Biguine and Guadalcanal, Seville

Contents 1 History 2 Origin 3 Orchestrated biguine 4 Evolution of biguine 4.1 Biguine vidé 5 See also 6 References

History

Two main types of French antillean biguine can be identified based on the instrumentation in contemporary musical practice, which is call the drum biguine and the orchestrated biguine. Each of these refer to contexts of a specific origin. The drum biguine, or bidgin bélé in Creole, comes from a series of bélé dances performed since early colonial times by the slaves who inhabited the great sugar plantations. Musically, the bidgin bélé can be distinguished from the orchestrated biguine in the following ways: its instrumentation (cylindrical single-membraned drum (bélé) and the rhythm sticks (tibwa); the call-and-response singing style; the soloist's improvisation, and the nasal voice quality. According to a recent study by Rosemain (1988), the biguine figured in fertility rituals practiced in West Africa, but its ritual significance has since disappeared in Martinique. Origin

Bidgin bélé or drum biguine – originates in slave bélé dances and characterized by the use of bélé drums and tibwa rhythm sticks, along with call and response, nasal vocals and improvised instrumental solos; has its roots in West African ritual dances.

The bélé itself is a huge tambour drum that players ride as though it was a horse. It is characterized, in its rhythm, by the "tibwa" (two wooden sticks) played on a length of bamboo mounted on a stand to the tambour bèlè. Added to the tambour bèlè and tibwa are the maracas, more commonly referred to as the chacha. The cinquillo is beat out by the tibwa, but it translates very well to the chacha when the rhythms are applied for playing biguine. The tibwa rhythm plays a basic pattern and the drum comes to mark the highlights and introduce percussion improvisations. Orchestrated biguine

By combining the traditional bélé music with the polka, the black musicians of Martinique created the biguine, which comprises three distinct styles: the biguine de salon the biguine de bal the biguine de rue.

Lacking recognition at home, several biguine artists from Martinique moved to mainland France, where they achieved greater popularity in Paris, especially in the wake of the colonial exhibition in 1931. Early stars like Alexandre Stellio and Sam Castandet became popular in Paris. Between the 1930s and 1950s, the dance beguine was popular among the islands' dance orchestras. Its popularity abroad died relatively quickly, but it lasted as a major force in popular music on Martinique and Guadeloupe until Haitian compas took over in the 1950s. In the later part of the 20th century, biguine musicians like clarinet virtuoso Michel Godzom helped revolutionize the genre.

Biguine has many features in common with the New Orleans jazz, and have influenced its development. Evolution of biguine

The biguine’s evolution can be traced in zouk through the bass drum, the maracas rhythmic pattern played on the hi-hat/cymbals and the tibwa rim shot on the rim of the snare drum, which is identical to the bidgin bélé. The signature sound of the biguine is the interplay between the clarinet and trombone, both solo and as a duet, which can still be heard today throughout Antilles music, from the most traditional forms like cadence or the pop sounds of today's zouk. Biguine vidé

Biguine vidé is an up tempo version of the biguine rhythm (tambour and tibwa), combining other carnival elements. It is a form of participatory music from Guadeloupe and Martinique, with the bandleader singing a verse and the audience responding. Modern instrumentation includes a variety of improvised drums made from containers of all kinds, plastic plumbing, bells, tanbou débonda, chacha bélé , tibwa and bélé drums.

The face pace of the carnival-associated biguine provided the rhythmic basis for zouk béton ("hard" zouk), which is reserved for individual jump up. See also Beguine (dance) Zouk

Guadalcanal, Seville and Biguine

The name was given to the island of Guadalcanal in the Solomon Islands in 1568. The name was chosen by Pedro de Ortega Valencia who had been born in the village; he was a subordinate of Spanish explorer and navigator, Álvaro de Mendaña de Neira.

Contents 1 Location and population 2 Etymology 3 History 4 References 5 External links

Location and population

In 2006 there were 2,970 inhabitants. It has an area of 275 square kilometres and a population density of 10,6 people per km2. It is at an altitude of 662 metres, in a valley between the Sierra del Agua and the Sierra del Viento, in the region of the North Mountains of Seville. Guadalcanal is 80 kilometres north of Seville, it depends to the judicial party of Cazalla de la Sierra Etymology

The name, etymologically, comes from the Arabic phrase Wadi al-Qanal (وادي القنال), meaning "river of the stalls" or "valley of stalls", referring to the refreshment stalls set up there during the Muslim rule in Andalusia. Other names were Tereses or Tereja or Canani with the Iberians. History Ermita de San Benito. Guadalcanal. Iglesia de Santa Ana. Guadalcanal. Iglesia de la Concepción.

It was reconquered by the Order of Santiago in 1241 from the Moors, then Guadalcanal belonged to the León's province as well as other parts of Extremadura. In the ecclesiastical matter, it belonged to the Santa María de Tendudia vicary.

Guadalcanal was fortified by means of a now-ruined wall which was demolished because the village took part in the Guerra de las Comunidades de Castilla.

In the mid-16th century, the area had some silver mines financed by the Fugger family.

The village suffered crisis in the 19th century. That one finished with the four religious communities resting in the village and as well as other rural communities in Spain it had to face with the massive exodus of their inhabitants to the cities in the 20th century.
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