La culture musicale de la biguine martiniquaise à l’aune du XXIe siècle : mémoire et avenir. La question de la continuité masquée, du bèlè à la biguine
On a global level, music reflects the main stages and outstanding periods of the evolution of mankind. Music of Martinique, made up of two complementary endogenous cultures, the bèlè found in rural circles and the beguine in towns, emerged from the evolution of creolization being influenced by both...
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| Main Author: | |
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| Format: | Article |
| Language: | English |
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Université des Antilles
2018-07-01
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| Series: | Études Caribéennes |
| Subjects: | |
| Online Access: | https://journals.openedition.org/etudescaribeennes/11858 |
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| Summary: | On a global level, music reflects the main stages and outstanding periods of the evolution of mankind. Music of Martinique, made up of two complementary endogenous cultures, the bèlè found in rural circles and the beguine in towns, emerged from the evolution of creolization being influenced by both African and European cultures and is no exception to this paradigm. As far as our research is concerned, it focuses more specifically on the study of the beguine.There are two reasons for this choice: on the one hand, it is a major musical piece of art and a social cohesion factor; on the other hand, based on the rhythm of the bèlè, the beguine is played in an artistic way which, through developments, associates dance, music and poetry and plays a significant role in an intrinsic and extrinsic society.The beguine, accepted in France at the beginning of the XXth century, can be traced to an ostinato rhythm which dates from the XVIIth century and was known as tibwa. The rhythmic beat, very distinctive, is made up of five beats, played in a two-time tempo. Concerning the bèlè, the drum has two roles: the tibwa is struck on the back of the instrument whilst the second musician improvises or hits the drum skin on the front to accompany the dance. The basis of this orchestration is of African heritage.There can be one or more soloists, likewise for the caller-response, highlighting the dialog between the soloist and the backing vocals known as lavwa dèyè in Martinique. The beguine is not specific to Martinique. We can find similar rhythms within the Caribbean. Our work however, focuses on the beguine of Martinique in order to determine the origins as well as the interest concerning the issues at stake. Using a paradigmatic approach, we will make a comparison of other similar examples. As a result, this will enable us to better identify the factors specific to this type of music of Martinique which, what’s more, plays a big part in the identity of our society. |
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| ISSN: | 1779-0980 1961-859X |