Monday, April 6, 2009

Caribbean identity in the eyes of the ethno musicologis Dominique Cyrille, "Sorbone Univ.", Paris.




MUSIQUE MUSIC
"Le quadrille était dansé dans toute la Caraïbe" The quadrille was danced in the Caribbean "
Par Carib Creole By Carib Creole
09.04.2008 l 06h00 09.04.2008 l 06.00

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Dominique Cyrille, ethno musicologue martiniquaise, étudie depuis des années, le quadrille, danse d'origine européenne très presente dans la Caraibe, depuis l'époque de la colonisation... Dominique Cyrille, Martinican ethno musicologist, studied for years, the quadrille, dance of European origin is very present in the Caribbean since the days of colonization ... Elle s'intéresse aussi aux musiques négro africaines telles que le Gwo ka guadeloupéen..Elle publiera très prochainement un ouvrage consacré à toutes ces problématiques. She is also interested in the black African music such as Guadeloupe Gwo ka .. It will shortly publish a book on all these issues. Elle à répondu aux questions de Caribcreole.com. She responded to questions from Caribcreole.com.
Because, since colonial times the French dances were supposed to give substance to the concepts of civilization and refinement while African dances passed for symbols of backwardness, cultural inferiority and sexual control. Il n’est donc pas surprenant que dans les années soixante-dix et quatre-vingt le discours national guadeloupéen ait pris le contre-pied du discours colonial sur la musique et la danse, et ait présenté le gwo ka comme la musique de résistance. It is therefore not surprising that in the seventies and eighties the Guadeloupe national discourse has taken the floor against the colonial discourse on music and dance, and has introduced "gwo ka" as music of resistance.
In addition to the music of African origin in the Caribbean have served to create a national sentiment in most countries of the region, they often have common musical characteristics such as the presence of a rhythmic ostinato, the use the polyrhythms, to be always accompanied by dance or work. Elles sont nées de la rencontre de plusieurs cultures musicales ouest africaines dans le contexte de la Caraïbe coloniale. They were born from the encounter of several West African musical cultures in the context of the colonial Caribbean. Elles se sont aussi souvent influencées les unes les autres comme par exemple la bomba de Porto Rico dont les historiens disent qu’elle dériverait en partie du gwoka guadeloupéen ou encore le calypso de Trinidad qui dériverait d’une pratique martiniquaise du XVIIIème disparue depuis : le kaiso, et aussi la tumba francesa de Cuba émergée de musiques haïtienne arrivées à Cuba à la fin du XVIIIème siècle. They are also often influenced each other such as bomba de Puerto Rico in which historians say it stems partly Gwoka Guadeloupe and Trinidad calypso deriving a practice Martinican eighteenth disappeared since the Kaiso, and the tumba francesa de Cuba emerged Music Haitian arrivals in Cuba in the late eighteenth century
CC1: Which tracks are your current research?
Dominique Cyrile: I am currently working on that music has with the concept of building a national identity and also on the use of music to define membership in an African Diaspora in the Americas. (Completly interview in french, spanish, english, Carib Creole One, click here/

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