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

Este 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 p...

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Autores:
Sylvester, Meagan
Tipo de recurso:
Article of journal
Fecha de publicación:
2024
Institución:
Universidad de Cartagena
Repositorio:
Repositorio Universidad de Cartagena
Idioma:
eng
OAI Identifier:
oai:repositorio.unicartagena.edu.co:11227/19953
Acceso en línea:
https://hdl.handle.net/11227/19953
https://doi.org/10.32997/pa-2024-4737
Palabra clave:
Carnival
Black Joy
Black Music
Memory studies
Caribbean Music
Carnaval
Música negra
Estudios de la memoria
Música caribeña
Rights
openAccess
License
https://creativecommons.org/licenses/by-nc-nd/4.0
id UCART2_732b000591650507fbdb54c9ba7b9598
oai_identifier_str oai:repositorio.unicartagena.edu.co:11227/19953
network_acronym_str UCART2
network_name_str Repositorio Universidad de Cartagena
repository_id_str
dc.title.spa.fl_str_mv 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.title.translated.eng.fl_str_mv Calypso, Carnival and Covid 19: Examining Black Musical Joy in Times of a Global Pandemic Through the Lens of Calypso Music
title 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
spellingShingle 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
Carnival
Black Joy
Black Music
Memory studies
Caribbean Music
Carnaval
Música negra
Estudios de la memoria
Música caribeña
title_short 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
title_full 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
title_fullStr 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
title_full_unstemmed 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
title_sort 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.creator.fl_str_mv Sylvester, Meagan
dc.contributor.author.spa.fl_str_mv Sylvester, Meagan
dc.subject.eng.fl_str_mv Carnival
Black Joy
Black Music
Memory studies
Caribbean Music
topic Carnival
Black Joy
Black Music
Memory studies
Caribbean Music
Carnaval
Música negra
Estudios de la memoria
Música caribeña
dc.subject.spa.fl_str_mv Carnaval
Música negra
Estudios de la memoria
Música caribeña
description Este 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.
publishDate 2024
dc.date.accessioned.none.fl_str_mv 2024-06-04T09:19:56Z
2025-07-25T21:27:30Z
dc.date.available.none.fl_str_mv 2024-06-04T09:19:56Z
2025-07-25T21:27:30Z
dc.date.issued.none.fl_str_mv 2024-06-04
dc.type.spa.fl_str_mv Artículo de revista
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dc.identifier.doi.none.fl_str_mv 10.32997/pa-2024-4737
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dc.identifier.url.none.fl_str_mv https://doi.org/10.32997/pa-2024-4737
url https://hdl.handle.net/11227/19953
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dc.relation.references.eng.fl_str_mv Assmann, Jan. “Collective Memory and Cultural Identity”. New German Critique 65 (1995): 125-133.
_____. “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.
_____. “Communicative and Cultural Memory”. A Companion to Cultural Memory Studies. A. Erll and A.Nuenning. eds. Berlin, Walter de Gruyter. 2008.
Austin, Roy. “Understanding Calypso Content: A Critique and an Alternative Explanation”. Caribbean Quarterly 22 (1976): 77-83.
Bennett, Andy. Popular Music and Youth Culture: Music, Identity and Place. Basingstoke: Macmillan, 2000.
_____. Cultures of Popular Music. Buckingham & Philadelphia: Open University Press, 2001.
_____. “Consolidating the music scenes perspective”. Poetics 32 (2004): 223-34.
Bennett, Andy, and Richard A. Peterson. Music Scenes: Local, Translocal and Virtual. Nashville, TN: Vanderbilt University Press, 2004.
Buchanan, 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.
Boyce-Davies Carole. “The Politics of African Identification in Trinidad Calypso”. Studies in Popular Culture 8/2 (1985): 77-94.
Cerulo, Karen A. “Social Disruption and Its Effects on Music: An Empirical Analysis”. Social Forces 62 (1984): 885–904.
Constance, Zeno. The Man Behind the Music: The People's Calypsonian, Brother Valentine. Port-of-Spain: Zeno Obi Constance, 2010.
Cowley, John. Carnival and Calypso: Traditions in the Making. Cambridge; New York: Cambridge University Press, 1996.
Dudley, Shannon. Carnival Music in Trinidad: Experiencing Music, Expressing Culture. New York: Oxford University Press, 2004.
Dunn, Geoffrey and Michael Horne. Calypso Dreams. Santa Cruz, CA: Geoffrey Dunn, 2006
Elder, 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.
Errl, 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.
Flavien, Isaac Janice. “The Translation of Carnival in Trinidad and Tobago: The Evolution of a Festival.” Tusaaji: A Translation Review 2/2 (2003): 42-55
Frith, Simon. 1996. Music and Identity. http://faculty.georgetown.edu/irvinem/theory/Frith-Music-and-Identity-1996.pdf.
