scholarly journals Tangled roots: Kalenda and other neo-African dances in the circum-Caribbean

2004 ◽  
Vol 78 (1-2) ◽  
pp. 5-41 ◽  
Author(s):  
Julian Gerstin
Keyword(s):  
Crucial Role ◽  
Musical Instruments ◽  
French Colonialism ◽  
Historical Material ◽  
Black Caribbean ◽  
French Colonies ◽  
The Caribbean ◽  
Musical Accompaniment ◽  
Over Time

Investigates descriptions of Afro-Caribbean dances in early chronicles and historical material. Author focuses on choreography, as well as on musical instruments and their use. He pays special attention to descriptions of the Martinican kalenda dance. He discusses descriptions from the 18th c. of black Caribbean dance in French and other colonies, by priests and others, of the kalenda as a couple dance within a ring, and descriptions of other widespread early dances in the Caribbean, such as chica. Author notes that in these early descriptions the authors focus obsessively on eroticism, thus simplifying and exaggerating the dances as sexual, and ignoring their variety. Further, he analyses early chronicles on other widespread dances in the circum-Caribbean, such as stick-fighting dances, bamboula, djouba, and belair, comparing with present-day Caribbean dances, and on "challenge dancing" involving a dance soloist "challenged" by a lead drummer, found, for instance, in kalenda and rumba. In addition, the author focuses on the dances' musical accompaniment by drums, and the drum types and methods, specifically transverse drumming and drumming with sticks on the side of the drum, found today in kalenda, and other Caribbean styles. He points at the inaccuracy of some chronicles, mixing up dance names, and recurring superficiality and stereotypes. He nonetheless concludes from them that slaves from the Congo/Angola region probably played a crucial role in forming these early dance styles, and that their spread was connected with French colonialism and slavery and migrations from (once) French colonies. He describes probable Congolese/Angolan influences, such as pelvic isolation, challenge dances, couple dancing within a circle, and transverse drumming, but indicates that these are over time combined with other African and other influences.

scholarly journals Imitation On The Jaranan Buto Banyuwangi Musical Presentation Structure

2021 ◽  
Vol 10 (1) ◽  
pp. 11-16
Author(s):  
Handi Wiyono
Keyword(s):  
Final Stage ◽  
Domain Analysis ◽  
Research Data ◽  
Qualitative Approach ◽  
Musical Instruments ◽  
Taxonomic Analysis ◽  
The Arts ◽  
Performing Art ◽  
Musical Accompaniment ◽  
Over Time

Jaranan Buto is one of the arts that live in Banyuwangi in addition to other arts. As a performing art, in every presentation Jaranan Buto uses accompanying music. At the beginning of its creation, the musical accompaniment of Jaranan Buto consisted of several instruments and pieces. Over time, the musical accompaniment of Jaranan Buto has experienced developments so as to form a structure for presenting the musical accompaniment of Jaranan Buto which is now commonly used. This study discusses the structure of the musical accompaniment of Jaranan Buto and its various imitations. This study used a descriptive qualitative approach by interviewing Setro Asnawi (80 years) as the creator of Jaranan Buto and Mariyono (55 years) as the second generation of Jaranan Buto Sekar Diyu dancers who were still active until this research was written. Analysis of research data starts from domain analysis, observation focused on the accompaniment of Jaranan Buto from the beginning of the stage, trance to exiting the stage, taxonomic analysis, selected observations to the final stage, namely component analysis. From these results it can be concluded that the elements of musical imitation in the accompaniment of Jaranan Buto consist of imitation of musical instruments and imitation of pieces performed from other arts.

scholarly journals Kaawakan Ulun

JOGED ◽  
2017 ◽  
Vol 7 (2) ◽  
Author(s):  
Fauji Romansyah
Keyword(s):  
Computer Program ◽  
Musical Instruments ◽  
Digital Music ◽  
Base Word ◽  
Marching Band ◽  
Final Project ◽  
East Kalimantan ◽  
Traditional Dance ◽  
Musical Accompaniment ◽  
Over Time

