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During the second half of the 20th century, the Caribbean island of
Barbados emerged as a key player in the creation and nurturing of
Caribbean popular music. And, yet, despite its vital role in the
popularization of tuk music, the rise of spouge, and the Barbadian
contribution to and transformation of other Carribean music
traditions, there is still relatively little sustained critical
literature that discusses the various strands of the island s music
culture. Curwen Best s The Popular Music and Entertainment Culture
of Barbados provides this long overdue survey of the development of
Barbadian popular music and entertainment culture by focusing on
pivotal phenomena, artists and movements in the evolution of
Barbadian popular music and culture. Best concentrates, in
particular, on transformations since 1980 and 2000 respectively,
each of which marked the ushering in of new opportunities and
challenges to the creation and dissemination of Barbadian popular
music. His study considers the telling roles played by the
expanding influence of western popular culture, the Internet,
post-dancehall and post-soca aesthetics, cyberculture, digital
culture, and the subterranean lure of traditional culture. Readers
will find especially compelling Best s analyses of selected
artists, musical genres, and phenomena, such as Gabby, Rihanna,
Jackie Opel, Alison Hinds, Rupee, Red Plastic Bag, Lil Rick,
spouge, tuk, ringbang, gospel, dub/dancehall, calypso, soca, folk,
alternative, hip hop, Crop Over, Jazz Festival, National
Independence Festival of Creative Arts, BajanTube, party politics
and entertainment, popular bands, music technology, the Internet
and new frontiers of cultural expression. This book will be of
significant interest to scholars, students and all those curious
about Caribbean popular culture, the popular music of Barbados, and
the impact of emerging technologies on cultural development in a
small island state.
In this volume, the editors and authors strive to understand the
evolving Trans-Caribbean as a discontinuous, displacing and
displaced, transnational space. It considers the imagined community
in the islands as its psycho-social homeland, while simultaneously
pursuing different cultural strategies of redefining and resisting
colonial 'homeland' conventions (which Kamau Brathwaite
appropriately termed the 'inner plantation'). Thus, the
Trans-Caribbean is suspended in a double-dialectic, which opposes
both the hegemonic metropolitan space inhabited, as well as the
romanticized, yet colonialized, 'inner plantation, ' whose
transcendence via migration perpetually turns out to be an
illusion. Given this, cultural production and migration remain at
the vortex of the Trans-Caribbean. The construction of cultural
products in the Trans-Caribbean understood as a collection of
social and new migratory practices both reflects and contests
post-colonial metropolitan hegemonies. Following Arjun Appadurai's
distinction, these homogenizing and heterogenizing counter-trends
in Trans-Cariabbean spaces can be observed through cultural
transactions manifesting themselves as ethnoscapes, mediascapes,
technoscapes, financescapes, cityscapes, ideoscapes, etc. For the
purposes of this book the editors invited anthropologists,
sociologists, political scientists, linguists, liberal arts and
gender studies specialists, as well as cultural and literary
historians to begin drawing some of the diasporic trajectories on
the huge canvas of cultural production throughout the
Trans-Caribbean.Constructing Vernacular Culture in the
Trans-Caribbean will find its audience among scholars in cultural
studies, migration, literary theory, and cultural criticism who
have a special interest in Caribbean and Latin American Studies, as
well as among students and scholars of migration and
postcolonialism and postmodernity in general."
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