Publicación:
Calypso, Carnaval y Covid 19: examinando la alegría musical negra en tiempos de una pandemia global a través de la lente de la música Calypso

dc.contributor.authorSylvester, Meaganspa
dc.date.accessioned2024-06-04T09:19:56Z
dc.date.accessioned2025-07-25T21:27:30Z
dc.date.available2024-06-04T09:19:56Z
dc.date.available2025-07-25T21:27:30Z
dc.date.issued2024-06-04
dc.description.abstractEste artículo se centrará en la música Calypso y Soca de Trinidad y Tobago y del Caribe holandés. En particular, se hará hincapié en dos estudios de caso de las islas holandesas de Aruba, Curaçao y San Martín y en el de la isla más meridional del Caribe, Trinidad, centrándose en el modo en que los productores y personalidades de la radio y la televisión evocaron la alegría y la nostalgia en su recreación de las festividades de Carnaval durante la pandemia.spa
dc.description.abstractThis paper will focus on the demonstration of Black joy as Black music, specifically Calypso and Soca music from Trinidad and Tobago and the Dutch Caribbean. In particular, emphasis will be placed on two case studies from the Dutch islands of Aruba, Curacao and St. Maarten and that of the most southerly isle of the Caribbean, Trinidad, focusing on the ways in which radio and television producers and personalites conjured up joy and nostalgia in their re-enactment of Carnival festivities during the pandemic.eng
dc.format.mimetypeapplication/pdfeng
dc.format.mimetypetext/htmleng
dc.identifier.doi10.32997/pa-2024-4737
dc.identifier.eissn2805-7090
dc.identifier.urihttps://hdl.handle.net/11227/19953
dc.identifier.urlhttps://doi.org/10.32997/pa-2024-4737
dc.language.isoengeng
dc.publisherUniversidad de Cartagenaspa
dc.relation.bitstreamhttps://revistas.unicartagena.edu.co/index.php/PersAfro/article/download/4737/3674
dc.relation.bitstreamhttps://revistas.unicartagena.edu.co/index.php/PersAfro/article/download/4737/3694
dc.relation.citationendpage365
dc.relation.citationissue2spa
dc.relation.citationstartpage353
dc.relation.citationvolume3spa
dc.relation.ispartofjournalPerspectivas Afrospa
dc.relation.referencesAssmann, Jan. “Collective Memory and Cultural Identity”. New German Critique 65 (1995): 125-133.eng
dc.relation.references_____. “Memory, individual and collective”. The Oxford handbook of contextual political analysis. Robert Goodin and Charles Tilly Eds. Oxford, UK: Oxford University Press, 2006. 210-224.eng
dc.relation.references_____. “Communicative and Cultural Memory”. A Companion to Cultural Memory Studies. A. Erll and A.Nuenning. eds. Berlin, Walter de Gruyter. 2008.eng
dc.relation.referencesAustin, Roy. “Understanding Calypso Content: A Critique and an Alternative Explanation”. Caribbean Quarterly 22 (1976): 77-83.eng
dc.relation.referencesBennett, Andy. Popular Music and Youth Culture: Music, Identity and Place. Basingstoke: Macmillan, 2000.eng
dc.relation.references_____. Cultures of Popular Music. Buckingham & Philadelphia: Open University Press, 2001.eng
dc.relation.references_____. “Consolidating the music scenes perspective”. Poetics 32 (2004): 223-34.eng
dc.relation.referencesBennett, Andy, and Richard A. Peterson. Music Scenes: Local, Translocal and Virtual. Nashville, TN: Vanderbilt University Press, 2004.eng
dc.relation.referencesBuchanan, Donna, A. Reviewed Work: Ethnicity, Identity and Music: The Musical Construction of Place Martin Stokes. Second Series, Vol. 52, No. 2 , pp. 427-430 (4 pages). Published by: Music Library Association. 1995.eng