“Kaawakan Ulun” merupakan sebuah judul karya koreografi pada tugas akhir yang penata tempuh pada semester genap tahun akademik 2015/2016. Koreografi Kaawakan Ulun menceritakan tentang pengalaman penata yang kembali dan menemukan kenyamanan dalam bergerak, menari serta kebudayaan penata dengan melihat tradisi dari daerah penata. Kata Kaawakan Ulun, berasal dari kata dasar Awak dan Ulun, kedua kata tersebut diambil dari bahasa daerah suku Banjar, salah satu suku yang ada di Kalimantan Selatan.            Koreografi Kaawakan Ulun, hadir dalam bentuk koreografi kelompok, yang menggambarkan atau menceritakan pengalaman penata yang tidak tahu akan tari tradisional dari daerah penata sendiri. Seiring berjalannya waktu, penata mulai merasa malu karena tidak mengetahui tari tradisional yang berasal dari Kalimantan Timur. Penata mulai mencari tahu dan mempelajari tari tradisional Kalimantan Timur, melalui teman-teman yang ada disekitarnya yang berasal dan memiliki kebudayaan yang sama dengan penata. Sehingga akhirnya penata sadar, bahwa tari tradisional sangatlah istimewa dan indah, sehingga munculah ide untuk menggarap unsur budaya tradisional dengan ketubuhan yang penata miliki, untuk dikolaborasikan hingga menjadi satu kesatuan yang harmonis dan indah.            Koreografi Kaawakan Ulun ini, penata masukan beberapa unsure budaya yang ada di Kalimantan Timur, yaitu unsur budaya Pedalaman atau Dayak dan unsur budaya Pesisir atau Melayu Kutai. Koreografi ini di dalamnya juga hadir permainan Flag Marching Band sebagai salah satu properti tari. Musik pengiring koreografi ini juga mengikuti kedua unsure budaya tersebut. Sumber suara pada musik pengiring ini tidak hanya bersumber dari alat musik tradisional dan musik digital yang diciptakan melalui program komputer saja, namun juga bersumber dari suara vokal seperti senandung, agar suasana khas dari Kalimantan Timur tambah terasa. "KaawakanUlun" is the title of choreographic creation on the final project that artist btained on the second semester of the 2015/2016 academic years. This dance tells about flashback of  choreographer’s experiences that found comfort in moving. KaawakanUlun , derived from the base word Awak and Ulun, that words are taken from Banjar language , one of the ethnic in South Kalimantan. This dance presented in a form of choreography group. The dance describes the choreographer’s experience who did know traditional dances from choreographer’s own. Over time, the choreographer began to feel embarrassed because he did not know the traditional dances that originated from East Kalimantan. Furthermore, the choreographer began to seek out and learned traditional dance of East Kalimantan from friends who comes from the same culture. Finally choreographer understood that traditional dance is very special and beautiful. So came idea to make creation with element that choreographer has. It was be collaborate and became a harmonious and beautiful dance.            Choreographer combined some elements of that exist in East Kalimantan. That ware outback area or Dayak culture and coastal or Malay culture. In this dance choreographer used Marching Band flags as one of the properties dance. The music followed both of the cultures. The musical accompaniment not only from musical instruments and digital music that created by using computer program but also from the sound like humming so the atmosphere like East Kalimantan tasted.

scholarly journals Kaawakan Ulun

JOGED ◽  
2017 ◽  
Vol 8 (2) ◽  
Author(s):  
Fauji Romansyah
Keyword(s):  
Computer Program ◽  
Musical Instruments ◽  
Digital Music ◽  
Base Word ◽  
Marching Band ◽  
Final Project ◽  
East Kalimantan ◽  
Traditional Dance ◽  
Musical Accompaniment ◽  
Over Time

