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Different DrummersRhythm and Race in the Americas$
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Martin Munro

Print publication date: 2010

Print ISBN-13: 9780520262829

Published to California Scholarship Online: May 2012

DOI: 10.1525/california/9780520262829.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 22 October 2021

Rhythm, Creolization, and Conflict in Trinidad

Rhythm, Creolization, and Conflict in Trinidad

Chapter:
(p.78) 2 Rhythm, Creolization, and Conflict in Trinidad
Source:
Different Drummers
Author(s):

Munro Martin

Publisher:
University of California Press
DOI:10.1525/california/9780520262829.003.0003

This chapter traces a conventional colonial history of rhythm and its suppression in nineteenth- and early-twentieth-century Trinidad. It studies the close relationship between music, dances, and slave rebellion, which was established early in a relatively short time. The British authorities in general systematically suppressed the drum and rhythmic popular music, as they were fearful of slave insurrection. As slavery continued, creolization took on a more complex, multidimensional shape, perpetuating the unpredictable play of cultures that characterizes the processes of creolization. During this period, at every point in the cultural history of Trinidad, rhythm was momentarily silenced, only to return via new, improvised instruments such as bottles and spoons, biscuit tins, pieces of bamboo, and finally the steel pan. Repression of rhythmic music only strengthened the bond between rhythm and the popular black culture of the island.

Keywords:   colonial history, Trinidad, slave rebellion, slave insurrection, creolization, black culture

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