Résumé : Caption on back of photograph: Jamaica Calypso. Band of merry calypsonians play for guests at a resort hotel on Jamaica's north coast. Most of the island's hotels have calypso bands and entertaining floor shows - Jamaica Tourist Board.
(Preferred Citation) Cite as Miami News Collection, HistoryMiami, 1989-011-24844.

Droits : All rights reserved by the source institution.
1989-011-24844
http://ufdc.ufl.edu/AA00015644/00001

Éditeur(s) : Trinidad Guardian Trinidad Guardian
North America -- Trinidad and Tobago -- Caribbean -- Trinidad -- Port of Spain
Caribbean

UF00078603

Éditeur(s) : University of Florida Libraries University of Florida Libraries ( Gainesville, FL )

http://ufdc.ufl.edu/UF00090231/00001

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
In Trinidad and Tobago, carnival celebrations begin after Christmas and peak during the Monday and Tuesday preceding Ash Wednesday. Costumed masqueraders and festival revelers partake in the two-day street parade, generally accompanied by soca, calypso, and steel pan music, before beginning the Lenten season. The National Museum and Art Gallery hosts a permanent ongoing exhibit of masks and costumes from past carnivals. The carnival costume, pictured in the center, is made with long and short white feathers and features highlights of black feathers. Gold ornaments decorate the costume which also has a ram’s head near the waist area. Next to this costume is an ornate peacock head gear which has been placed atop an armless statue with a human face. Slide labeled Trin. 12.
Trinidad and Tobago -- South America -- Port of Spain, Trinidad
Trinidad and Tobago -- Caribbean region -- Port of Spain, Trinidad

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
http://ufdc.ufl.edu/AA00031205/00001

Éditeur(s) : Trinidad Guardian Trinidad Guardian
North America -- Trinidad and Tobago -- Caribbean -- Trinidad -- Port of Spain
Caribbean

UF00078598

Éditeur(s) : CRILLASH : Centre de recherches interdisciplinaires en lettres, langues, arts et sciences humaines CRPLC : Centre de recherche sur les pouvoirs locaux dans la Caraïbe CEREGMIA : Centre d'études et de recherche en économie, gestion et modélisation informatique appliquée CRILLASH : Centre de recherches interdisciplinaires en lettres, langues, arts et sciences humaines
Résumé : Après une analyse du processus socio-historique qui a engendré le reggae en Jamaïque à la fin des années 60, Jérémie Kroubo-Dagnini étudie ses principales caractéristiques à son apogée durant les années 70, tout en insistant sur sa position anti-occidentale.
Jamaïque
19s
20s

Droits : Document protégé par le droit d'auteur
fichiers:HASH5cd4cf20c65d4a87ecfcf5

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
In Trinidad and Tobago, carnival celebrations begin after Christmas and peak during the Monday and Tuesday preceding Ash Wednesday. Costumed masqueraders and festival revelers partake in the two-day street parade, generally accompanied by soca, calypso, and steel pan music, before beginning the Lenten season. The National Museum and Art Gallery hosts a permanent ongoing exhibit of masks and costumes from past carnivals. This image shows the full view of two costumes. The partial view of two more costumes can be seen as well. One of the costumes is decorated with feathered props and fans. The costume also features geometric shapes and a stylized bird’s head, with the opening for the wearer at the base of the bird’s neck. Another costume is decorated with hands accompanied by a feathered head gear featuring a stylized human face. Slide labeled Trin. 11.
Trinidad and Tobago -- South America -- Port of Spain, Trinidad
Trinidad and Tobago -- Caribbean region -- Port of Spain, Trinidad

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
http://ufdc.ufl.edu/AA00031201/00001

Éditeur(s) : CRILLASH : Centre de Recherches Interdisciplinaires en Lettres, Langues, Arts et Sciences Humaines CRPLC : Centre de Recherche sur les Pouvoirs Locaux dans la Caraïbe CEREGMIA : Centre d'Etudes et de Recherche en Economie, Gestion et Modélisation Informatique Appliquée
Extrait de : "Les diasporas du nouveau monde" : symposium international des jeunes chercheurs de la Caraïbe, les 21 et 22 janvier 2010. Université des Antilles et de la Guyane
Description : Après une analyse du processus socio-historique qui a engendré le reggae en Jamaïque à la fin des années 60, Jérémie Kroubo-Dagnini étudie ses principales caractéristiques à son apogée durant les années 70, tout en insistant sur sa position anti-occidentale.
Siècle(s) traité(s) : 19
Droits : CC-BY-NC-ND - Attribution - Pas d'utilisation commerciale - Pas de modification
Provenance : Université des Antilles et de la Guyane. Service commun de la documentation
Permalien : http://www.manioc.org/fichiers/HASH5cd4cf20c65d4a87ecfcf5
HASH5cd4cf20c65d4a87ecfcf5

Éditeur(s) : [s.n.] [s.n.] ( [Port-of-Spain )
Résumé : "Exhibition. Marie Louise Hall, Royal Victoria Institute, August 30, 1962 to September 15, 1962."
Issued by Its Sub-committee: Exhibition on the history and development of carnival, calypso, and steelband.
Trinidad and Tobago
Trinidad and Tobago
Trinidad and Tobago
Trinidad and Tobago
Port of Spain