“Kaawakan Ulun” merupakan sebuah judul karya koreografi pada tugas akhir yang penata tempuh pada semester genap tahun akademik 2015/2016. Koreografi Kaawakan Ulun menceritakan tentang pengalaman penata yang kembali dan menemukan kenyamanan dalam bergerak, menari serta kebudayaan penata dengan melihat tradisi dari daerah penata. Kata Kaawakan Ulun, berasal dari kata dasar Awak dan Ulun, kedua kata tersebut diambil dari bahasa daerah suku Banjar, salah satu suku yang ada di Kalimantan Selatan.            Koreografi Kaawakan Ulun, hadir dalam bentuk koreografi kelompok, yang menggambarkan atau menceritakan pengalaman penata yang tidak tahu akan tari tradisional dari daerah penata sendiri. Seiring berjalannya waktu, penata mulai merasa malu karena tidak mengetahui tari tradisional yang berasal dari Kalimantan Timur. Penata mulai mencari tahu dan mempelajari tari tradisional Kalimantan Timur, melalui teman-teman yang ada disekitarnya yang berasal dan memiliki kebudayaan yang sama dengan penata. Sehingga akhirnya penata sadar, bahwa tari tradisional sangatlah istimewa dan indah, sehingga munculah ide untuk menggarap unsur budaya tradisional dengan ketubuhan yang penata miliki, untuk dikolaborasikan hingga menjadi satu kesatuan yang harmonis dan indah.            Koreografi Kaawakan Ulun ini, penata masukan beberapa unsure budaya yang ada di Kalimantan Timur, yaitu unsur budaya Pedalaman atau Dayak dan unsur budaya Pesisir atau Melayu Kutai. Koreografi ini di dalamnya juga hadir permainan Flag Marching Band sebagai salah satu properti tari. Musik pengiring koreografi ini juga mengikuti kedua unsure budaya tersebut. Sumber suara pada musik pengiring ini tidak hanya bersumber dari alat musik tradisional dan musik digital yang diciptakan melalui program komputer saja, namun juga bersumber dari suara vokal seperti senandung, agar suasana khas dari Kalimantan Timur tambah terasa. "KaawakanUlun" is the title of choreographic creation on the final project that artist btained on the second semester of the 2015/2016 academic years. This dance tells about flashback of  choreographer’s experiences that found comfort in moving. KaawakanUlun , derived from the base word Awak and Ulun, that words are taken from Banjar language , one of the ethnic in South Kalimantan. This dance presented in a form of choreography group. The dance describes the choreographer’s experience who did know traditional dances from choreographer’s own. Over time, the choreographer began to feel embarrassed because he did not know the traditional dances that originated from East Kalimantan. Furthermore, the choreographer began to seek out and learned traditional dance of East Kalimantan from friends who comes from the same culture. Finally choreographer understood that traditional dance is very special and beautiful. So came idea to make creation with element that choreographer has. It was be collaborate and became a harmonious and beautiful dance.            Choreographer combined some elements of that exist in East Kalimantan. That ware outback area or Dayak culture and coastal or Malay culture. In this dance choreographer used Marching Band flags as one of the properties dance. The music followed both of the cultures. The musical accompaniment not only from musical instruments and digital music that created by using computer program but also from the sound like humming so the atmosphere like East Kalimantan tasted.

scholarly journals Effects of Dysbiosis and Dietary Manipulation on the Digestive Microbiota of a Detritivorous Arthropod

2021 ◽  
Vol 9 (1) ◽  
pp. 148
Author(s):  
Marius Bredon ◽  
Elisabeth Depuydt ◽  
Lucas Brisson ◽  
Laurent Moulin ◽  
Ciriac Charles ◽  
...  
Keyword(s):  
Crucial Role ◽  
Structure And Function ◽  
Ecological Interactions ◽  
Dietary Manipulation ◽  
Biotic Factors ◽  
Abiotic And Biotic Factors ◽  
And Function ◽  
Multicellular Organisms ◽  
Over Time

The crucial role of microbes in the evolution, development, health, and ecological interactions of multicellular organisms is now widely recognized in the holobiont concept. However, the structure and stability of microbiota are highly dependent on abiotic and biotic factors, especially in the gut, which can be colonized by transient bacteria depending on the host’s diet. We studied these impacts by manipulating the digestive microbiota of the detritivore Armadillidium vulgare and analyzing the consequences on its structure and function. Hosts were exposed to initial starvation and then were fed diets that varied the different components of lignocellulose. A total of 72 digestive microbiota were analyzed according to the type of the diet (standard or enriched in cellulose, lignin, or hemicellulose) and the period following dysbiosis. The results showed that microbiota from the hepatopancreas were very stable and resilient, while the most diverse and labile over time were found in the hindgut. Dysbiosis and selective diets may have affected the host fitness by altering the structure of the microbiota and its predicted functions. Overall, these modifications can therefore have effects not only on the holobiont, but also on the “eco-holobiont” conceptualization of macroorganisms.

