CANDIDATE NAME: SAIDEE ALI CENTER NUMBER: 160014 CANDIDATE NUMBER: 1600140731 SCHOOL: COUVA EAST SECONDARY SCHOOL TERRITORY: TRINIDAD AND TOBAGO TEACHER: MRS MOSODEEN, MRS WILLIAMS THEME: MUSIC TOPIC: WOMEN IN THE MALE-DOMINATED CARIBBEAN MUSIC INDUSTRY TABLE OF CONTENTS GENERAL INTRODUCTION 1 PREFACE 2 REFLECTIVE 3 ANALYSIS 6 CONCLUSION 8 BIBLIOGRAPHY 9 GENERAL INTRODUCTION The theme of this portfolio is “Women In The Male-Dominated Caribbean Music Industry”. My purposeistoinformmusicindustryprofessionalsandaspiringfemalemusicians aboutthechallengesandlimitationswomenencounterandthestrategiesfemalesusetogetahead in the music industry. The portfolio comprises three sections: Exposition, Reflection, and Analysis. The exposition utilises,primaryandsecondarysourcestohighlightawoman’sbattleintheindustry andwaysofovercomingit.Thereflectionwillbeashortstorytitled“Soca”.Itrevolvesaround Soca, a female artist who wins a singing competition but is refused her full reward. Thiswill underscore the unfair challenges women are subjected to in the industry. I’m studying music, and discussingawoman’sworldinthemusicindustryisapopular conversation in class. Therefore, inspiring my research. Asafuturemusicartist,thisresearchunderscoresawoman’sstrugglesandthestrategies they use to overcome these barriers, thus reinforcing my career choice as a Singer and Songwriter. This theme is personal as my lifelong pursuit of music began at age four, and now promoting feminism through music drives my career path. This inspires my research to bring awareness to these issues. 1 PREFACE For my reflective, I have composed a short story entitled, “Soca”. I selected this genre because I believe that it is the most appropriate medium to express the challengesSocaencounteredbeingafemaleCalypsoartistandhowregardlessofbeinglimited, she became a successful Calypsonian. ThepurposeofthepieceistopromotefemalerepresentationintheMusicIndustry.Itismeantto emphasise that talent should not be governed by one’s gender. My intended audience is firstly, musicians like myself, in any agegroupand,secondly,young aspiringfemalemusiciansoftheupcominggenerationinterestedinbecomingcomposers,artists and producers. This piece can be presented in music schools to educate and preparefemalemusiciansforthe strugglestheymayencounter.Additionally,thepiececanbedeliveredonmorningtalkshowsto promoteanddiscussfemalerepresentationandgenderequalityinthemusicindustry,reachinga vast and diverse audience. 2 REFLECTIVE “Soca” “Ehem, mic check, 1.”(Dialectal Variation). Soca cleared herthroatintotherecording studio’s mic. She adjustedtheonyx,leatherover-earheadphonestositcomfortablyonherears and gave Leo a thumbs up (Communicative Behaviour). Leo was the recording producer of Lion’s Music Record company based in New York, and as ofrecently,herfiance.Thiswasn’t Soca’s first rodeo in the music studio, after years, this all came naturally to her. Leo nodded slightly and returned Soca’s thumbs up (Communicative Behaviour) with a warm smile growing beautifully on his angular face and said into a tiny intercom mic, “Recording in 3…2…1”. Soca was recording a new album,“Underde’CalypsoTent”,dedicatedtorenditionsof the Calypsoes she wrote as a teenager. Today’s session focused on the groovy yet lyrically powerful song she called, “Laugh an cry did live in mi house”, a song reminiscent of her emotional rollercoaster upbringing. As the studio becamefloodedwithhervoiceofhoney,she felt somewhat bittersweet. The music acted as a view master, flashing a myriad of images to whereitallbegan,inherhomelandofsunandsea,“sweet,sweetTnT,”.Swayingtothebeat,she closed her eyes and surrendered to the memories (Communicative Behaviour). She found herself in 1952. Thenightwasparticularlyunderthemakeshiftbamboostructures,theCalypsotents.The oillanternsandthemassivemoonprovidedjustenoughlightforSocatoseethegarbageshewas meanttoclean.TheboisterouscrowdwhoenjoyedtheCalypsoweregone.WhileSocasweptthe earthen floor tidy she overheard Leory and Jetro, a Calypsonian duo. “Yuh hear bout the competitionBoisyhavin'nexweek?”