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Acknowledgments First, a heartfelt salute to all the authors of the book. Out of impossible schedules, these scholars, dancers, teachers, choreographers, administrators , artists, writers, musicians, filmmakers, cultural leaders in so many ways, carved out the time to write fascinating and insightful chapters for this book. Thank you also to the translators. Many, many thanks to all. Many thanks also to the authors of Caribbean Dance from Abakuá to Zouk who served as a brain trust for this second book, including Nathaniel Crowell, Suki John, Rex Nettleford, Alma Concepción, Halbert Barton, Dominique Cyrille, and Gabri Christa. It is with great sorrow that I report the passing of Thomas Osha Pinnock and VèVè Clark. Some of the authors of Abakuá to Zouk gave such extensive help that I can only offer special accolades, thanks beyond measure, and enduring gratitude to Melinda Mousouris, Lois Wilcken, Martha Ellen Davis, Cynthia Oliver, and Patricia Alleyne-Dettmers. Much, much appreciation and many thanks to my husband, Don Burmeister , for assistance of many kinds, including working to make all the photographs ready for publication and help with many complicated (and exasperating) technical details. And thanks, too, to our sons, Abe and Tobias Burmeister, particularly for their computer expertise. To editor Meredith Morris-Babb I offer gratitude for persistence in publishing Abakuá to Zouk and her interest, too, in wanting and helping along this second book. Thanks also to project editor Jacqueline Kinghorn Brown and copy editor Lucy Treadwell. Thank you, Hostos Center for the Arts and Culture in the Bronx, New York, for all the special programs in Puerto Rican and Dominican folklore. Thank you, Centro León in Santiago de los Caballeros, Dominican Republic , for hosting the conference El Son y la Salsa en la Identidad del Caribe. Thanks to all the friends and acquaintances who offered encouragement and information—in naming a few, I am sure to have forgotten many others to whom I am grateful, too—but thanks to Maria Lara, Ane Franco, Gail Yvette Davis, Sydney Hutchinson, Janny Llanos, Angelina Tallaj, Leonardo Ivan Dominguez, Winston Fleary, C. Daniel Dawson, Shannon Dudley, xii Acknowledgments Marisol Berríos-Miranda, Willard S. John, Julian Casanova, Merián Soto, Fayola Olufemi, Jean Paul D., Ruel Ellis, Beryl Easton, Claudia Whittingham, Diane Shepard, Wayne Alleyne, Jacqueline Yancey, Trajal Harrell, Stephanie Goldman, Susan Silvey, Rebecca Sager, Kenneth Bilby, Peter Manuel, Afua Hall, Catherine Evleshin, and Carl Paris. A special thank-you for help from Burton Sankeralli and Barbara Palfy. Thank you to Lisa Solon and Humphrey Taylor for hospitality in Jamaica and to Linda Leonora Greenidge for hospitality in Trinidad (and Keith’s buljol, too). I owe my dance teachers over the years much gratitude; through them I studied Dunham technique and many styles of Caribbean and African dance, and without them this book would never have been written. While I’ve been working on this book, Prisca Ouya has been my mainstay. Thank you, Prisca. And thanks to Mabiba Baegne, Crystal Harrison, Janice Tillery, Titos Sompa, the late Malonga Casquelourd, Pierre Desrameaux, Jackie Guy, Barry Moncrieffe, L’Antoinette Stines, and to Pearl Reynolds, Bernadine Jennings , Pat Hall, Jean Léon Destiné, Richard Gonzalez, Ricardo Colon, Xiomara Rodriguez, Norman Saunders, Pedro Soto and Maria Terrero, Esther Grant, Dele Husbands, Harold Pierson, Lygia Baretto, M’Bayero Louvouezo, and others, unnamed but appreciated. “Tangled Roots: Kalenda and Other Neo-African Dances in the CircumCaribbean ” was adapted by Julian Gerstin from his article originally published in New West Indian Guide in 2004, vol. 78, nos. 1 & 2. It is used by permission of New West Indian Guide. Portions of “Haitian Migration and Danced Identity in Eastern Cuba” by Grete Viddal originally appeared in her article “Sueño de Haiti: Danced Identity in Eastern Cuba” in Journal of Haitian Studies, vol. 12.1. Used by permission of the Journal of Haitian Studies. Some of the material on Jamaican dance moves in Sonjah Stanley Niaah’s “Dance, Divas, Queens, and Kings: Dance and Culture in Jamaican Dancehall ” appeared in the chapter by Sonjah Stanley Niaah and Donna Hope, “Canvasses of Representation: Stuart Hall, the Body and Dancehall Performance ,” in Caribbean Reasonings: Culture, Race, Politics and Diaspora, edited by Brian Meeks, published in 2007 by Ian Randle Publishers, Kingston. Used by permission of Sonjah Stanley Niaah. Lyrics to the calypso sung by Wayne “Poonka” Willock, quoted in Susan Harewood and John Hunte’s chapter, “Dance in Barbados: Reclaiming, Preserving , and Creating National Identities,” are by Anthony “Mighty Gabby” Carter and are used with his permission...

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