Music of Barbados

Template:BritishCaribbeanmusic Barbados is home to spouge music, which is played on guitars, mandolins and drums, but is best known as a second home for Trinidadian calypso and soca, as well as a reggae/soca fusion called ragga-soca. The 1974 revival of the Crop Over Festival, which features the Pic-O-De-Crop Calypso Competition, revitalized and organized the Barbadian calypso scene. Beginning in the mid-1980s, Barbadian artists like Spice, Gabby and Red Plastic Bag became popular in Trinidad and elsehwere, leading the way for a more fully-developed Barbadian sound (often characterized by Eddy Grant's Ring Bang pan-Caribbean fusion rhythm that arose around 1994) and was popularized by groups like Square One and krosfyah. Barbados is, along with Cuba, Puerto Rico, Trinidad and the Virgin Islands, one of the few centers for Caribbean jazz.

History

Though inhabited prior to the 16th century, little is known about Barbadian music prior to the arrival of the Portuguese in 1536 and then the English in 1627. The Portuguese left little influence, but English culture and music helped shape the island's heritage. Irish and Scottish settlers emigrated in the 17th century, working in the tobacco industry, bringing yet more new music to the island. The middle of the 1700s saw the decline of the tobacco industry and the rise of sugarcane, as well as the introduction of large numbers of African slaves. Modern Barbadian music is thus largely a combination of English and African elements, with Irish, Scottish, and modern American and Caribbean (especially Jamaican) influences as well.

While slavery was ongoing (1627-1838), African music included work songs, funereal and religious music. Though slave owners initially allowed dances, this ended in 1688 because officials feared that the slaves would plan a rebellion at such festivities. The same law also prohibited the use of drums and horns, which were feared to be used as communication.

Traditional African music continued in spite of legal restrictions, including the use of drums and rattles, and declamatory and improvised call and response vocals. Much African music was used in Obeah, an African religion found throughout the island. By the beginning of the 19th century, slaves provided most of the musical accompaniment for plantation festivities, such as the Harvest Home, while the white elites participate in dignity balls.

With the slave population approaching three times the white population, many slave owners feared revolts. This led to the Slave Consolidation Act in 1826, which reaffirmed the ban on drums and horns. Christian missionaries also discouraged the performance of African music, which pushed the field underground, where it was passed through secret societies and rituals.

Slavery in Barbados was finally ended in 1838, and newly-emancipated blacks celebrated with instruments including drums and horns, as well as banjos, tambourines and xylophones. Still, however, the use of horns and drums was discouraged, leading to the primacy of vocal music; at the same time, new Protestant churches from North American moved into the island, bringing with them American parlor music, cowboy songs and revivalist hymns.

Following emancipation, ensembles consisting of snare and bass drums, flute and triangle emerged; these were called tuk bands, and may have been based on British fife-and-drum corps. They used African polyrhythms and syncopation, and accompanied the community dance troupe Landship, which simulated the movement of ships at sea through dance, as well as at various kinds of celebrations and festivals.

In 1889, the Police Band formed. This instrumental ensemble remains popular, and has performed across the world.

Early in the 20th century, calypso music arrived from Trinidad. Without many local fans, only a few Barbadian calypsonians arose, including Da Costa Allamby and Mighty Charmer.

Beginning in about the 1940s, when the Crop Over Festival was cancelled due to the decline of the sugarcane industry, Barbados has seen the influx of popular music from other countries, including the United States, United Kingdom, Jamaica and Cuba.

Following independence in 1966, Barbadian calypso became more popular, especially the white band The Merrymen, known for songs like "Brudda Neddy" and "Millie Gone to Brazil". Jackie Opel, a Barbadian singer, also arose, playing a blend of calypso and reggae that evolved into spouge music. Spouge was immensely popular in Barbados from about 1969 to 1973. In 1974, the Crop Over Festival was revived, featuring calypso competitions; as a result, calypso's popularity grew, rapidly overshadowing spouge and other genres, with only dub music achieving equal stature.

Jazz

Jazz is a genre of music from the United States which reached Barbados by the end of the 1920s. The first major performer from the island was Lionel Gittens, who was followed by Percy Green, Maggie Goodridge and Clevie Gittens. These bandleaders played a variety of music, including swing, a kind of pop-jazz, Barbadian calypso and waltzes. With little recorded music on the island, radio broadcasts such as Willis Conover's Voice of America had a major influence.

In 1937, riots over poverty and disenfranchisement occurred, and people like Clement Payne had risen to fame advocating reform. In that year, Payne was deported and riots broke out in Bridgetown, spreading throughout the island. The following year, the Barbados Labour Party was formed by C. A. Braithwaite and Grantley Adams.

As political awareness among the black majority on the island spread, so did bebop, a kind of jazz which was associated, in the United States, with social activism and Afrocentrism. The first Barbadian bebop musician from the island was Keith Campbell, a pianist who had learned to play many styles while living in Trinidad during a time when American soldiers were stationed there, providing a ready market for bands that could play American music. Other musicians of this period included Ernie Small, a trumpeter and pianist, and bandleader St. Clare Jackman.

In the 1950s, R&B and rock and roll became popular on the island, and many jazz bands found themselves pushed aside. A wave of Guyanese musicians also appeared on the island, including Colin Dyall, a saxophonist who later joined the Police Band, and the Ebe Gilkes.

Though mainstream audiences were still listening to R&B and rock, modern jazz retained a small core of followers into the 1960s. The foundation of the Belair Jazz Club in Bridgetown in 1961 helped to keep this scene alive.

With independence in 1966 came a focus on black Barbadian culture, and music like calypso, reggae and spouge, rather than the preoccupation with British standards of musical development. Calypso jazz arose during this period, pioneered by groups like the Schofield Pilgrim. The genre had developed by 1965, when original works like "Jouvert Morning" and "Calypso Lament" were composed. Artists like the pianist Adrian Clarke became popular during the 60s as well.

In the early 1970s, jazz fan and critic Carl Moore launched a project to keep jazz alive on the island, while Zanda Alexander's performance in Bridgetown in 1972 is said to be the first Caribbean jazz festival. Oscar Peterson's 1976 performance in Trinidad also inspired Barbadian musicians, as did the radio program Jazz Jam, which was broadcast starting in the mid-70s on the Caribbean Broadcast Corporation. In 1983, however, the Belair Jazz Club closed, and was not replaced by any long-term clubs.

In the 1980s, jazz declined greatly in popularity, though saxophonist Arturo Tappin organized the International Barbados/Caribbean Jazz Festival, while other performances were organized by a group called the Friends of Jazz. More jazz calypso fusion musicians appeared on the scene during this period, including Janice Robertson and her Trinidadian husband Raf.

References

• De Ledesma, Charles and Georgia Popplewell. "Put Water in the Brandy?"". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific, pp 507-526. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0
• Pinckney, Warren R. Jr. American Music: Jazz in Barbados. 1994. Retrieved November 28, 2004 from [1] (http://www.findarticles.com/p/articles/mi_m2298/is_n1_v12/ai_15178661)