dc.relation.referencesBoyce-Davies Carole. “The Politics of African Identification in Trinidad Calypso”. Studies in Popular Culture 8/2 (1985): 77-94.eng
dc.relation.referencesCerulo, Karen A. “Social Disruption and Its Effects on Music: An Empirical Analysis”. Social Forces 62 (1984): 885–904.eng
dc.relation.referencesConstance, Zeno. The Man Behind the Music: The People's Calypsonian, Brother Valentine. Port-of-Spain: Zeno Obi Constance, 2010.eng
dc.relation.referencesCowley, John. Carnival and Calypso: Traditions in the Making. Cambridge; New York: Cambridge University Press, 1996.eng
dc.relation.referencesDudley, Shannon. Carnival Music in Trinidad: Experiencing Music, Expressing Culture. New York: Oxford University Press, 2004.eng
dc.relation.referencesDunn, Geoffrey and Michael Horne. Calypso Dreams. Santa Cruz, CA: Geoffrey Dunn, 2006eng
dc.relation.referencesElder, Jacob Delworth. The Evolution of the traditional Calypso of Trinidad and Tobago; A Socio-Historical Analysis of Song-Change. Philadelphia: University of Pennsylvania Publishing, 1966.eng
dc.relation.referencesErrl, Apaso. 2008. “A Companion to Cultural Memory Studies”. Cultural Memory Studies: An Introduction. Apaso Erll y Ansgar nunning, eds. Berlin: Walter de Gruyter (2008). 1-18.eng
dc.relation.referencesFlavien, Isaac Janice. “The Translation of Carnival in Trinidad and Tobago: The Evolution of a Festival.” Tusaaji: A Translation Review 2/2 (2003): 42-55eng
dc.relation.referencesFrith, Simon. 1996. Music and Identity. http://faculty.georgetown.edu/irvinem/theory/Frith-Music-and-Identity-1996.pdf.eng
dc.relation.referencesGuilbault, Jocelyne. Governing Sound: The Cultural Politics of Trinidad’s Carnival Musics. Chicago: The University of Chicago Press, 2007.eng
dc.relation.referencesHalbwachs, Maurice. On Collective Memory. Chicago: University of Chicago Press, 1992.eng
dc.relation.referencesHill, Donald. Calypso Callaloo: Early Carnival Music in Trinidad. Gainesville: University Press of Florida, 1993.eng
dc.relation.referencesLiverpool, Hollis. Kaiso and Society. Diego Martin, Trinidad: Juba Publications, 1990.eng
dc.relation.references_____. “Origins of Rituals and Customs in the Trinidad Carnival: African or European?” TDR/The Drama Review 42/3 (1998): 24-3.eng
dc.relation.references_____. Rituals of Power and Rebellion: The Carnival Tradition in Trinidad and Tobago, 1763 – 1962. Chicago, Trinidad and Tobago: Research Associates School Times; Frontline Distribution, 2001.eng
dc.relation.references[Lovey's String Band, 1890-1920: http://youtu.be/YGovSJkxzPw]eng
dc.relation.referencesOlick, Jeffrey K, et al (Eds.). The Collective Memory Reader. New York: Oxford University Press, 2011.eng
dc.relation.referencesOlsen, Dale. The Chrysanthemum and the Song: Music, Memory, and Identity in the South American Japanese Diaspora. Gainesville: University Press of Florida, 2004.eng
dc.relation.referencesRegis, Louis. The Political Calypso: True Opposition in Trinidad and Tobago, 1962 – 1987. Cave Hill, Barbados: University Press of the West Indies, 1999.eng
dc.relation.referencesRohlehr, Gordon. Calypso & Society in Pre-Independence Trinidad. Port-of-Spain. Trinidad: G. Rohlehr, 1990.eng
dc.relation.references_____. “Calypso and Caribbean Identity”. In Caribbean Cultural Identities. Glynne Griffith ed. Lewisburg, PA: Bucknell University Press, 2001. 55 – 72.eng
