List of Caribbean music genres
Caribbean music genres are diverse. They are each syntheses of African, European, Indian and Indigenous influences, largely created by descendants of African slaves (see Afro-Caribbean music), along with contributions from other communities (such as Indo-Caribbean music). Some of the styles to gain wide popularity outside the Caribbean include, bachata, merenque, palo, mombo, denbo, baithak gana, bouyon, cadence-lypso, calypso, chutney, chutney-soca, compas, dancehall, jing ping, parang, pichakaree, punta, ragga, reggae, reggaeton, salsa, soca, and zouk. Caribbean music is also related to Central American and South American music. The history of Caribbean music  originates from the history of the Caribbean itself. That history is one of the native land invaded by outsiders; violence, slavery, and even genocide factor in. Following Christopher Columbus' 1492 landing, Spain claimed the entire region as its own. That didn't sit well with either the natives or Spain's European neighbors; within a few years, bloody battles raged across the islands of the Caribbean, fought by Spain, France, England, Denmark, and the Netherlands. All these battles (and diseases brought from Europe) decimated the native tribes, with entire cultures wiped out. Thus the Caribbean was colonized as part of  the various European empires. Native cultures were further eroded when the Europeans imported African slaves to work the sugar and coffee plantations on their island colonies. In many cases, native cultures (and native musics) were replaced by those imported from Africa and Europe. At this point, whatever common Caribbean culture existed was splintered. Each of the European powers had imposed its own culture on the islands they had claimed. In the late 20th century, many Caribbean islands gained independence from colonial rule but the European influences can still be heard in the music of each subtly different culture. Island-specific  culture also informs the music of the Caribbean. Every island has its distinct musical styles, all inspired, to one degree or another, by the music brought over from the African slaves. As such, most Caribbean music, however unique to its own island culture, includes elements of African music - heavy use of percussion, complex rhythmic patterns, and call-and-response vocals. In many cases, the difference between one style and another comes down to the rhythms utilized in each music; every island has its own rhythmic sensibilities. The complex deep origins of Caribbean music are best understood with a knowledge of  Western Hemisphere colonial immigration patterns, human trafficking patterns, the resulting melting pot of people each of its nations and territories, and thus resulting influx of original musical influences. Colonial Caribbean ancestors were predominantly from West Africa, West Europe, and India. In the 20th and 21st centuries immigrants have also come from Taiwan, China, Indonesia/Java, and the Middle East. Neighboring Latin American and North American (particularly hip hop and pop music) countries have also naturally influenced Caribbean culture and vice versa. While there are musical commonalities among Caribbean nations and territories, the variation in immigration patterns and colonial hegemony tend  to parallel the variations in musical influence. Language barriers (Spanish, Portuguese, English, Hindustani, Tamil, Telugu, Arabic, Chinese, Hebrew, Yiddish, Yoruba, African languages, Indian languages, Amerindian languages, French, Indonesian, Javanese, and Dutch) are one of the strongest influences. Divisions between Caribbean music genres are not always well-defined, because many of these genres share common relations, instrumentation and have influenced each other in many ways and directions. For example, the Jamaican mento style has a long history of conflation with Trinidadian calypso. Elements of calypso have come to be used in mento, and vice versa, while their origins lie in the  Afro-Caribbean culture, each uniquely characterized by influences from the Shango and Shouters religions of Trinidad and the "Kumina" spiritual tradition of Jamaica. Music from the Spanish-speaking areas of the Caribbean are classified as tropical music in the Latin music industry. Antigua and Barbuda. Benna. Benna is an uptempo Antiguan folk song, also spelled "bennah" and known as "ditti". It is characterized by lyrics that focus on scandalous gossip, performed in a call and response style. It has also been a means of folk communication, spreading news and political commentary across the island. Other genres include: Dominica. Chanté mas . Chanté mas ("masquerade song") is a tradition from the music of Dominica, based in Carnival celebrations and performed by groups of masquerading partygoers. They use the call-and-response format, and lyrics are often light-hearted insulting, and discuss local scandals and rumors. Other genres include: soca music Dutch West Indies. "Bari" is a festival, dance, drum and song type from the Dutch Antillean island of Bonaire. It is led by a single singer, who improvises. Lyrics often concern local