① The Naming Of The Igbo Child

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The Naming Of The Igbo Child

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This system extended even into marriage. Unlike in some Western countries, the woman does not always change her name. In the event that she did, it would be to her husband's first name. In the example above, the progenitors, Onodugo and Nkechi , may be differentiated from others in their generation by his and her father's name. For ex. Onodugo and Nkechi have fathers with first names Okonkwo and Agu respectively. They are the father and mother of a daughter, and son who are each married. The son and daughter each had a child. The first who had a child would name their child Ezenwa. The next sibling to have a child would almost always give their child a different first name, since it is against custom to name a child after a living family member, especially one in the same or previous generation.

This word can also be found in an Igbo name. Kaisoluchukwu Solu, Kaiso. The enslaved Ibibios, Igbo and supposedly other slaves would gather, plant two poles on opposite ends, and place a bar across. They would take turns individually dancing and negotiating their bodies to go underneath the bar and exit on the opposite end without upsetting it, no matter how low the bar was. The accompanying chant used to egg on and lead the dancer to a successful exit went something like this: "kaiso, kaiso, kaiso" —— meaning "go forward, go ahead, more". The dance was later named limbo. Ka means go. Iso means forward.

Kaiso therefore, means go forward in the Ibibio language of Southeastern Nigeria. The Ibibios and Igbo people who were kidnapped from the Niger Delta and Calabar , [4] shipped across the vast Atlantic Ocean, and subsequently enslaved in the Caribbean islands of Trinidad and Tobago brought their music, language, and traditions with them. In slavery, their customs and traditions got interwoven into the larger slave culture of the area, but the word kaiso go forward, go ahead, or more survived.

It later became the name of Trinidad and Tobago's most popular music. Kaiso evolved into calypso and that, too, evolved into soca music. The very fact that the word kaiso was common and accepted enough to be used for naming a dance or song suggests that the Ibibio and Igbo slave population of that area was strong and socially influential. Calypso music was developed in Trinidad in the 17th century from the West African Kaiso and canboulay music brought by captive Africans imported to that Caribbean island to work on sugar plantations.

These slaves, brought to toil on sugar plantations, were stripped of all connections to their homeland and family and not allowed to talk to each other. They used calypso to mock the slave masters and to communicate with each other. Many early calypsos were sung in French Creole by an individual called a griot. That Kalinda and its accompanying drum rhythms were predominantly a Kongo input into Trinidad culture can be concluded from the significant number of Kongo names among remembered stickmen and popular stickyards and from the emotional involvement with stickfight culture of Kongo descendants interviewed in the s in contrast with the attachment of Yoruba , Rada and Hausa descendants to religious ceremonies.

The kalinda drum rhythm was transported almost bodily into Kaiso even without modification. This rhythm can also be heard in Calypso and Soca. From Wikipedia, the free encyclopedia. For other uses, see Kaiso disambiguation. Calypso soca brukdown palm-wine music mento. Chutney chut-kai-pang rapso gospelypso cadence-lypso ska spouge reggae. Archived from the original on 1 March Retrieved 20 March CS1 maint: archived copy as title link Warner-Lewis, Maureen

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