dc.relation.referencesSmith, Keith. “Calypso Reinventing Itself.” Trinidad Express, 4 February. 2005. http://www.trinidadexpress.com/index.pl/article?id=58864809.eng
dc.relation.referencesSofo, Giuseppe. “Carnival, Memory and Identity”. Kultura 4/6 (2014): 17-24.eng
dc.relation.referencesStokes, Martin. “Introduction: Ethnicity, Identity and Music.” In Ethnicity, Identity and Music: The Musical Construction of Place. Martin Stokes, ed. Oxford, UK: Berg, 1994. 1-27.eng
dc.relation.referencesSylvester, Meagan. “Cultural Meaning, Social Hybridity and Musical Sonority: Unpacking Elements of the Trinidad and Tobago Identity in the Lyrics of its Carnival Music”. In ISA E-Symposium, Issue 3, December (2013). Online Article. http://sjdspace.sagepub.com/wp-content/uploads/2014/02/EBul-Sylvester-Dec2013.pdfeng
dc.relation.referencesSylvester, Meagan, et al. “An Era Re-Visited: Trinidad & Tobago's Indigenous Calypso Music – First Recordings, First Live Performances, First Music Publishing, and First Recordings on Film from 1900-1950”. ARSC Journal 44/2 (2013): 201-216.eng
dc.relation.referencesSylvester, Meagan and Lutalo Masimba. Personal Interview. Office of the Trinbago Unified Calypsonians Organisation, (TUCO) Jerningham Road, Belomont, Trinidad and Tobago. 2015.eng
dc.relation.referencesSylvester, Meagan A and Gregory Richardson. “Carnival, Culture Resilience and COVID19 in the Dutch Caribbean and in Trinidad and Tobago”. Masking as Quintessential Authenticity: Healing, Intersectionality and Interstices in the Languages, Literatures and Cultures of the Dutch Caribbean and Beyond. Faraclas, N. R. Severing, E. Echteld, S. Delgado and W. Rutgers, eds. Willemstad, Curaçao: University of Curaçao, 2021. 340.eng
dc.relation.referencesWarner, Keith. The Trinidad Calypso: A Study of the Calypso as Oral Literature. London: Heineman, 1982.eng
dc.relation.referencesWiner, Lise. “Socio-Cultural Change and the Language of Calypso”. New West Indian Guide 60/3 – 4 (1986): 113-148.eng
dc.rights.accessrightsinfo:eu-repo/semantics/openAccesseng
dc.rights.coarhttp://purl.org/coar/access_right/c_abf2eng
dc.rights.creativecommonsEsta obra está bajo una licencia internacional Creative Commons Atribución-NoComercial-SinDerivadas 4.0.eng
dc.rights.urihttps://creativecommons.org/licenses/by-nc-nd/4.0eng
dc.sourcehttps://revistas.unicartagena.edu.co/index.php/PersAfro/article/view/4737eng
dc.subjectCarnivaleng
dc.subjectBlack Joyeng
dc.subjectBlack Musiceng
dc.subjectMemory studieseng
dc.subjectCaribbean Musiceng
dc.subjectCarnavalspa
dc.subjectMúsica negraspa
dc.subjectEstudios de la memoriaspa
dc.subjectMúsica caribeñaspa
dc.titleCalypso, Carnaval y Covid 19: examinando la alegría musical negra en tiempos de una pandemia global a través de la lente de la música Calypsospa
dc.title.translatedCalypso, Carnival and Covid 19: Examining Black Musical Joy in Times of a Global Pandemic Through the Lens of Calypso Musiceng
dc.typeArtículo de revistaspa
dc.type.coarhttp://purl.org/coar/resource_type/c_6501eng
dc.type.coarversionhttp://purl.org/coar/version/c_970fb48d4fbd8a85eng
dc.type.contentTexteng
dc.type.driverinfo:eu-repo/semantics/articleeng
dc.type.localJournal articleeng
dc.type.versioninfo:eu-repo/semantics/publishedVersioneng
dspace.entity.typePublicationeng

Archivos

Datos de Contacto

Imagen Escudo Universidad de Cartagena

 

 

 

Línea de Atención

Línea Anticorrupción

Síguenos en: