Folk Music of Virgin Islands

The Virgin Islander traditional music has fallen since the mid-20^th century, although some of the customs, such as the scratch ensembles, remain lively. The movements that contributed to this evolve include the rise of the tourism industry, the change of American tourists from Cuba to the Virgin Islands brought the 1959 revolt, and the increase of the industries is based on the mass radio, television and recorded music. These evolves (diluted) the indigenous customs and change younger generations from becoming participated in the traditional music, because of the renowned patterns which was been viewed as to have more respect, class and income.

source of picture: suddenlunch.blogspot.com 

The quadrille is a traditional dance that was previously has an important part in Virgin Island culture; but it is now rarely performed, except in the St. Croix. There, indigenes dance and the quadrille at the public act venues such as the Gerard’s Hall, or in the educational displays for school, festivals and also holidays, or as entertainment for tourists people.

The educational and the entertainment quadrilles groups wear both the traditionally patterned design reminiscent of authentic attire.

The Virgin Islands tea meeting, David and Goliath play and masquerade jig all were possibly originated from somewhere in the Caribbean. The masquerade dance utilized the rudiments of theatre, dance, oratory and music, and functions as simple entertainment with improvised dances alternated with amusing monologues. Tea meetings are currently performed as reconstructions in legend bands; they were evening of speech-making, feasting and the singing of the hymns and also the parlor chants. David and Goliath play includes music, theatre, dance and dramatic and witty speeches, all are based on the biblical plot of David and Goliath.

The Afro-Virgin Islander bamboula custom is currently performed in the reconstructed manner. This was a pattern of chant, drumming and traditional dance which is performed by two drummers on one drum; one uses his hand and heel, and the other uses two sticks. African-styled dance and group chant with refrains were a regular section, with verses often improvised by a soloist.

The traditional Virgin Islander traditional music festivals were existence until the late 50s. Masquerading (mas’ing) which was an essential customs, and it is made up of groups putting costumes based a theme, and also playing songs and beats that propose their uniqueness. Instruments they used include the fife-and-drum band that featured a cane fife, double-headed bass drum (regarded as keg or boom-boom) and snare drum (regarded as kettledrum).

The Virgin Islander carison custom is inexistence in a true traditional context, but it has an important sign of Crucian culture, and it is performed by legend bands for educational and holidays occasions. Carisos were still performing during in the late 90s by several elderly singers, most popularly Ethel Mclntosh and Leona Watson.

However it is similar in some ways to quelbe, carfiso is more African in its song pattern, regular sustained syllables and traditional act context which is mainly for women singing in group in call-and-response. Carisos, like qualbe, honor ancient occasions, and extend news and opinions about the important problems. One especially popular cariso dates to 1848, and recorded the liberation of the slaves; the initial part of the refrain, sung by a chorus, which is followed by a verse by the solo singer.

During in the early 1900s small groups relocated to the small French island of St. Barths and moved to St. Thomas, VI in search of job. Recognized across the St. Thomas as Frenchies many played instruments such as the accordion, harmonica and the guitar and also form instruments such as Weero or Guoros out from the dried squash from their farms and cowbells from their livestock. This combination of the French and Caribbean culture and French Creole language gave this music a distinctive tone regarded as Cadance. Cyril Querrad of the Mountain Kings was the initiator in popularizing the music and tone of the French Virgin Islander. He had his own weekend concert at the Luau Club on St. Thomas where he sang and displayed guitar for military personnel, tourists and indigenous similarity. He was introduced as the King of the Mountain and the Mountain Kings ensembles was later created. Other indigenous French decent ensembles later came up, such as the Originals, Obsession Ensemble and the Under Pressure ensemble. These ensembles remained to have their distinctive tone as a result of this combination of cultures.