Guilbault, Jocelyne. Governing Sound: The Cultural Politics of Trinidad’s Carnival Musics. Chicago: The University of Chicago Press, 2007.
Halbwachs, Maurice. On Collective Memory. Chicago: University of Chicago Press, 1992.
Hill, Donald. Calypso Callaloo: Early Carnival Music in Trinidad. Gainesville: University Press of Florida, 1993.
Liverpool, Hollis. Kaiso and Society. Diego Martin, Trinidad: Juba Publications, 1990.
_____. “Origins of Rituals and Customs in the Trinidad Carnival: African or European?” TDR/The Drama Review 42/3 (1998): 24-3.
_____. 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.
[Lovey's String Band, 1890-1920: http://youtu.be/YGovSJkxzPw]
Olick, Jeffrey K, et al (Eds.). The Collective Memory Reader. New York: Oxford University Press, 2011.
Olsen, Dale. The Chrysanthemum and the Song: Music, Memory, and Identity in the South American Japanese Diaspora. Gainesville: University Press of Florida, 2004.
Regis, Louis. The Political Calypso: True Opposition in Trinidad and Tobago, 1962 – 1987. Cave Hill, Barbados: University Press of the West Indies, 1999.
Rohlehr, Gordon. Calypso & Society in Pre-Independence Trinidad. Port-of-Spain. Trinidad: G. Rohlehr, 1990.
_____. “Calypso and Caribbean Identity”. In Caribbean Cultural Identities. Glynne Griffith ed. Lewisburg, PA: Bucknell University Press, 2001. 55 – 72.
Smith, Keith. “Calypso Reinventing Itself.” Trinidad Express, 4 February. 2005. http://www.trinidadexpress.com/index.pl/article?id=58864809.
Sofo, Giuseppe. “Carnival, Memory and Identity”. Kultura 4/6 (2014): 17-24.
Stokes, 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.
Sylvester, 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.pdf
Sylvester, 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.
Sylvester, Meagan and Lutalo Masimba. Personal Interview. Office of the Trinbago Unified Calypsonians Organisation, (TUCO) Jerningham Road, Belomont, Trinidad and Tobago. 2015.
Sylvester, 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.
Warner, Keith. The Trinidad Calypso: A Study of the Calypso as Oral Literature. London: Heineman, 1982.
Winer, Lise. “Socio-Cultural Change and the Language of Calypso”. New West Indian Guide 60/3 – 4 (1986): 113-148.
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spelling Sylvester, Meagan2024-06-04T09:19:56Z2025-07-25T21:27:30Z2024-06-04T09:19:56Z2025-07-25T21:27:30Z2024-06-04https://hdl.handle.net/11227/1995310.32997/pa-2024-47372805-7090https://doi.org/10.32997/pa-2024-4737Este 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.This 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.application/pdftext/htmlengUniversidad de CartagenaPerspectivas Afrohttps://revistas.unicartagena.edu.co/index.php/PersAfro/article/download/4737/3674https://revistas.unicartagena.edu.co/index.php/PersAfro/article/download/4737/369436523533Assmann, Jan. “Collective Memory and Cultural Identity”. New German Critique 65 (1995): 125-133._____. “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._____. “Communicative and Cultural Memory”. A Companion to Cultural Memory Studies. A. Erll and A.Nuenning. eds. Berlin, Walter de Gruyter. 2008.Austin, Roy. “Understanding Calypso Content: A Critique and an Alternative Explanation”. Caribbean Quarterly 22 (1976): 77-83.Bennett, Andy. Popular Music and Youth Culture: Music, Identity and Place. Basingstoke: Macmillan, 2000._____. Cultures of Popular Music. Buckingham & Philadelphia: Open University Press, 2001._____. “Consolidating the music scenes perspective”. Poetics 32 (2004): 223-34.Bennett, Andy, and Richard A. Peterson. Music Scenes: Local, Translocal and Virtual. Nashville, TN: Vanderbilt University Press, 2004.Buchanan, 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.Boyce-Davies Carole. “The Politics of African Identification in Trinidad Calypso”. Studies in Popular Culture 8/2 (1985): 77-94.Cerulo, Karen A. “Social Disruption and Its Effects on Music: An Empirical Analysis”. Social Forces 62 (1984): 885–904.Constance, Zeno. The Man Behind the Music: The People's Calypsonian, Brother Valentine. Port-of-Spain: Zeno Obi Constance, 2010.Cowley, John. Carnival and Calypso: Traditions in the Making. Cambridge; New York: Cambridge University Press, 1996.Dudley, Shannon. Carnival Music in Trinidad: Experiencing Music, Expressing Culture. New York: Oxford University Press, 2004.Dunn, Geoffrey and Michael Horne. Calypso Dreams. Santa Cruz, CA: Geoffrey Dunn, 2006Elder, 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.Errl, 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.Flavien, Isaac Janice. “The Translation of Carnival in Trinidad and Tobago: The Evolution of a Festival.” Tusaaji: A Translation Review 2/2 (2003): 42-55Frith, Simon. 