20587143
ocm20587143

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
In Trinidad and Tobago, carnival celebrations begin after Christmas and peak during the Monday and Tuesday preceding Ash Wednesday. Costumed masqueraders and festival revelers partake in the two-day street parade, generally accompanied by soca, calypso, and steel pan music, before beginning the Lenten season. The National Museum and Art Gallery hosts a permanent ongoing exhibit of masks and costumes from past carnivals. The carnival costume, pictured in the center, is decorated with peacock feathers, blue sequin, bells, and crystals around the head and neck sections. Slide labeled Trin. 14.
Trinidad and Tobago -- South America -- Port of Spain, Trinidad
Trinidad and Tobago -- Caribbean region -- Port of Spain, Trinidad

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
http://ufdc.ufl.edu/AA00031208/00001

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
In Trinidad and Tobago, carnival celebrations begin after Christmas and peak during the Monday and Tuesday preceding Ash Wednesday. Costumed masqueraders and festival revelers partake in the two-day street parade, generally accompanied by soca, calypso, and steel pan music, before beginning the Lenten season. The National Museum and Art Gallery hosts a permanent ongoing exhibit of masks and costumes from past carnivals. The carnival costume, pictured in the center, is decorated with colorful feathers and animal prints. To the left of this costume is an ornate peacock head gear which has been placed atop an armless statue with a human face. To the right of the costume is a head gear made with stylized snake heads with crowns. Slide labeled Trin. 13.
Trinidad and Tobago -- South America -- Port of Spain, Trinidad
Trinidad and Tobago -- Caribbean region -- Port of Spain, Trinidad

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
http://ufdc.ufl.edu/AA00031207/00001

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
In Trinidad and Tobago, carnival celebrations begin after Christmas and peak during the Monday and Tuesday preceding Ash Wednesday. Costumed masqueraders and festival revelers partake in the two-day street parade, generally accompanied by soca, calypso, and steel pan music, before beginning the Lenten season. The National Museum and Art Gallery hosts a permanent ongoing exhibit of masks and costumes from past carnivals. In this image, there is a head gear labeled “King Kofricari,” a red elaborate costume, and a feathered costume featuring oxen horns and an ornately, stylized ostrich head. Slide labeled Trin. 10.
Trinidad and Tobago -- South America -- Port of Spain, Trinidad
Trinidad and Tobago -- Caribbean region -- Port of Spain, Trinidad

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
http://ufdc.ufl.edu/AA00031197/00001

Résumé : Mondialisation et cultures populaires à Barbade et Trinidad (musique, Carnaval et danse) La culture caribéenne subit de plus en plus les assauts de la mondialisation. Et la question qui se pose concerne l'impact de la mondialisation sur la culture dans la région, c'est-à- dire le passage de la culture ethnique à la mondialisation. Au cours des siècles, le Caribéen, ce métis culturel, cet individu s'est façonné au contact d'influences diverses . Il faut attendre les années 1970 pour que la Barbade et Trinidad se forgent une nouvelle identité sous l'influence du Black Power venu des Etats - Unis et du mouvement Rastafari issu de la Jamaïque. Par ailleurs, l'influence de la télévision et de la musique américaine combinée aux migrations et aux effets de la mondialisation constitue des éléments majeurs à la formation de cette nouvelle identité. Aujourd 'hui après plus de cinquante ans d'indépendance, il y a une timide appréciation de la culture locale. Timide , parce qu'à radio, on entend plus de la musique internationale (américaine, anglais) que de musique locale (calypso, soca) saufpendant le Carnaval de Trinidad et le Crop Over de Barbade. Ce que regrettent les calypsoniens qui reprochent aux radios locales de ne diffuser cette musique que pendant cette période. De la musique caribéenne, les . jeunes de Barbade et de Trinidad plébiscitentures le reggae, la dancehall, le raggasoca, la musique soca. En fait, le calypso correspond à un moment de la vie. A Trinidad, la musique indienne joue un rôle important qui correspond à la population du pays. La musique de Rihanna, l'icône du moment n'a rien de caribéen. Mais son succès phénoménal à Barbade et ailleurs permet de mieux appréhender les facettes de l'identité caribéenne, en général et en particulier, celle de Barbadien et du Trinidadien. De nos jours, les nouvelles technologies accentuent les effets de la mondialisation et contribuent à l'émergence d'une « décréolisation » pour reprendre les termes de G. Létang et d'une nouvelle identité..
Globalization and popular cultures in Barbados and Trinidad Caribbean culture is under the influence ofglobalization. The question is here the impact ofglobalization on the culture in the region . Through centuries the Caribbean man has been made through different cultures. We must wait for the years 1970 to see Barbados and Trinidad which have been made a new identity under the influence of Black Power and the Rastafari movement coming from Jamaica. After more than 50 years ofindependence, there is a shy appreciation oflocal culture . There is more international music than calypso. In Trinidad the Indian music plays an important role corresponding ta the population of the country The new technologies increase the effect of the globalization. It constitutes the rise of the "decreolisation movement".

http://www.theses.fr/2013AGUY0681/document