Calypso music
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Stylistic origins |
Music of Trinidad and Tobago | ||||
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Calypso is a style of
It is characterized by highly rhythmic and harmonic vocals, and was historically most often sung in a
Calypso in the Caribbean includes a range of genres, including benna in Antigua and Barbuda; mento, a style of Jamaican folk music that greatly influenced ska, the precursor to rocksteady, and reggae; spouge, a style of Barbadian popular music; Dominica cadence-lypso, which mixed calypso with the cadence of Haiti; and soca music, a style of kaiso/calypso, with influences from chutney, soul, funk, Latin and cadence-lypso.
Etymology
It is thought that the name "calypso" was originally "kaiso" which is now believed to come from Efik "ka isu" ("go on!") and Ibibio "kaa iso" ("continue, go on"), used in urging someone on or in backing a contestant.[1] There is also a Trinidadian term "cariso" that means "old-time" calypsos.[2] The term "calypso" is recorded from the 1930s onwards. Alternatively, the insert for The Rough Guide to Calypso and Soca (published by World Music Network) favours John Cowley's arguments in Carnival, Canboulay and Calypso: Traditions in the Making, that the word might be a corruption of the French carrouseaux and through the process of patois and Anglicization became caliso and then finally "calypso"; however, Cowley also notes that the first mention of the word "calypso" is given in a description of a dance in 1882 by Abbé Masse.[3]
History of Calypso
Calypso music was developed in
Modern calypso, however, began in the 19th century as a fusion of disparate elements ranging from the
Recordings
The first identifiably calypso genre song was recorded in 1912, by
Calypso evolved into a way of spreading news around Trinidad. Politicians,
Even with this censorship, calypsos continued to push boundaries, with a variety of ways to slip songs past the scrutinizing eyes of the editor.
Countless recordings were dumped at sea in the name of censorship, although in truth, rival US companies did this in the spirit of underhanded competition, claiming that the rivals' material was unfit for US consumption. Decca Records lost untold pressings in this manner, as did its rival, RCA's Bluebird label.
An entrepreneur named Eduardo de Sá Gomes played a significant role in spreading calypso in its early days. Sá Gomes, a Portuguese immigrant who owned a local music and
Early forms of calypso were also similar to
Popularity
The first major stars of calypso started crossing over to new audiences worldwide in the late 1930s. Attila the Hun, Roaring Lion and
External audio | |
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You may hear arrangements of Calypso music by Leonard De Paur on the album Calypso Christmas performed with the De Paur Chorus in 1956 Here on archive.org |
In 1956 Mighty Sparrow won Trinida's Music contest. Calypso, especially a toned-down, commercial variant, became a worldwide craze with pop song "
In the
). Robert Mitchum released an album, Calypso...Is Like So (1957), on Capitol Records, capturing the sound, spirit, and subtleties of the genre. Dizzy Gillespie recorded a calypso album Jambo Caribe (1964) with James Moody and Kenny Barron.Soul shouter Gary "US" Bonds released a calypso album Twist up Calypso (1962) on Legrand records, shortly after returning home from his military post in Port of Spain. Nithi Kanagaratnam from Sri Lanka sang calypso-styled songs in Tamil in 1968, which was a success and earned him the title "Father of Tamil Popular Music". Since Baila rhythm was popular in Sri Lanka, most of his songs were classified as Tamil Baila.
In the mid-1970s, women entered the calypso men's-oriented arena. Calypso Rose was the first woman to win the Trinidad Road March competition in 1977 with her song "Gimme More Tempo". The following year with "Come Leh We Jam", she won the "Calypso King " competition, the first time a woman had received the award. The competition's title was changed to Calypso Monarch in her honor.[11][12] The French and pioneer electronic musician
In the late-1970s a new style, dubbed Soca music, emerged from the blending of calypso with elements of East Indian music as well as African American soul, funk, and rock. The soca music of the 1980s featured fast tempos, electric guitars and synthesizers, prominent melodic bass lines, and lyrics celebrating sensuality and dance. Many influential calypso singers including Ras Shorty I, Mighty Sparrow, Lord Kitchener, Calypso Rose, Super Blue, and David Rudder embraced the new style.[13][14] Brooklyn became an important site for the production of soca records from the late 1970s through the early 1990s.[15]
Although Calypso's native land is Trinidad, it is also very popular in a small "windward" island in the West Indies. This island is called Dominica, the nature island of the Caribbean. Dominicans, similar to Trinidadians also developed a keen interest in Caribbean genres such as Soca music, and Calypso in the late 1960's. [16] Called Kaiso in French creole, Calypso is illustrated as a unique form of music, especially during the Carnival season. Dominicans mainly use this genre to express their concerns and feedback on the everyday affairs and happenings of their country. Most of the music pieces composed normally have a negative stigma attached to them, expressing dissatisfaction with how their current government choose to conduct the affairs of the country. The first Calypso monarch in Dominica who was crowned in 1959 was called "The Observer" and the longest reigning Calypso monarch is King Dice. The Calypso tent is not just limited to adult participation. There is also a section called Junior monarch[4] where young children under the age of 14 are able to prepare and compete with their personally made Calypso pieces.
Calypso competitions usually commence in January and cumulate in the Calypso monarch competition that are usually held the Saturday before Carnival in February. The winner becomes the Calypso King of that year and joins Miss Dominica, the carnival pageant winner of that year, in the traditional costume parade on Carnival Monday.