1996. Music and Identity. http://faculty.georgetown.edu/irvinem/theory/Frith-Music-and-Identity-1996.pdf.Guilbault, Jocelyne. Governing Sound: The Cultural Politics of Trinidad’s Carnival Musics. Chicago: The University of Chicago Press, 2007.Halbwachs, Maurice. On Collective Memory. Chicago: University of Chicago Press, 1992.Hill, Donald. Calypso Callaloo: Early Carnival Music in Trinidad. Gainesville: University Press of Florida, 1993.Liverpool, Hollis. Kaiso and Society. Diego Martin, Trinidad: Juba Publications, 1990._____. “Origins of Rituals and Customs in the Trinidad Carnival: African or European?” TDR/The Drama Review 42/3 (1998): 24-3._____. 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.[Lovey's String Band, 1890-1920: http://youtu.be/YGovSJkxzPw]Olick, Jeffrey K, et al (Eds.). The Collective Memory Reader. New York: Oxford University Press, 2011.Olsen, Dale. The Chrysanthemum and the Song: Music, Memory, and Identity in the South American Japanese Diaspora. Gainesville: University Press of Florida, 2004.Regis, Louis. The Political Calypso: True Opposition in Trinidad and Tobago, 1962 – 1987. Cave Hill, Barbados: University Press of the West Indies, 1999.Rohlehr, Gordon. Calypso & Society in Pre-Independence Trinidad. Port-of-Spain. Trinidad: G. Rohlehr, 1990._____. “Calypso and Caribbean Identity”. In Caribbean Cultural Identities. Glynne Griffith ed. Lewisburg, PA: Bucknell University Press, 2001. 55 – 72.Smith, Keith. “Calypso Reinventing Itself.” Trinidad Express, 4 February. 2005. http://www.trinidadexpress.com/index.pl/article?id=58864809.Sofo, Giuseppe. “Carnival, Memory and Identity”. Kultura 4/6 (2014): 17-24.Stokes, 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.Sylvester, 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.pdfSylvester, 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.Sylvester, Meagan and Lutalo Masimba. Personal Interview. Office of the Trinbago Unified Calypsonians Organisation, (TUCO) Jerningham Road, Belomont, Trinidad and Tobago. 2015.Sylvester, 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.Warner, Keith. The Trinidad Calypso: A Study of the Calypso as Oral Literature. London: Heineman, 1982.Winer, Lise. “Socio-Cultural Change and the Language of Calypso”. New West Indian Guide 60/3 – 4 (1986): 113-148.https://creativecommons.org/licenses/by-nc-nd/4.0http://purl.org/coar/access_right/c_abf2info:eu-repo/semantics/openAccessEsta obra está bajo una licencia internacional Creative Commons Atribución-NoComercial-SinDerivadas 4.0.https://revistas.unicartagena.edu.co/index.php/PersAfro/article/view/4737CarnivalBlack JoyBlack MusicMemory studiesCaribbean MusicCarnavalMúsica negraEstudios de la memoriaMúsica caribeñaCalypso, Carnaval y Covid 19: examinando la alegría musical negra en tiempos de una pandemia global a través de la lente de la música CalypsoCalypso, Carnival and Covid 19: Examining Black Musical Joy in Times of a Global Pandemic Through the Lens of Calypso MusicArtículo de revistainfo:eu-repo/semantics/publishedVersionhttp://purl.org/coar/version/c_970fb48d4fbd8a85http://purl.org/coar/resource_type/c_6501http://purl.org/coar/resource_type/c_2df8fbb1Textinfo:eu-repo/semantics/articleJournal articlePublicationOREORE.xmltext/xml2657https://repositorio.unicartagena.edu.co/bitstreams/2e555538-fe0a-4e1a-83ab-62b609ab246b/download0fa555eb85e5aba98d67a3fc6aa2b958MD5111227/19953oai:repositorio.unicartagena.edu.co:11227/199532025-07-25 16:27:30.426https://creativecommons.org/licenses/by-nc-nd/4.0metadata.onlyhttps://repositorio.unicartagena.edu.coBiblioteca Digital Universidad de Cartagenabdigital@metabiblioteca.com

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