An Analytical Study of the Folk Musical Instruments of Meghalaya

2021 ◽  
Vol 66 (1) ◽  
pp. 23-38
Author(s):  
Joyanta Sarkar ◽  
Anil Rai
Keyword(s):  
20Th Century ◽  
Folk Music ◽  
Analytical Study ◽  
Musical Instrument ◽  
Folk Songs ◽  
Musical Instruments ◽  
Indian State ◽  
Material Benefits ◽  
Local Materials ◽  
Over Time

"Meghalaya is a richly inhabited Indian state. Drums, flutes of bamboo and hand-held small cymbals are a common ensemble. The advent of Christianity in the middle of the 20th century marked the start of a decline in tribal popular music. Over time, Meghalaya’s music scene has evolved, attracting many talented artists and bands from both traditional and not-so traditional genres. Any of the most recent Meghalaya musicians and bands is: The Plague Throat, Kerios Wahlang, Cryptographik Street Poets, etc., Soulmate, Lou Majaw, and Snow White. Meghalaya’s music is characterised by traditional instruments and folk songs. The Musical Instruments of Meghalaya are made from local materials. Meghalayan people honour powerful natural forces and aim to pacify animistic spirits and local gods. The instruments are made of bamboo, flesh, wood, and animal horn. Any one of these musical instruments is considered to have the ability to offer material benefits. The Meghalaya musical instrument is an essential part of traditional folk music in the region. In this article, we offer an overview of the folk musical instruments of Meghalaya. Keywords: Idiophone, Aerophone, Chordophone, Membranophone, Trumpet. "

scholarly journals Looking Like People; Feeling Like People: The Black Body, Dress and Aesthetic Therapy in the Caribbean

2014 ◽  
Vol 6 (4) ◽  
pp. 857-872
Author(s):  
Marsha Pearce
Keyword(s):  
Conceptual Framework ◽  
New World ◽  
Black Body ◽  
The Body ◽  
Therapeutic Discourse ◽  
Black Caribbean ◽  
Black Bodies ◽  
The Caribbean ◽  
Bodily Practice ◽  
Instrumental Role

In the Caribbean, the practice of getting dressed matters because it is a practice of attending to the body. Under a colonial regime, black bodies were ill-treated and selves were negated. Clothing played an instrumental role in the abuse of bodies and the stripping of a sense of wellbeing. Attire was one key way of demarcating master and slave and rendering some members of society null and void. Enslaved Africans, who were forcibly brought across the Atlantic to the New World, were considered chattel or commodities rather than people and clothes functioned in a way that reinforced that notion. Yet, dress became a strategy of subversion – of making chattel, property or ‘non-people’ look like people. The enslaved recognised that, through clothes, it was possible to look and feel free. Today that legacy remains. Clothing is seen not only as that which can make a people ‘look like people’ but also feel like people – clothing sets up a specific structure of feeling. This paper pivots on notions of looking and feeling like people while deploying Joanne Entwistle’s conceptual framework of dress as situated bodily practice. The article locates its investigation in the Caribbean, examining the philosophy and practice of Trinidadian clothing designer Robert Young. The article establishes him as a source of aesthetic therapeutic solutions in the Caribbean. It argues that his clothing designs produce a therapeutic discourse on the Black Caribbean body – a discourse, which facilitates a practice of getting dressed that gives a sense of agency, self-empowerment and psychic security even if that sense is embodied temporarily; lasting perhaps only as long as the garment is worn.

scholarly journals A Historical Perspective of Mangalavattiyam

2021 ◽  
Vol 3 (2) ◽  
pp. 1-10
Author(s):  
Suganya Aravinthon
Keyword(s):  
Instrumental Music ◽  
Historical Perspective ◽  
Vocal Music ◽  
Research Paper ◽  
Musical Instruments ◽  
The Other ◽  
Historical Study ◽  
Solo Music ◽  
Musical Genres ◽  
Over Time

