coldhearted scientist وداد

4 thoughts on “Lord Invader vs. Alan Lomax – smokin’!”

1. That does not sound like the Andrews Sisters! Did you know when they sang that song they were so innocent that they did not know what it was about?

   Reply

2. I have just figured out that this and also the N.O. Indian music is sounds like – Iko Iko and Meet de Boys on da Battlefront, etc., – must all derive from Son de la Loma (composed 1925) – what does *that* derive from, then?

   Reply

3. And, we can also hear the melody in Iko Iko, in this precious version by the Dixie Cups (see the dancing audience, too) – http://www.youtube.com/watch?v=l6rDdWPYdgg

   Reply

4. Guanaguanare made all these points which must be studied.

   AHAKUTUWATIWA,
   ALËLEKATIWA,
   AKUYAWATIWA!
   We awake, we laugh, we return!

   Koki Oko, ki anba, nèg mare nou
   Koki Oko, ki anba, n’a lage!

   Those who lose dreaming are lost.
   —Australian Aboriginal

   ….AJOUPA CALLING….
   ABOUT THE GULL
   My Photo

   Guanaguanare
   …QUI RIT

   View my complete profile
   FOLLOW GUANAGUANARE BY EMAIL

   Blogarama – The Blog Directory

   Powered by Blogger

   …………………….

   R U INDIGO 2 ?
   ……………………..

   * HOME
   * ABOUT
   * MANIFESTO
   * INDEX
   * MUSIC ONLINE
   * SET OUR PEOPLE FREE…

   Header
   Guanaguanare: the laughing gull
   ABOUT THIS BLOG

   …………………………………………………………………………………………………………………………………………………
   “Patria est communis omnium parens” – Our native land is the common parent of us all. Keep it beautiful, make it even more so.

   Blessed is all of creation
   Blessed be my beautiful people
   Blessed be the day of our awakening
   Blessed is my country
   Blessed are her patient hills.
   Mweh ka allay!
   Guanaguanare

   Mictlantecuhtli,
   You have a good ear. That song borrows from Rum and Coca-Cola. Does the song have a name?

   About our Indian mas’ Rawle Gibbons says on pg. 148 in his chapter: “Trinidad Sailor Mas”:

   “The most significant connection between New Orleans Mardi Gras and Trinidad Carnival lies in the dual invocation of African-Native connectivity in the Black Indain mas. Black Indians are found among the panorama of Indian tribes in Trinidad mas, but the history is not one of solidarity and miscegenation as it is in New Orleans. Instead, they are connected with the African 9predominantly Yoruba) yards. In some instances – for example, Wild Indians in St.Kittts and Santo Domingo – the link between these performance forms are easily established as migratory, but others, I suspect, may take us back to the depth structures of an African sensibility or aesthetic that renders experience in certain common, recognizable ways.”
   SOURCE: “Intercultural performance in the Caribbean and the U.S. South.” Edited by Jessica Adams et al, University of Virginia Press, 2007.

   Some of the bands here do speak “Indian language” but I don’t know to what extent it is invented or how heavily it borrows from our French patois or African languages.

   Hélène Bellour and Samuel Kinser also did research on Amerindian masking in Trinidad’s Carnival and they looked specifically at “The House of Black Elk” in San Fernando. Among other questions which they explore are:

   “Why did the Black Elk group choose to portray North American Plains Indians? Why didn’t they choose to depict Amerindians of their own past, in their own geographical area at the foot of the sacred hill? Why did they choose to mask themselves as Indians at all? And why in any case did the Plains Indian costuming become so popular in Trinidad in the decades just before and after World War II?”
   You can find their article in “Culture in action – the Trinidad experience.” Edited by Milla Cozart Riggio, NY: Routledge, 2004

   Some videos:
   – Victoria Square Mas 2008
   – Queen of Carnival 2010 Wakanisha: The Sacred Water – The Sacred Water Bearer

   Reply