Browse Titles - 3 results
Carnival King of Europe, Tabom in Bahia
directed by Juan Diego Diaz, fl. 2017 and Nilton Pereira, fl. 2017; produced by Juan Diego Diaz, fl. 2017, Brazil. Embassy (Accra), Tap Portugal and Fiesta Hotels & Resorts, S.L., in Carnival King of Europe (London, England: Royal Anthropological Institute, 2017), 52 mins
There is a small community in Ghana who identify as Brazilians. Their name is the Tabom. They are the descendants of former enslaved Africans and creoles who resettled from Bahia to Ghana during the 19th century, especially after the Malês Revolt in Bahia of 1835. They left Bahia escaping repression, looking for...
Sample
directed by Juan Diego Diaz, fl. 2017 and Nilton Pereira, fl. 2017; produced by Juan Diego Diaz, fl. 2017, Brazil. Embassy (Accra), Tap Portugal and Fiesta Hotels & Resorts, S.L., in Carnival King of Europe (London, England: Royal Anthropological Institute, 2017), 52 mins
Description
There is a small community in Ghana who identify as Brazilians. Their name is the Tabom. They are the descendants of former enslaved Africans and creoles who resettled from Bahia to Ghana during the 19th century, especially after the Malês Revolt in Bahia of 1835. They left Bahia escaping repression, looking for better life opportunities, and in search of their ancestral roots. They were received by the Ga people in British, Danish and Dutch-dom...
There is a small community in Ghana who identify as Brazilians. Their name is the Tabom. They are the descendants of former enslaved Africans and creoles who resettled from Bahia to Ghana during the 19th century, especially after the Malês Revolt in Bahia of 1835. They left Bahia escaping repression, looking for better life opportunities, and in search of their ancestral roots. They were received by the Ga people in British, Danish and Dutch-dominated Accra and gradually integrated to this group and to the larger Ghanaian society. However, despite the fact that they no longer speak Portuguese and that most have never set foot in Brazil, they still cherish Brazil and have never given up their dream to visit Bahia, their ancestral homeland.Master drummer Eric Odwarkei Morton is one of many Tabom who has dreamt all his life about visiting Bahia. He is a sixth generation Tabom and a key member of his community who presides religious and funerary ceremonies through song, drumming, and prayers. Tabom in Bahia documents Eric's journey to Brazil and also his preparation for the trip in Accra. The three-week journey took him to urban and rural locations in Salvador, Cachoeira, Santo Amaro, and Valença. Eric met with capoeira and samba-de-roda masters, Candomblé dancers, musicians, and spiritual leaders, members of carnival associations, music teachers and students, and black activists. He was received with anticipation and treated with utmost respect by an Afro-Bahian community that cherishes their African heritage. During the trip Eric not only discovered capoeira, samba-de-roda, samba-reggae, ijexa, and various Candomblé traditions, but also shared agbe, the musical style that he commands.Ethnomusicologist: Juan Diego Diaz
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Juan Diego Diaz, fl. 2017, Brazil. Embassy (Accra), Tap Portugal, Fiesta Hotels & Resorts, S.L.
Author / Creator
Juan Diego Diaz, fl. 2017, Nilton Pereira, fl. 2017
Date Published / Released
2017
Publisher
Royal Anthropological Institute
Series
Carnival King of Europe
Speaker / Narrator
Juan Diego Diaz, fl. 2017
Topic / Theme
Cultural identity, Drums, Folk music, Samba, Candomblé, Capoeira, African Brazilian, Agudas
Copyright Message
Copyright © 2017 Royal Anthropological Institute
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Gayelle, 1989 Series 1, Programme 47
directed by Errol Fabien, 1960- and Suzanne John-Frontin, fl. 1990; presented by Tony Hall, 1948-, Errol Sitahal, 1942- and Errol Fabien, 1960-; produced by Errol Fabien, 1960-, Suzanne John-Frontin, fl. 1990 and Suzanne Salandy, fl. 1990, Banyan Productions; interview by Errol Fabien, 1960- and Tony Hall, 1948-; performed by Charlie's Roots, in Gayelle (Trinidad and Tobago: Banyan Archive, 1989), 28 mins
This is programme no. 47 of the series Gayelle in Port of Spain, Tobago in 1989.
Sample
directed by Errol Fabien, 1960- and Suzanne John-Frontin, fl. 1990; presented by Tony Hall, 1948-, Errol Sitahal, 1942- and Errol Fabien, 1960-; produced by Errol Fabien, 1960-, Suzanne John-Frontin, fl. 1990 and Suzanne Salandy, fl. 1990, Banyan Productions; interview by Errol Fabien, 1960- and Tony Hall, 1948-; performed by Charlie's Roots, in Gayelle (Trinidad and Tobago: Banyan Archive, 1989), 28 mins
Description
This is programme no. 47 of the series Gayelle in Port of Spain, Tobago in 1989.
Date Written / Recorded
1989-11-23
Field of Study
World Music
Content Type
Documentary
Performer / Ensemble
Charlie's Roots
Contributor
Errol Fabien, 1960-, Suzanne John-Frontin, fl. 1990, Suzanne Salandy, fl. 1990, Banyan Productions
Author / Creator
Errol Fabien, 1960-, Suzanne John-Frontin, fl. 1990, Charlie's Roots, Tony Hall, 1948-, Errol Sitahal, 1942-
Date Published / Released
1989
Publisher
Banyan Archive
Series
Gayelle
Speaker / Narrator
Dennis Hall, 1949-
Person Discussed
Dennis Hall, 1949-, Sonya Moze, Chris Herbert, 1956-, David Rudder, 1953-, Wilcox Morris, Harold Saldenah, fl. 1980
Topic / Theme
Soccer, Martial arts, Music, Soca, Calypso
Copyright Message
Copyright © 1989. Used with permission of the Banyan Archive.
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Interview with Ralph Macdonald
produced by Banyan Archive; interview by Tony Lutchman, fl. 1986 (Trinidad and Tobago: Banyan Archive, 1997), 17 mins
Tony Lutchman interviews Ralph Macdonald.
Sample
produced by Banyan Archive; interview by Tony Lutchman, fl. 1986 (Trinidad and Tobago: Banyan Archive, 1997), 17 mins
Description
Tony Lutchman interviews Ralph Macdonald.
Field of Study
World Music
Content Type
Interview
Contributor
Banyan Archive
Author / Creator
Tony Lutchman, fl. 1986
Date Published / Released
1997
Publisher
Banyan Archive
Person Discussed
Ralph MacDonald, 1944-2011
Topic / Theme
Music, Musical genres, Soca, Calypso
Copyright Message
Copyright © 1997. Used with permission of the Banyan Archive.
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