From the earliest days of the Tamil music tradition, music was considered to be a combination of vocal music, instrumental music and dance. Each of these musical genres is closely intertwined. Knowledge of one helps to know about the other. Instrumental music has been interpreted as accompaniment to solo music and dance and as a solo specialty. In Bharata's book 'Natyashasthram', musical instruments are generally divided into four categories as nerve (tata) hole (kasira) ¸ skin (avanatta) ¸ kana (kanja). In this context, it is a research paper on the history and use of the Nagaswaram and thavil instruments, which are referred to today as the Mangala Vaathyam, which the Tamils ​​have merged with their culture.  This article also examines in detail the ideological changes that have taken place over time in the use of these two musical instruments. At the same time, the use of these instruments in the sociological context is taken into account. Finally, this article is a historical study of the lineage of musicians who have mastered these instruments.

scholarly journals Ethnic, Religious and Gender Differences in Intragenerational Economic Mobility in England and Wales

Sociology ◽  
2020 ◽  
Vol 54 (5) ◽  
pp. 883-903
Author(s):  
Saffron Karlsen ◽  
James Yzet Nazroo ◽  
Neil R Smith
Keyword(s):  
Social Mobility ◽  
Economic Mobility ◽  
Structural Factors ◽  
Religious Groups ◽  
England And Wales ◽  
Black Caribbean ◽  
Muslim People ◽  
And Gender ◽  
The Uk ◽  
Over Time

This study uses data from consecutive England and Wales censuses to examine the intragenerational economic mobility of individuals with different ethnicities, religions and genders between 1971 and 2011, over time and across cohorts. The findings suggest more downward and less upward mobility among Black Caribbean, Indian Sikh and Muslim people with Bangladeshi, Indian and Pakistani ethnicities, relative to white British groups, and more positive relative progress among Indian Hindu people, but also some variation in the experiences of social mobility between individuals even in the same ethnic groups. For some groups, those becoming adults or migrating to the UK since 1971 occupy an improved position compared with older or longer resident people, but this is not universal. Findings suggest that these persistent inequalities will only be effectively addressed with attention to the structural factors which disadvantage particular ethnic and religious groups, and the specific ways in which these affect women.

scholarly journals Documentation at the Ethnographic Museum in Zagreb

2019 ◽  
pp. 71-86
Author(s):  
Aleksandra Vlatković
Keyword(s):  
Crucial Role ◽  
Technological Development ◽  
International Standards ◽  
Management Activity ◽  
Concise Overview ◽  
The People ◽  
Over Time

The paper provides a concise overview of documentation management activity per- formed at the Ethnographic Museum in Zagreb during the period ranging from 1919 to this day. It strives to highlight the importance, as well as the changes and the expan- sion of the role of documentation management in museums over time. The continuity of documentation management at the Ethnographic Museum has been pointed out over the first 100 years of its activity and the work of the people who have played a crucial role in the formation and the documentation management at the Museum has been concisely presented. The conclusion presents the current challenges and efforts to harmonise the documentation management tradition with the changes in laws, technological development and international standards

The Utility of Musical Instruments in the Racial and Colonial Agendas of Late Nineteenth-Century France

2004 ◽  
Vol 129 (1) ◽  
pp. 24-76 ◽  
Author(s):  
Jann Pasler
Keyword(s):  
Nineteenth Century ◽  
Musical Instruments ◽  
Late Nineteenth Century ◽  
French Colonialism ◽  
Racial Ideologies ◽  
Nineteenth Century France ◽  
Late Nineteenth ◽  
Colonial Representations

Throughout the nineteenth century, musical instruments were seen as embodiments of a country's distinction, useful in ‘the study of man, the diverse races, and their degree of civilization’. This article, focusing on the illustrated French press between 1870 and 1900, examines popular colonial representations of instruments in the context of the complex racial ideologies and the material as well as ideological struggles underlying imperialism. Images of exotic instruments, I argue, served not only to teach about foreign cultures, but also to shape French perceptions of Africa and Indo-China during imperialist expansion there. As such, they help us to situate ethnomusicology's prehistory within French colonialism.

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