Musical Life in Guyana is the first in-depth study of Guyanese musical life. It is also a richly detailed description of the social, economic, and political conditions that have encouraged and sometimes discouraged musical and cultural creativity in Guyana. The book contributes to the study of the interactions between the policies and practices by national governments and musical communities in the Caribbean. Vibert C. Cambridge explores these interactions in Guyana during the three political eras that the society experienced as it moved from being a British colony to an independent nation. The first era to be considered is the period of mature colonial governance, guided by the dictates of “new imperialism,” which extended from 1900 to 1953. The second era, the period of internal self-government and the preparation for independence, extends from 1953, the year of the first general elections under universal adult suffrage, to 1966, the year when the colony gained its political independence. The third phase, 1966 to 2000, describes the early postcolonial era. Cambridge reveals how the issues of race, class, gender, and ideology deeply influenced who in Guyanese multicultural society obtained access to musical instruction and media outlets and thus who received recognition. He also describes the close connections between Guyanese musicians and Caribbean artists from throughout the region and traces the exodus of Guyanese musicians to the great cities of the world, a theme often neglected in Caribbean studies. The book concludes that the practices of governance across the twentieth century exerted disproportionate influence in the creation, production, distribution, and consumption of music.

This new third edition of Bradt's Guyana remains the only guidebook available to this South American gem, a jungle-clad country teeming with exotic wildlife. Thoroughly researched, easy to use and interesting to read, Bradt's Guyana is written and updated by writers who have lived in and promoted Guyana for many years and is an ideal companion for all travellers, from wildlife watchers to fishermen, anthropologists to conservationists and 'voluntourists'. Guyana is a destination on the rise, described - justifiably - by the tourist board as 'South America Undiscovered'. This new edition of Bradt's Guyana has been updated to include all the latest developments, ranging from how to see harpy eagles at Warapoka to new culinary experiences, local tour operators, 4x4 self-drive and new hotels. Truly off the beaten track, Guyana is one of the most fascinating and least-known countries in the Americas. It is also the only English-speaking country in South America. The jewel in its crown is the mouth-droppingly beautiful Kaieteur Falls, which is nearly five times the height of Niagara and the world's tallest single-drop waterfall. Culturally Caribbean, its capital Georgetown is a curious melting-pot of quaint Dutch and British colonial architecture, steel drums, boisterous nightlife, rum shops with world-class rum, cricket and tropical sea breezes. It is also the gateway to the lush interior which is full to the brim with fascinating flora and fauna including monkeys, black caiman, harpy eagles, giant anteaters, otters and the mighty jaguar. With Bradt's Guyana, discover all of this, plus where to stay in community lodges and see the rainforest through the eyes of Amerindian guides, where to watch turtles nesting on the beach, how to explore the moody Essequibo river (the largest between the Orinoco and the Amazon), and how to visit the million-acre rainforest reserve of Iwokrama for the ultimate authentic wildlife experience. This third edition of Bradt's Guyana is the key book to plan an expedition into its densely forested lush interior, often accessible only by boat or small aircraft, before taking some 'time to lime' in a hammock in one of its tropical waterfront resorts.

Longlisted for the PEN/Diamonstein-Spielvogel Award “A deeply felt and passionately expressed manifesto.” —Kirkus Reviews (starred) A meditation in the spirit of John Berger and bell hooks on art as protest, contemplation, and beauty in politically perilous times As people consider how to respond to a resurgence of racist, xenophobic populism, A Mouth Is Always Muzzled tells an extraordinary story of the ways art brings hope in perilous times. Weaving disparate topics from sugar and British colonialism to attacks on free speech and Facebook activism and traveling a jagged path across the Americas, Africa, India, and Europe, Natalie Hopkinson, former culture writer for the Washington Post and The Root, argues that art is where the future is negotiated. Part post-colonial manifesto, part history of British Caribbean, part exploration of art in the modern world, A Mouth Is Always Muzzled is a dazzling analysis of the insistent role of art in contemporary politics and life. In crafted, well-honed prose, Hopkinson knits narratives of culture warriors: painter Bernadette Persaud, poet Ruel Johnson, historian Walter Rodney, novelist John Berger, and provocative African American artist Kara Walker, whose homage to the sugar trade Sugar Sphinx electrified American audiences. A Mouth Is Always Muzzled is a moving meditation documenting the artistic legacy generated in response to white supremacy, brutality, domination, and oppression. In the tradition of Paul Gilroy, it is a cri de coeur for the significance of politically bold—even dangerous—art to all people and nations.