(DialectalVariation)LeroyquestionedJetro.“Yesboi,he 3 tell me jus now,putwenamedowneh,achancetorecordwethinginNewYorkfuhLion!Dat guh be we BIG BREAK!”(Dialectal Variation) answered Jetro passionately. Soca’s bushy eyebrows jumped up her forehead in shock (Communicative Behaviour), “ACHANCETUH RECORD FUH LION!?”(Dialectal Variation)Soca beamed internally. CalypsoraninSoca’sveins,sheadoredtherhythmandthestory-tellinglyrics.Underthe massivemangotreebehindherhome,shewouldpencilthelyricsthatdancedinhermind.This iswhereherfirstoriginal,“Laughancrydidliveinmihouse”,wasborn.Itwasasongdepicting the happiness and heartache her family brought her. The lyricswerereminiscentofthelossof hermotherandtheimprisonmentofherfatherforintoxicatinglyshovingherfrailmothertoher doom. She decided this was the song she would sing for the competition. Eagerly, Soca dropped the cocoyea broom and advanced to Boisy,anEnglishmanwith theroundestbellyinJosephVillage,spectaclesandapermanentscowl.“MrBoisy,sir,wouldIbe able tuh sing in de competition?”(Dialectal Variation) Soca asked lifting her eyebrows quizzically (Communicative Behaviour). Immediately disgusted, his fat face squirmed (Communicative Behaviour) as if repulsed by her question. Boisy’s lopsided nose wrinkled (CommunicativeBehaviour),“Calypsoisaman’sjob.Onedayyouwilllearnyourplaceasa lady… Now, pick up the broom andcontinuecleaningmytent.”,hearticulated,however,Soca refuted.Makingadealwiththedevil,herwishwasgrantedbuttherepercussionwasnopayfor seven shifts, nevertheless, the competition night came. EventhoughmanyonlookerswerescepticalasSocatookthemakeshiftstage,abubbleof silenceseemedtoenvelopthecrowdasshesangherCalypso.Itresonatedthroughoutthehearts ofthecrowdandsecuredherthewin.ThenightafterSocarealisedshehadbeenfoolishtothink Boisy would let a woman win. “Mr Boisy, after dat win, when is mi flight?”(Dialectal 4 Variation) she had asked tapping herfingerstogetherexcitedly(CommunicativeBehaviour). “Soca,Ihaven’tthefaintestideaofwhatyouarereferringto.Frommyrecollection,Leroyand Jetrowon.Theirflightisinanhour.”hedeclaredsmuglyandstruttedawaywithhischesthigh (Communicative Behaviour).Soca’swholebodyseemedtotrembleasifGaea,MotherEarth, sent an earthquake through her frame. Red, hot, seething anger burned her face, her eyes twitched and she clenched her fists tightly (CommunicativeBehaviour).Shesidesteppedand continued her nightly shift. From then on, Soca didn't sing in competition, she onlyeverletherCalypsoripplethe night air during her shifts until one night, her talent was noticed. Representatives from Lion Recording Company came to scout for more artists. Soca, unaware of this belted her heartwrenching lyrics and was startled when she heard a resounding applause. She swung around,“You,mydear,willbeLion’snewstar!I’mLeo,Lion’sscout”,Leogleefullyspoke.Soca was on a flight to New York the nextday,andtherestwashistory.Shesangthelastlyricand opened her eyes, the memoryfaded.Exitingtherecordingbooth,shemurmuredwhilecupping Leo’s cheek (Communicative Behaviour), “Thank you for giving me a stage that no one would.”(Dialectal Variation). Leo kissed her forehead (Communicative Behaviour), “Talent should never be limited by gender.”. 5 ANALYSIS Tobegin,Ihavechosentoanalysethedialectalvariationandcommunicativebehaviourswithin my reflective piece “Soca”. Dialectal variation refers to a person’s conscious choice of dialect, influenced by educational background, and linguistic and non-linguistic factors. The story showcases dialectal variation throughSoca’suseofCreoleandStandardEnglish.AsateenagerinTrinidad,shepredominantly speaksCreole,asseenby“MrBoisy,afterdatwin,whenismiflight?”