780813034676
- eISBN:
- 9780813046303
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034676.003.0009
- Subject:
- Music, Dance
Sonjah Stanley Niaah enters the creative world of dancehall queens and kings as they invent and pass on new moves and dances in a milieu that transforms people from their workaday lives. She cites ...
More
Sonjah Stanley Niaah enters the creative world of dancehall queens and kings as they invent and pass on new moves and dances in a milieu that transforms people from their workaday lives. She cites wellsprings of Jamaican culture that provide a reservoir of movement for dancehall dances, cultural manifestations such as costuming, and an intensity of involvement akin to possession. Stanley Niaah offers the thoughts of dancehall stars like Bogle and Stacey about their roles, notes aspects of the subculture, including changing gender roles, and describes some of the dances. She charts an extensive chronology of dance moves, including yanga, shay-shay, cool an’ deadly, poco man jam, bogle, butterfly, urkel, jerry springer, log on, drive by, signal di plane, shelly belly, shankle dip, chaka chaka, spongebob, gangsta rock, dutty wine, beyonce wine, and gully creeper.Less
Sonjah Stanley Niaah enters the creative world of dancehall queens and kings as they invent and pass on new moves and dances in a milieu that transforms people from their workaday lives. She cites wellsprings of Jamaican culture that provide a reservoir of movement for dancehall dances, cultural manifestations such as costuming, and an intensity of involvement akin to possession. Stanley Niaah offers the thoughts of dancehall stars like Bogle and Stacey about their roles, notes aspects of the subculture, including changing gender roles, and describes some of the dances. She charts an extensive chronology of dance moves, including yanga, shay-shay, cool an’ deadly, poco man jam, bogle, butterfly, urkel, jerry springer, log on, drive by, signal di plane, shelly belly, shankle dip, chaka chaka, spongebob, gangsta rock, dutty wine, beyonce wine, and gully creeper.
