“Lapo Kabwit
Riddim Jam”
Lapo
Kabwit village band/Newtown Lapo Kabwit
Membranophones: Tiki(Snare drum), Bass drum, Idiophones: Syak
(shaker/maracas/scraper),Cowbell, Iron, fwet(whip), Aerophones: Conch
Shells, Horns, Whistles
LAPO KABWIT
The music of Dominica plays an
important role in the social and culture life of the Antillean Island where the
folk music is a hybrid of African and European elements. Until the late 1950s,
the Afro-Dominican culture of most of the island was repressed by the colonial
government and the influence of the Roman Catholic Church, both of which taught
that African-derived music was evil, demonic and uncultured.Lapo Kabwit is the
term used to describe a drum made with goat skin and also refers to the music
it provides. Dominican folk music is an oral tradition, learned informally
through watching others perform. As of 1987, most performers of traditional
music were either over fifty years old or under thirty-five, which indicates an
ongoing revival of previously declining traditions. Music is evaluated based on
both characteristics of the music, such as complex syncopated rhythms, as well
as social factors, such as the ability of the performers to improvise and
respond to their surroundings and to keep the audience excited and
participating in the music. The videos of Lapo Kabwit bands demonstrate the use
of different types of instruments. There are membranophones, idiophones, and aerophones
in this small cultural ensemble in a village and the larger” Newtown Lapo
Kabwit” band performing for revelers during “ Jouvert” in
Dominica. The tiki or snare drum improvises and solos, the bass drum plays a
steady beat and the other percussive and wind instruments add to the rest of
the musical structure of the band. There is even what is referred to as the”
fwet” which is actually a whip that adds to the ambience.
Eltino,
ReplyDeleteI love watching this video and reading about the history behind it. You can really hear the individual playing that is taking place and it really allows for each person to express him/herself while maintaining the quality of the ensemble. You can almost hear a celebratory quality in their playing, as this style of music and these traditions were oppressed for so long. Even though this music was learned through watching, you can still hear very specific detailed techniques taking place which add to its culture. Rhythm is obviously an important aspect of the Dominican music. The second video reminds me of a New Orleans second line parade, which since it derives many of its roots from African traditions, this makes sense. Looking closely at the instruments, several are handmade, which adds even more so to the individuality of this music.
Thanks for sharing!
-Andrew
The video that reminds you of New Orleans should because it is carnival time in Dominica which takes place in the streets of Dominica on the same Monday and Tuesday as Mardi Gras.
DeleteEltino,
ReplyDeleteThe two videos you provided really go to show that making music is a community event for these people and that it does NOT happen inside a concert hall. Both the videos you showed were of a large gathering in the street. I find that it is really interesting and SAD that even in the 1950s, music was being oppressed and people told that African music was from the devil. The people in the videos looked as though they were really enjoying their musical experience which is a great indication that the passion for the music is still alive. Coupled with the fact that there is an increase in younger people who are performing and playing the music, it looks as though their musical traditions will carry on despite those years of oppression.
Eltino -
ReplyDeleteWhat caught my attention first was your use of the Sachs-Hornbostel classification in your instrument list. For the developing ethnomusicologist, using terminology that applies a universalist approach to codifying the instruments could help as the information about the musical culture is shared. Applying the same logic, your use of rhythm classification (complex syncopation) provides an instant connection of the style of drumming to a term that is more familiar to a trained musician. I also appreciated the connections to the culture - I am getting as much from your presentation of Western Carribean music as I am from Robin Moore's book on the Music of the Hispanic Carribean. Finally, an immediate aural connection I made was through the complex syncopated drumming with the crowd interacting, which reminded me of Star Turtle 3, a Jazz fusion piece off of Harry Connick, Jr.'s 1996 concept album, Star Turtle. I continue to hear the influence of the Caribbean as a predecessor to Jazz rhythmic elements.
Here's a link to the piece on Spotify: Star Turtle 3
Good description of the music. You address how the instruments would be classified, but the prompt also asks you to discuss how such classification systems are useful.
ReplyDelete