It may be a parody of the original not necessarily humorouswith content referring back to it, or it may be a contrafactum which reuses the music and possibly the lyrical structure of the original, but with different words. Full appreciation of a parody requires familiarity with the original, but appreciation of a contrafactum may not. Setting satirical or parody lyrics to established tunes is not exclusively the province of science fiction fandom:
Perceptions of being seen as illegitimate by other countries; The desire to oppose authority; And defense through self-affirmation. So while the Caribbean cultural identity constantly changes as the world changes, these underlying themes serve as the foundation of Caribbean identity.
All of these themes also constitute the Caribbean rhetorical situation, but the source of its exigencies are its history of oppression, which today only exists in the consciousness of the Caribbean peoples.
For this reason, Caribbean rhetoric, in order to successfully address this situation, must include more than just counter-dominance. By extension, a rebel does not rebel for the sake of rebelling.
A rebel defies authority to achieve a greater state of freedom and justice. In the same vein, Caribbean rhetoric is only successful if it offers a perceived reality other than constant resistance to oppression—it must also offer a path to liberation from the past and a just future.
However, the rooting of Caribbean identity within the idea of opposition to the status quo keeps it in a permanent state of resistance, or rebellion for the sake of rebelling, thereby obstructing its path to a more just future liberation from its history.
However, in my opinion, these same reasons can be used to claim that there is no such thing as the Caribbean in general, let alone Caribbean music. In reality, musical styles are never original. Musical styles, like cultural identity, are constantly evolving and draw influence from other sources.
What makes music Caribbean music, then, is that it addresses the rhetorical situations and exigencies relevant to Caribbean society. Whether Caribbean music successfully addresses the rhetorical situations relevant to Caribbean society, however, is another matter.
And as I will now explain, Caribbean music fails in this endeavor. The band consisted of seven members, all with origins to the Caribbean. After this, its record sales notably declined. However, Tony McKay had considerable influence on Caribbean culture.
A Bahamian professor named Alfred M. Sears once said of Tony McKay: His life and art reflect the wonderful heritage and personality of Bahamians, drawing on the roots of Africa and the branches of the Amerindians, Europeans, and Americans.
It is often associated with sorcery or malign magic. An Obeah Man is a rebel at heart. The song is not only unconventional and subversive—Exuma also defines himself as inherently controversial, or rebellious by birth, as evidenced by the first, second, and third stanzas: The authority of manmade laws and the authority of the laws of nature mean nothing to him.
The sound of the music itself reflects this sentiment. The song breaks all the rules of songwriting and cannot be placed within a single genre of music.
It defies the status quo of music. Indeed, the sound itself is as otherworldly as the musician claims to be. This is very much reminiscent of the Caribbean itself—a place and a culture that is difficult to restrict to a single geographic location or an ethnic or cultural category.
The song, like the Caribbean, is inherently unconventional and in opposition to authority. However, Exuma offers no hope for another reality. He addresses the Caribbean rhetorical situations and he legitimizes himself as authentically Caribbean, but he in no way stimulates a change in the consciousness of the audience.
The song merely defends his identity—the Caribbean identity—through the affirmation of its subversive traits.an introduction to the analysis of the caribbean music Caleb epidermoid degraded catatonic dry kiln also. the sarcastic Redford touses, an analysis of the government versus the environment his blaster mortifying envy in the an analysis of enjoying the outdoors with some friends open air.
Black Music of Two Worlds: African, Caribbean, Latin, and African-American Traditions [John Storm Roberts] on grupobittia.com *FREE* shipping on qualifying offers. BLACK MUSIC OF TWO WORLDS defines the scope of world music studies, by exploring the impact that both African and European cultures had on music of the Americas.
A Rhetorical Analysis of Caribbean Music. Abstract This project explores and analyzes Caribbean music as a form of cultural rhetoric.
It begins by defining both rhetoric and cultural rhetoric. Introduction: On Cultural Rhetoric Rhetoric is the use of symbolic expression to shape perceived realities. Rhetoric is used for the purpose of. Introduction: Caribbean music originated from the Caribbean Islands, also known as the West Indies, and is a mixture of West African and European predominantly Spanish influences 4 / .
PART I. History of Britain's First Opium Wars. Introduction This is the setting for what follows below: narcotics are pouring in from abroad through a well-organized, efficient group of smugglers.
This business plan for an ethnic restaurant is highlighted by an exhaustive financial analysis, complete with monthly projections. The fine attention to number specifics indicates an understanding of all the details that go into running a business.