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The music of Antigua and Barbuda is largely African in character, and has only felt a limited influence from European styles due to the population of Antigua and Barbuda descending mostly from West Africans who were made slaves by Europeans. [1] Antigua and Barbuda is a Caribbean nation in the Lesser Antilles island chain.
The music of Trinidad and Tobago is best known for its calypso music, soca music, chutney music, and steelpan. Calypso's internationally noted performances in the 1950s from native artists such as Lord Melody, Lord Kitchener and Mighty Sparrow. The art form was most popularised at that time by Harry Belafonte.
Calypso, with its satirical and socio-political lyrics, was developed in the 18th century as a fusion of African and French music styles. It eventually accompanied the rise of steelpan music. Steelpan were imported to Saint Vincent quickly. Calypso's political lyrics have continued to be an important part of the genre.
The festival is also where calypso music has its roots. It was originally a harvest festival, at which drums, singing, dancing and chanting were an integral part. After Emancipation (1834), it developed into an outlet and a festival for former indentured laborers and freed slaves who were banned from participating in the masquerade carnival ...
Music is provided by an ensemble of triangle, fife and two goatskin, deep-barreled drums called kettles or booms). This tradition is primarily African in style, with little Irish or British influence, and is very distinct from jumbie dance styles. The traditional music of the December Festival was last performed in 1988, in St. John's Village. [5]
A replica of this ivory mask was used as a symbol for Festac '77.. Festac '77, also known as the Second World Black and African Festival of Arts and Culture (the first festival took place in Dakar, 1966, the second in Algiers in July 1969) was a major international festival held in Lagos, Nigeria, from 15 January 1977 to 12 February 1977. [1]
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Steve Reich has listed this work as an influence on his music, particularly his "fooling around with tape loops, which [he] began to envision as little mechanized Africans [laughs]." [ 3 ] It is also cited extensively in Volume I of Gunther Schuller 's (who introduced Reich to the work) History of Jazz.