Sociopolitical influence
Calypso music has been used by Calypsonians to provide sociopolitical commentary. Prior to the independence of Trinidad and Tobago, calypsonians would use their music to express the daily struggles of living in Trinidad, critique racial and economic inequalities, express opinions on social order, and voice overall concerns for those living on the island.[17] During the colonial era, the Black lower class used calypso music to protest their poor economic situation and the discrimination which they were subjected to. Calypso music frequently was used as a form of musical protest.[1]
During the independence movements of Trinidad and Tobago through the early 1950s up until 1962 when the nation gained independence, calypso lyrics frequently critiqued British colonial rule. Lyrics were made to express feelings towards colonial rule as being immoral and oppressive to Caribbean people. In particular, during the movement to independence, calypso music would include common messages of a desire for independence, opposition to colonial rule and empowerment for people of African descent.[1]
After Trinidad and Tobago gained independence in 1962, calypso music continued to be used as an outlet for political commentary. With Eric Williams serving as the first Prime Minister of an independent Trinidad and Tobago, calypsonian Mighty Sparrow released his song "William the Conqueror" where he praises Williams' victory and prides the island in its newfound independence.[3] Sparrow sings:
I am no politician, but I could understand if it wasn't for Brother Willie and his ability, Trinidad wouldn't go neither come. We used to vote for food and rum but nowadays we eating all the Indians and them. And in the ending, we voting PNM. Praise little Eric, rejoice and be glad. We have a better future here in Trinidad.[3]
Calypso music has also been used by politicians to promote political agendas through Calypso competitions. The origins of calypso competitions dates back to the early 19th century post emancipation where formerly enslaved communities would hold calypso wars showcasing their singing and dancing.[7] Later in 1953 Calypso competitions held the same showcasing nature, but became politicized as the People's National Movement (PNM) took over as the main organizer of competitions.[17] The PNM used the competitions to combat social and class divisions by attracting participants of varying social status to participate and attend the competitions. The idea was to claim a national cultural identity and promote national unity.
See also
- Cadence-lypso
- Canboulay
- Calypso Monarch
- Extempo
- Soukous
- Marrabenta
- List of calypso musicians
- List of calypso-like genres
- List of calypsos with sociopolitical influences
- List of Caribbean music genres
- Mento, a Jamaican folk music related to Calypso
- Soca music
- Brega pop
Footnotes
- ^ a b c d e Richard Allsopp, Dictionary of Caribbean English Usage (Oxford University Press, 1996), p. 131.
- ^ Mendes (1986), p. 30.
- ^ a b c John Cowley, Carnival, Canboulay and Calypso: Traditions in the Making Archived 2017-01-09 at the Wayback Machine, Cambridge University Press, p. 98.
- ^ a b Calypso Worldwide Retrieved 27 November 2020
- ^ Richard Noblett, Calypso music Musical Traditions. Retrieved 21 November 2022
- ^ Richie Unterberger, Lionel Belasco Artist Biography AllMusic. Retrieved 07 June 2022
- ^ a b Funk, Ray. "Roaring Lion (Raphael Arius Kairiyama De Leon AKA Hubert Raphael Charles, 15.6.08 – 11.7.99)". Archived 2010-12-30 at the Wayback Machine
- ^ Consuming the Caribbean Archived 2014-04-05 at the Wayback Machine.
- ^ j.poet (1994). Sparrow. In Hot Like Fire, Album liner notes. London: Ice Records.
- ^ Calypso Christmas - album conducted and arranged by Leonard De Paur in 1956 on archive.org
- OCLC 74029379.
- )
- ISBN 978-0-19-513832-0.
- OCLC 74029379.
- OCLC 1100450802.)
{{cite book}}
: CS1 maint: date and year (link - , retrieved 2022-12-16
- ^ ISBN 0-415-97440-2.
- ^ "Calypso and the birth of British Black Music".
- ISSN 1467-8322.
References
- Allen, Ray. ,Jump Up! Caribbean Carnival Music in New York City (Oxford University Press, 2019). ISBN 978-0190656850.
- Hill, Donald R. Calypso Calaloo: Early Carnival Music in Trinidad (1993). ISBN 1-59213-463-7.
- Guilbault, Jocelyn. Governing Sound: The Cultural Politics of Trinidad's Carnival Musics (University of Chicago Press, 2007). ISBN 978-0-226-31059-6.
- Mendes, John (1986). Cote ce Cote la Trinidad and Tobago Dictionary. John Mendes, Arima, Trinidad.
- Munro, Hope. What She Do: Women in Afro-Trinidadian Music (University of Mississippi Press, 2016). IISBN 978-1496807533.
- Quevedo, Raymond (Atilla the Hun). 1983. Atilla's Kaiso: a short history of Trinidad calypso (1983). University of the West Indies, St. Augustine, Trinidad. (Includes the words to many old calypsos as well as musical scores for some of Atilla's calypsos.)
- Rohlehr, Gordon. A Scuffling of Islands: Essays on Calypso (Lexicon Trinidad LTD, 2004), ISBN 976-631-034-3.* Gittens, Sinclair (August 12, 2010). "The origin of calypso". Nation Newspaper. Archived from the originalon January 10, 2017. Retrieved January 2, 2017.
- Turner, John W. Rhythms of Resistance: African Musical Traditions in the Caribbean. Greenwood Press, 1998.
- Dobrian, Chris. Calypso Music: A Multifaceted Genre. University of California Press, 2010.
External links
- Calypso music at Curlie
- Calypsonians.com