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Music competitions, public pedagogy and decolonisation in Trinidad and Tobago
South Asian Diaspora Pub Date : 2019-01-17 , DOI: 10.1080/19438192.2019.1568506
Christopher L. Ballengee 1
Affiliation  

ABSTRACT This article examines music’s role in decolonising processes in Trinidad and Tobago, focusing on postcolonial national identity politics with reference to the country’s two largest ethnic groups: those descended from enslaved Africans and those from indentured labourers from India. First, the article traces the nationalisation of Creole culture – defined in terms of African-European syncretism – from the 1950s onwards, and it describes the state’s use of music competitions and educational programmes to institutionalise Carnival, calypso, and steel pan, all associated largely with African Trinidadian culture. This impacted on Indian Trinidadians by excluding them from inscriptions of national identity. The article concludes with a discussion of Indian Trinidadian cultural resurgence, tassa competitions, and the growth of public pedagogy from the 1970s that established tassa as an icon of Indianness; and all illustrating how music was used in a complex decolonisation process (relating to colonial rule and the Creole mainstream).

中文翻译:

特立尼达和多巴哥的音乐比赛、公共教育和非殖民化

摘要 本文考察了音乐在特立尼达和多巴哥的非殖民化进程中的作用,重点关注后殖民民族认同政治,并参考了该国最大的两个族群:非洲奴隶的后裔和印度契约劳工的后裔。首先,文章追溯了 1950 年代以来克里奥尔文化的国有化——根据非洲-欧洲的融合定义——并描述了国家使用音乐比赛和教育计划将嘉年华、卡利普索和钢锅制度化,所有这些都在很大程度上相关与非洲特立尼达文化。这对印度特立尼达人产生了影响,将他们排除在国家认同的铭文之外。文章最后讨论了印度特立尼达文化的复兴、塔萨比赛、以及 1970 年代以来公共教学法的发展,使 tassa 成为印第安人的象征;所有这些都说明了音乐是如何在复杂的非殖民化过程中使用的(与殖民统治和克里奥尔主流有关)。
更新日期:2019-01-17
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