Rediasporization: African-Guyanese Kweh-Kweh examines how African-Guyanese in New York City participate in the Come to My Kwe-Kwe ritual to facilitate rediasporization, that is, the creation of a newer diaspora from an existing one. Since the fall of 2005, African-Guyanese in New York City have celebrated Come to My Kwe-Kwe (more recently called Kwe-Kwe Night) on the Friday evening before Labor Day. Come to My Kwe-Kwe is a reenactment of a uniquely African-Guyanese pre-wedding ritual called kweh-kweh, and sometimes referred to as karkalay, mayan, kweh-keh, and pele. A typical traditional (wedding-based) kweh-kweh has approximately ten ritual segments, which include the pouring of libation to welcome or appease the ancestors; a procession from the groom’s residence to the bride’s residence or central kweh-kweh venue; the hiding of the bride; and the negotiation of bride price. Each ritual segment is executed with music and dance, which allow for commentary on conjugal matters, such as sex, domestication, submissiveness, and hard work. Come to My Kwe-Kwe replicates the overarching segments of the traditional kweh-kweh, but a couple (male and female) from the audience acts as the bride and groom, and props simulate the boundaries of the traditional performance space, such as the gate and the bride’s home. This book draws on more than a decade of ethnographic research data and demonstrates how Come to My Kwe-Kwe allows African-Guyanese-Americans to negotiate complex, overlapping identities in their new homeland, by combining elements from the past and present and reinterpreting them to facilitate rediasporization and ensure group survival.

Global Popular Music: A Research and Information Guide offers an essential annotated bibliography of scholarship on popular music around the world in a two-volume set. Featuring a broad range of subjects, people, cultures, and geographic areas, and spanning musical genres such as traditional, folk, jazz, rock, reggae, samba, rai, punk, hip-hop, and many more, this guide highlights different approaches and discussions within global popular music research. This research guide is comprehensive in scope, providing a vital resource for scholars and students approaching the vast amount of publications on popular music studies and popular music traditions around the world. Thorough cross-referencing and robust indexes of genres, places, names, and subjects make the guide easy to use. Volume 2, Transnational Discourses of Global Popular Music Studies, covers the geographical areas of North America: United States and Canada; Central America, Caribbean, and South America/Latin America; Europe; Africa and Middle East; Asia; and areas of Oceania: Aotearoa/New Zealand, Australia, and Pacific Islands. It provides over twenty-four hundred annotated bibliographic entries covering discourses of extensive research that extend beyond the borders of the United States and includes annotated entries to books, book series, book chapters, edited volumes, special documentaries and programming, scholarly journal essays, and other resources that focus on the creative and artistic flows of global popular music.

Trinidadian sitarist, composer, and music authority, Mangal Patasar once remarked about tãn-singing, "You take a capsule from India, leave it here for a hundred years, and this is what you get." Patasar was referring to what may be the most sophisticated and distinctive art form cultivated among the one and a half million East Indians whose ancestors migrated as indentured laborers from colonial India to the West Indies between 1845 and 1917. Known in Trinidad and Guyana as "tãn-singing" or "local-classical music" and in Suriname as "baithak gãna" ("sitting music"), tãn-singing has evolved into a unique idiom, embodying the rich poetic and musical heritage brought from India as modified by a diaspora group largely cut off from its ancestral homeland. In recent decades, however, tãn-singing has been declining, regarded as quaint and crude by younger generations raised on MTV, Hindi film music, and disco. At the same time, Indo-Caribbeans have been participating in their countries' economic, political, and cultural lives to a far greater extent than previously. Accompanying this participation has been a lively cultural revival, encompassing both an enhanced assertion of Indianness and a spirit of innovative syncretism. One of the most well-known products of this process is chutney, a dynamic music and dance phenomenon that is simultaneously a folk revival and a pop hybrid. In Trinidad, it has also been the vehicle for a controversial form of female empowerment and an agent of a new, more inclusive, conception of national identity. Thus, East Indian Music in the West Indies is a portrait of a diaspora community in motion. It documents the social and cultural development of a people "without history," a people who have sometimes been dismissed as foreigners who merely perpetuate the culture of the homeland rather than becoming "truly" Caribbean. Professor Manuel shows how inaccurate this characterization is. On the one hand, in the form of tãn-singing, it examines the distinctiveness of traditional Indo-Caribbean musical culture. On the other, in the form of chutney, it examines the new assertiveness and syncretism of Indo-Caribbean popular music. Students of Indo-Caribbean music and curious world-music fans alike will be fascinated by Professor Manuel's guided tour through the complex and exciting world of Indo-Caribbean musical culture. Author note: Peter Manuel, an authority on the music of both North India and the Caribbean, is Associate Professor in the Department of Art, Music, and Philosophy at John Jay College. He is the author of several books, including Popular Musics of the Non-Western World (Oxford University Press), Cassette Culture: Popular Music and Technology in North India, and Caribbean Currents: Caribbean Music from Rumba to Reggae (Temple University Press).

