Starting from the days of slavery and following through to the first decades of the twentieth century, this book traces the evolution of Carnival and secular black music in Trinidad and the links that existed with other territories and beyond. Calypso emerged as the pre-eminent Carnival song from the end of the nineteenth century and its association with the festival is investigated, as are the first commercial recordings by Trinidad performers. These featured stringband instrumentals, 'calipsos' and stickfighting 'kalendas' (a carnival style popular from the last quarter of the nineteenth century). The emphasis of the book is on history, and great use is made of contemporary newspaper reports. colonial documents, travelogues, oral history and folklore, providing an authoritative treatment of a fascinating story in popular cultural history.
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What happens when teachers «relinquish the authority of truth providers»? Ninth grader Sasha Pringle, one of the student voices in Classroom Calypso, asserts that such a self-effacing posture empowers students by «releasing the writer within, » thereby fostering a critical, creative, and reflective disposition. Winthrop R. Holder re-represents students not as marginalized beings merely absorbing information but as subjects taking center stage and inscribing themselves into history. On their literary pilgrimage seeking self-knowledge, students, employing tale-telling, recast their classroom as a symposium - a place where popular culture orchestrates the discourse. This is an invaluable book for educators, parents, and anyone interested in understanding and facilitating the voices of urban youth.
Calypso, with its diverse cultural heritage, was the most significant Caribbean musical form from World War I to Trinidad and Tobago Independence in 1962. Though wildly popular in mid-1950s America, Calypso--along with other music from "the island of the hummingbird"--has been largely neglected or forgotten. This first-ever discography of the first 50 years of Trinidadian music includes all the major artists, as well as many obscure performers. Chronological entries for 78 rpm recordings give bibliographical references, periodicals, websites and the recording locations. Rare field recordings are cataloged for the first time, including East Indian and Muslim community performances and Shango and Voodoo rites. Appendices give 10-inch LP (78 rpm), 12-inch LP (33 1/3 rpm), extended play (ep) and 7-inch single (45) listings. Non-commercial field recordings, radio broadcasts and initially unissued sessions also are listed. The influence of Trinidadian music on film, and the "Calypso craze" are discussed. Audio sources are provided. Indexes list individual artists and groups, recording titles and labels.
Calypso was ten years old when she fi rst fell in love. Her and Aristons love story started on a holiday in France. But circumstances are not on their side resulting in them drifting apart. Eight years have passed, will destiny let them meet again? Tamara missed Ariston. The hope of meeting him again is the only thing that keeps her going, the thing that stops her from losing her mind. Apart from him, no-one could ever understand what Tamara went through that night, not a day goes by without her recollecting her fathers death as they all called it. But does she know better? Well what if you were the one who witnessed what really happened Is everyone as they seem or is there something more than meets the eye?
When a rich, white American yachtsman is indicted for murder of a local black launch-tender in the Caribbean island of Saint Vincent a conservative news commentator stirs up a media circus by championing the yachtsman and criticizing the weakness of the case with tactics that demean the local prosecutor. Facing worldwide embarrassment and condemnation for indicting the yachtsman without substantive evidence, the prosecutor engages an investigator to bolster his charge. That man, a retired New York City detective had been cruising the archipelago in his refurbished 32-foot sailboat. Born in the Bronx of Puerto Rican parents the 51-year-old ex-cop pugnaciously probes every avenue relative to the case in his determination to clear the case and prove he deserves accolades the deputy commissioners of the NYPD denied him. Not withstanding the lack of physical evidence, he utilizes street smarts along with natural intelligence and twenty-eight years of cop experience to connect the killing to diamond smuggling. But unable to unequivocally connect the yachtsman to the suspected diamond smugglers, the detective worries that he railroads an innocent fellow American. On the other hand, having suffered as the victim of bigotry for much of his life, as well as treated as an inferior by the affluent and influential, he is tempted to partake of the sweet taste of payback. Steadily increasing antagonism developing between the cocky ex-cop and the stuffy prosecutor (steeped in pedantic English tradition) complicates working arrangements. But that doesn’t deter the ex-cop, whose unwavering investigation leads to rooting out a shrewd but cold-hearted Armenian and his cohorts: a robust Jamaican and a shifty Frenchman. Along the way the ex-cop encounters a foxy local gal who lights all of his fi res. But all too often her self-suffi ciency and individualism, as well as oft-times cankerous attitude, culminates in a rocky, while torrid, relationship.
Following his very popular collection Valparaiso, poet Bob Orr presents his new book Calypso. Orr's poems have a wistful yet forceful beauty, presenting images with depth, colour, light, and the narrative drive and cadences of a true storyteller. In the first of Calypso's four sections, 'Purple Octopus', the poet guides us on a voyage though space and time from Troy to Waiheke to San Francisco to Spain, through poems in which everything - clouds, ants, trains, winds, kites - and everyone are travelling, but only some are lost. In 'Seven Songs and an Anchor' Calypso sings of desks, chairs, bookshelves, typewriters, the ordinary things of the world made extraordinary. In the third section, he writes movingly of his family and his past with great simplicity and feeling. Finally, in 'Cicada Summer', Orr closes with short, intensely New Zealand lyrics combining the everyday with a visionary sense of mystery and wonder. Written under the twin auspices of Bob Dylan ('While calypso singers laugh at them and fishermen throw flowers') and Lord Byron ('But not in silence pass Calypso's isles'), and encountering en route writers as diverse as Homer, Lorca, Blaise Cendrars and Apollinaire, Calypso is an entrancing new collection from Bob Orr.
LONGLISTED FOR THE INTERNATIONAL IMPAC DUBLIN LITERARY AWARD 1938 is a tumultuous year on the small Trinidadian island of El Caracol, which houses a leper colony and a convent. In the sultry heat of the dry season a young orphan, Theo, is sent to live with the island’s doctor, Vincent Metivier. The doctor knows little of Theo’s past, only that it has been troubled and that he now needs love and attention. As Theo settles into the rhythm of life in El Caracol, he begins to unburden himself of his demons. Every night, he sleeptalks his own strange, disturbing calypso about his childhood. Vincent listens and, gradually, learns what demons still haunt the boy’s mind. And as his friendship with the passionate, unpredictable nurse Sister Weil intensifies, Vincent finds his settled life spirally dangerously out of control, as war in Europe looms on the horizon. A richly sensual, heartfelt novel, Night Calypso is the work of one of the world’s most imaginative writers.
While visiting London, a beautiful young woman becomes homesick for the West Indies. Unfortunately, her only available chaperone for the perilous journey is her rakish hot-tempered cousin...
Steinberg Henry has composed for us this magical island adventure into song. It is made up of 14 segments and 119 chapters integrating leaps in consciousness, methods and disciplines with skill surprising. Calypso Drift passes by way of an island Parliament, Dread/Rastafari, memorable black-sand beaches, religious systems, the KwÉyòl language business, high-school learning remembrances, a touch of Kalinago sensibility and, American song selections on Caribbean radio in the 70s and 80s. The text leaps to record seven years of Dominican Calypso lyrics, contributing in the process to archiving an island's history. Calypso Drift implores us to listen again to warnings of our song-poets. This is a book for lovers of Calypso globally, one for culture enthusiasts. Those embracing entertainment education, history and the arts in general should find its methods provocative. Students in the natural and social sciences can comfortably uncover themselves herein. And most of all, musicians, song-writers, composers and performers of Calypso find space in its consuming fire. Drift, globality is inside!