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Syncretism in the New World was the way different practices fused to give rise to new styles of music. This was brought about largely by the interaction of different ethnic groups. In addition, syncretism is how Africans adapted to their new situation socially, religiously, and psychologically. Each country and region experienced syncretism in different ways. Laws, cultural practices, and musical transmission were key factors in how syncretism was carried about. Another way of saying this is that during the era of globalization, a “multi-directional cultural and economic traffic of religious expression and new approaches to linking the religious and secular genres” caused a mixing of practices very different from how African musical cultures were syncretized in the past. The syncretism was at an international scale and in the context of a culture where black people were seen as inferior to white folks. Overtime, with the end of slavery, the issues of racism were confronted and national identity was conceived by black people. Censorship by church authorities of dances shaped the development of the practice of African art causing some practices to be abandoned or changed. Africans would be obedient to authorities if they couldn’t find a way around the rules. Also, government regulations affecting the economy caused cultural changes. This sometimes caused certain musics to be associated with those who were not as well off in social status. In Jamaica, the police viewed dancehalls as places where gangsters sought refuge. They also resented this because victories over the police were cause for festivity there. This kind of tension arose because of the class conflict in the communities. On the other hand, the black population would play certain styles of music in order to cater to tourists. In this way, they supported the economic wellbeing of their communities. For example, Haitian Voodou is performed at hotels almost every night and it has been that way since the early 1900s. Cuba promotes dance because it relies heavily on tourism to maintain its economy afloat. Only a country with such a rich music history is able to accomplish this. Tourists almost always partake in the dance scene when visiting the country.

Rhythms in the New World such as bell pattern are African. Instruments from Africa such as drums and percussion facilitated the creation of syncretic forms of music. The migration of instruments with the slaves on ships ensured the preservation of African traditions. Despite the slave status of the Africans on the ships, their wardens allowed them to have traditional African drums aboard. These were provided to ensure the Africans would make it mentally sound after the long journey at sea. Africans improvised by building instruments and did so to great success. Some instruments like bongos were invented in the New World. Bongos were accepted by Cuban “society” circles early on. These instruments then migrated to America. For example, the bongo drum contributed to Afro-Cubop.

In Jamaica, African-Jamaican musicians invented mento music by modifying the form of the English quadrille. They also added elements of off-beat rhythms and polyrhythms. Slaveholders gave their slaves freedom to carry out musical projects like these. However, slaveholders tried to keep on eye on what the slaves were doing. They did not want the slaves to have too much freedom because that would be a threat to the slave establishment. A lot of the music was played at night because that was when the slaves were not working for their owners. When American music started coming into Jamaica, the Jamaicans accepted the art forms and these would characterize the music scene up to the present day. During the second world war, American soldiers were stationed on Jamaica. The locals met the soldiers who shared music from the United States with them. Thru the transmission of new cultures, the black diaspora throughout the New World learned about each other and new possibilities of collaboration were conceived. This has led some to attach themselves to national identities in each Caribbean country.

In Cuba, groups called cabildos were mutual aid societies where Africans would practice their traditional culture. In fact, the cabildos was where the new style Santeria was developed. Santeria is based on Yoruba culture. It is important to note that the son style in Cuba is a fusion of Cuban and African elements. The Son style was born in East Cuba and spread throughout the country starting in the 1880’s. It evolved as it spread. Vocalists of the Son used Spanish-influenced syllabic forms. A variety of Son styles including guajira-son, bolero-son, son-cha, Son Montuno, and salsa songo developed from original son styles. When Emancipation came to the various regions of the New World. Slaves developed their music substantially since they could throw parties, have street events, and travel freely. This sometimes led to chaos as the blacks would mock the white people in their musical performances. They would do this in the context of political campaigns by white people as well questioning the candidate’s knowledge of black music. Cultural shifts as a result of the emancipation caused the different musical phenomenon to develop.

Overtime, the traditional African languages disappeared but the music remained faithful to the past.

Christianity had a strong influence on the culture of non-white populations. Many people converted to maintain good relationships with the ruling classes. Also, their native African religions were able to be modified to accommodate for Christian saints. Different church musics would influence the rhythms used in songs. An example is how in Suriname the Maroons borrowed rhythms from Pentecostal church music to employ in their songs.

Black people in the thirteen colonies learned to play European instruments like the violin when they weren’t given to opportunity to play African instruments. This led to music that was inspired by African folk song.

Globalization also led to local Caribbeans accessing music markets outside the region.

The discovery of gold in the countries of Suriname and French Guinea brought about a migration of Creoles. The Creole miners welcomed local Maroon people’s to their nightly festivities. Overtime a new style of music called loonsei would become vastly popular in the region. Later a new hybrid style called akele named after a musician named Alexander would become popular. There are akele bands in French Guinea. A new drum called the akele drum is based on the design of the Conga drum from the Afro-Cuban music scene. The new drum was meant to reflect the notion of modernity in the culture. They later added an instrument to their groups called a days which resembles a drumset. Two bands requested patronage from the member’s employers. When the patronage was granted to band’s named themselves after the companies. For example, the Alcoa boys named themselves after the North American aluminum company, Alcoa. North American music continued to influence the Akele music. This resulted in a new style called fonki which means funky. Eventually, Aleke become a recognized popular music when it started to be recorded and distributed.