"For several decades conflicts within states rather than between them have been the prevalent form of organised political violence worldwide. Most intra-state conflicts since 1945 have originated in insurgencies, not just against incumbent regimes but, more often, against those regimes' external sponsors, whether imperial governments or dominant regional powers. This Handbook focuses on the former group, on the insurgencies and counter-insurgencies fought out as European overseas empires collapsed. Seeking to identify the causal dynamics and violence processes of such violent decolonization, the Handbook will address the most taxing problems in conflict limitation: how to constrain the actions of insurgents and counter-insurgents in asymmetric 'guerrilla wars'; how to mitigate the consequences of proxy involvement in intra-state conflicts; and how to protect civilians in war zones where combatant-non-combatant distinctions have broken down. Underlying these questions is a unifying theme - and a core Handbook objective - the need to recognize the cultural practices of insurgent movements and counter-insurgent forces as a prerequisite to comprehending their violence"--

Music, Words and Nationalism: National Anthems and Songs in the Modern Era considers the concept of nationalism from 1780 to 2020 through anthems and national songs as symbolic and representative elements of the national identity of individuals, peoples, or collectivities. The volume shows that both the words and music of these works reveal a great deal about the defining features of a nation, its political and cultural history, and its self-perception. The book takes an interdisciplinary approach that provides a better understanding of the role of national anthems and songs in the expression of national identities and nationalistic goals. From this perspective, the relationship between hymns and political contexts, their own symbolic content (both literary and musical) and the role of specific hymns in the construction of national sentiments are surveyed.

Green’s study is more than a biography of an Anglo-African composer.The first comprehensive study of Coleridge-Taylor’s life for almost a century, it reveals how class-ridden Britain could embrace even the most unlikely of cultural icons.

Much of Guyana's 20th century history was defined by the PNC dictatorship and the political and economic wreckage it left behind. In "Guyana's Great Economic Downswing, 1977 to 1990", Dr Ramesh Gampat presents a comprehensive study of these specific years when the national economy contracted by 2.7 percent annually. He explores the multiple facets of the country's political tribalism which "does not value freedom, liberty and the flourishing of all people; it values only freedom, liberty and flourishing of tribes." The study reinforces the widely held belief that until and unless these adversarial groups subsume their respective selfish interests and commit to the common cause of national peace and development, the great downswing might not rest as a historical event but could well re-emerge with further economic devastation if the lessons go unheeded. Dr Gampat makes a strong case for federalism as a solution to Guyana's ethnic politics. Federalism, he posits, would ensure that all Guyanese have equal access to opportunities and resources since a system of provincial governance would be better placed to address discriminatory policies and practices at a localised level. With the country sitting on the cusp of transformative development to be propelled by new-found oil wealth, there is an urgency to settle the divisive politics if every Guyanese is to benefit fairly and equitably from the economic boom. "Guyana's Great Economic Downswing, 1977 to 1990" offers up a studied and comprehensive analysis that should be part of that bipartisan discourse going forward. --- Ryhaan Shah, Novelist, Social Activist A few piecemeal academic articles analyzing Guyana's economic evolution over the period 1977 to 1990 were written, but they are scattered and lost away in various journals. What was missing is a comprehensive and rigorous exploration of the era of Cooperative Socialism. Dr. Ramesh Gampat's book fills this gap. It is a superb synthesis of historical, theoretical and econometric exploration of the Great Downswing. The book not only provides estimates of important macroeconomic concepts such as Guyana's total factor productivity and long-term growth, but also produces the useful statistics and reviews of poverty, inequality, life expectancy, education outcomes as well as a detailed analysis of the rice sector. As if these are not enough, Gampat sets the tone by situating the exploration in the country's long standing and debilitating ethno-political dynamics. This self-contained book will be of tremendous use to policy makers, journalists and students interested in the historical context of present-day outcomes. I highly recommend this book to public libraries and home reference libraries. ---Tarron Khemraj, William and Marie Selby Professor of Economics and International Studies, New College of Florida