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Jamaica has a rich musical heritage spanning a diversity of styles and forms. Throughout the island's modern history, music has played a significant role in the social, political and economic life of its people. Mango Time: Folk Songs of Jamaica draws from the wealth of Jamaica's folk music - the music of the Jamaican people which, with its colourful range of forms, reflects the way of life of individuals or entire communities. There are religious songs and secular songs; songs for marriage, birth, death and all rites of passage. There are songs for work and songs for play; songs of upliftment and hope, and songs of derision and despair; songs which tell of small happenings in remote villages and songs which give epic accounts of significant happenings in the island's history. In all these, the Jamaican folk song gives voice to the heart, soul and experience of the Jamaican people.
This volume describes the music and lore of Jamaica from the early 16th century through emancipation in 1838 to the mid-20th century. Olive Lewin explores the role of music in the lives of slaves and explores the life and beliefs of the Kumina cult queen, Imogene Queenie Kennedy.
"Volinworks, in two volumes, is a comprehensive method for the adult beginner, taking students carefully from the very first steps to around Grade 3 standard. The approach suits self-taught beginners as well as those who have teachers, and emphasizes the importance of good habits from day one, of using your ear, and of always aiming for the best sound. Each volume contains a wide selection of repertoire, plus detailed descriptions and photos to demonstrate correct playing positions. The accompanying CD includes play-along tracks for all pieces, with piano, string quartet, or band backings, plus aural exercises and downloadable PDFs of piano accompaniments. There are supporting video clips and additional resources on a dedicated website, making Violinworks a complete resource for all new learners."--Publisher's description.
Folk Dances of Jamaica is a detailed practical and theoretical discussion of five Jamaican folk dances - the Kumina, Dinkie Minie, Quadrille, Bruckin's, and Revival. The book's strength and appeal lies in the care taken to introduce, describe and illuminate in detail these dances. The book is invaluable for the student of dance, providing as it does practical information on both technique and performance, and is illustrated with bold drawings by "H" Patten. The author herself trained as a dancer and her book was researched in traditional settings in Jamaica and at the Jamaica School of Dance, where she studied after graduating in Performing Arts from Leicester Polytechnic. She has maintained a strong interest in dance, becoming Dance and Mime Officer for East Midlands Arts in the late 1980s and then General Manager for Adzido Dance Ensemble. As Arts Council England's Director of Dance from 1994 - 2003, Hilary championed the policy, development and promotion of all forms of dance nationally and internationally, before widening her expertise through leadership roles in the arts and broader cultural and creative industries.
In "Reggae Wisdom: Proverbs in Jamaican Music" Swami Anand Prahlad looks at the contexts and origins of these proverbs, using them as a cultural sheet music toward understanding the history of Jamaican culture, Rastafari religion, and the music that isthat culture's worldwide voice.
The career of Louise Bennett ('Miss Lou') is an essential component in any reckoning of Jamaican culture. This book offers a brief account of her life (1919-2006): a story of challenges and blessings, of a journey towards national and international acclaim. It draws on a variety of sources, including interviews, archives, academic theses, documentary projects, recorded performances and Louise Bennett's own writings. It also offers an assessment of Miss Lou's contribution to the arts. She was a key figure in the transformation of the Little Theatre Movement pantomime; a generous, well trained actor; an expert creator of Anancy stories; a television personality regularly engaging with children; a distinctive radio commentator; a laughing poet evaluating attitudes, sometimes with complex irony. Miss Lou used Standard English comfortably in many contexts, and did not wish the country rid of it; but she chose in most of her creative work to employ the language most Jamaicans speak. Her ebullient delight in Jamaican Creole spread joy and promoted respect. A diligent researcher into Jamaican heritage, she acknowledged its various streams, but was especially concerned with continuities out of Africa. When the Asian culture and the European culture buck up on African culture in the Caribbean people, we stir them up and blend them to we flavour, we shake them up and move them to we beat, we wheel them and we tu'n them and we rock them and we sound them and we temper them, and lawks, the rhythm sweet! Her name is frequently invoked by Jamaicans, especially in relation to national identity. As 'Jamaica's First Lady of Comedy' she delighted audiences in many parts of the world, and her publications have been praised internationally.
Winner of the ARSC’s Award for Best Research (History) in Folk, Ethnic, or World Music (2008) When Jamaican recording engineers Osbourne “King Tubby” Ruddock, Errol Thompson, and Lee “Scratch” Perry began crafting “dub” music in the early 1970s, they were initiating a musical revolution that continues to have worldwide influence. Dub is a sub-genre of Jamaican reggae that flourished during reggae’s “golden age” of the late 1960s through the early 1980s. Dub involves remixing existing recordings—electronically improvising sound effects and altering vocal tracks—to create its unique sound. Just as hip-hop turned phonograph turntables into musical instruments, dub turned the mixing and sound processing technologies of the recording studio into instruments of composition and real-time improvisation. In addition to chronicling dub’s development and offering the first thorough analysis of the music itself, author Michael Veal examines dub’s social significance in Jamaican culture. He further explores the “dub revolution” that has crossed musical and cultural boundaries for over thirty years, influencing a wide variety of musical genres around the globe. Ebook Edition Note: Seven of the 25 illustrations have been redacted.
In this deep dive into the Jamaican music world filled with the voices of creators, producers, and consumers, Larisa Kingston Mann—DJ, media law expert, and ethnographer—identifies how a culture of collaboration lies at the heart of Jamaican creative practices and legal personhood. In street dances, recording sessions, and global genres such as the riddim, notions of originality include reliance on shared knowledge and authorship as an interactive practice. In this context, musicians, music producers, and audiences are often resistant to conventional copyright practices. And this resistance, Mann shows, goes beyond cultural concerns. Because many working-class and poor people are cut off from the full benefits of citizenship on the basis of race, class, and geography, Jamaican music spaces are an important site of social commentary and political action in the face of the state's limited reach and neglect of social services and infrastructure. Music makers organize performance and commerce in ways that defy, though not without danger, state ordinances and intellectual property law and provide poor Jamaicans avenues for self-expression and self-definition that are closed off to them in the wider society. In a world shaped by coloniality, how creators relate to copyright reveals how people will play outside, within, and through the limits of their marginalization.