.Herchoiceoflanguage reflectsthatshepossiblycomesfromalowersocio-economicbackgroundnothavingcompleted her education or was not able to afford to as she is a teenage employee. However, in the recordingstudiowithLeo,sheemploysStandardEnglish.Murmuring,“Thankyouforgivingme astagethatnoonewould.”,indicatesthatherexposuretoafirst-worldnation,anon-linguistic factorgreatlyinfluencedherlanguage.Thissuggeststhatshebecameeducatedandwasrequired tolearnStandardEnglishtoadapttoAmericansocietyandtheprofessionalsettingdominatedby Standard English. Communicative Behaviours are the expressions illustrated through a speaker’s non-verbal communication, providing impressions toothersofhowthespeakertrulyfeels,suchashaptics bodymovementandfacialexpressions.Intheshortstory,Soca’s“tremblingbody,redface”and “clenched fists” signify her immenseangerandbetrayaluponlearningofBoisy’sdeception.It also highlights the emotional impact of his actions, where Boisy himself had a “smug expression” and “strutted off with his chest high” demonstrating his pride and satisfaction in maintaining control, further contributing to the power he has over Soca’s life. Itwasapparent 6 through Soca’s “cupping Leo’s cheek” that this is a gesture of affectionandgratitudetowards Leo for providing her with a platform. When he“ kissed her forehead”, he communicatedhis appreciationforSoca’stalentandhisromanticfeelingstowardsher.Thisinstancedemonstrates the depth of their romantic relationship as Soca only ever communicates through touch with Leo. Inconclusion,dialecticalvariationandcommunicativebehavioursareaspectsoflanguagewhich made for effectual analysis and have contributed significantly to my reflective piece,“Soca”. 7 CONCLUSION In my portfolio: “Music: Women In The Male-Dominated Caribbean Music Industry”, I have researched the challenges,thelimitationsandhowtheyaffectsfemalesaswellasthestrategies women use to get ahead in the industry. Through this study, my oral presentation, and reflective and analytical pieces were given substantial information on my portfolio’stopic.Ineachsection,thereisademonstrationofthe hardshipswomencontinuetoendureinthisindustry.Formyself,Ihaveathoroughrespectand appreciation for the women in this male-dominated landscape. I am hopeful that my portfolio will convey this to my audience of musicians and young aspiring female artists. Overall, this portfolio has provided me with key skills that I will be able to utilize in future endeavours where I am required to do research projects.Theimportanceoftimemanagement, commitmentandleavingnostoneunturned,weresomeofthecrucialskillsIlearntthroughthis project. This has simply been an experience that required resilience and determination. 8 BIBLIOGRAPHY “FemCore to Shine Spotlight on T&T’s Female Pop & Rock Talent.” Trinidad Express Newspapers, 21 May 2022, https://trinidadexpress.com/features/local/femcore-to-shine-spotlight-on-t-t-s-female-pop-rock-ta lent/article_f5ed9a50-d969-11ec-88a1-7361d86dc4ff.html. “Our Pioneering Calypsonians ...lest We Forget.” Guardian.Co.Tt, https://www.guardian.co.tt/article-6.2.370932.36e34932ca.Accessed 7 February. 2024. Phagoo, Vishanna. “Fay Ann: Female Artistes Face Unfair Scrutiny.” Trinidad and Tobago Newsday -, Trinidad and Tobago Newsday, 8 Mar. 2023, https://newsday.co.tt/2023/03/08/fay-ann-female-artistes-face-unfair-scrutiny/. Phillip,Ricqcolia.“FemaleSocaArtistesTalkonBeingaWomanintheIndustry.”LoopNews, 23 Dec. 2017,https://tt.loopnews.com/content/female-soca-artistes-talk-industry. Rochford, Edlin D. Communication Studies: Preparing Students for Cape. iUniverse, 2011. 9