figures and events of importance. "Quimbe" is a topical song form from the Dutch Antillean St Maarten. It traditionally accompanies  the "ponum" dance and drumming, but is now often performed without accompaniment. Lyrics include gossip, news and social criticism, and use clever puns and rhymes. Performance is often competitive in nature. "Tumba" is a style of Curaçao music, strongly African in origin, despite the name's origin in a 17th-century Spanish dance. Traditional "tumba" is characterized by scandalous, gossiping and accusatory lyrics, but modern "tumba" often eschews such topics. It is well known abroad, and dates to the early 19th century. It is now a part of the Carnival Road March. Other genres include: Guyana. Shanto is a form  of Guyanese music, related to both calypso and mento, and became a major part of early popular music through its use in Guyanese vaudeville shows; songs are topical and light-hearted, often accompanied by a guitar. Other genres include: Haiti. Compas / "kompa". Compas, short for "compas direct", is the modern méringue ("mereng" in creole) that was popularized in the mid-1950s by the sax and guitar player Nemours Jean-Baptiste. His méringue soon became popular throughout the Antilles, especially in Martinique and Guadeloupe. Webert Sicot and Nemours Jean-Baptiste became the two leaders in the group. Sicot then left and formed  a new group and an intense rivalry developed, though they remained good friends. To differentiate himself from Nemours, Sicot called his modern méringue, Cadence rampa. In Creole, it is spelled as "konpa dirèk" or simply "konpa". It is commonly spelled as it is pronounced as "kompa". Méringue. Evolving in Haiti during the mid-1800s, the Haitian méringue (known as the "mereng" in creole) is regarded as the oldest surviving form of its kind performed today and is its national symbol. According to Jean Fouchard, mereng evolved from the fusion of slave music genres (such as the "chica" and "calenda") with ballroom  forms related to the French-Haitian contredanse ("kontradans" in creole). Mereng's name, he says, derives from the "mouringue" music of the Bara, a tribe of Madagascar. That few Malagasies came to the Americas casts doubt on this etymology, but it is significant because it emphasizes what Fouchard (and most Haitians) consider the African-derived nature of their music and national identity. Méringue has lost popularity to konpa. Mizik rasin. Mizik rasin is a musical movement that began in Haïti in 1987 when musicians began combining elements of traditional Haitian "Vodou" ceremonial and folkloric music with rock and roll. This  style of modern music reaching back to the roots of "Vodou" tradition came to be called "mizik rasin" ("roots music") in Haitian Creole or "musique racine" in French. In context, the movement is often referred to simply as "rasin" or "racine". Starting in the late 1970s (with discontent surrounding the increasing opulence of the Duvalier dictatorship), youth from Port-au-Prince (and to a lesser extent Cap-Haïtien and other urban areas) began experimenting with new types of life. François Duvalier's appropriation of Vodou images as a terror technique, the increase in U.S. assembly and large-scale export agriculture , the popularity of disco, and Jean-Claude Duvalier's appreciation of konpa and chanson française disillusioned many youth and love. To question the dictatorship's notion of "the Haitian nation" (and thus the dictatorship itself), several men began trying a new way of living, embodied in the Sanba Movement. They drew upon global trends in black power, Bob Marley, "Hippie"-dom, as well as prominently from rural life in Haiti. They dressed in the traditional blue denim (karoko) of peasants, eschewed the commercialized and processed life offered by global capitalism, and celebrated the values of communal living. Later, they adopted matted  hair which resembled dreadlocks, but identified the style as something which existed in Haiti with the term cheve simbi, referring to water spirits. In the 1990s, commercial success came to the musical genre that came to be known as "mizik rasin", or "roots music". Musicians like Boukman Eksperyans, and Boukan Ginen, and to a lesser extent RAM, incorporated reggae, rock and funk rhythms into traditional forms and instrumentation, including "rara", music from "kanaval", or traditional spiritual music from the rural hamlets called lakous, like Lakou Souvnans, Lakou Badjo, Lakou Soukri, or Lakou Dereyal. Twoubadou. Twoubadou is another form of folk  music played by peripatetic troubadours playing some combination of acoustic, guitar, beat box and accordion instruments singing ballads of Haitian, French or Caribbean origin. It is in some ways similar to Son Cubano from Cuba as a result of Haitian migrant laborers who went to work on Cuban sugar plantations at the turn of the century. Musicians perform at the Port-au-Prince International Airport and also at bars and restaurants in Pétion-Ville. Honduras. The music of Honduras is varied. Punta is the main "ritmo" of Honduras, with similar sounds such as Caribbean salsa, merengue, reggae, reggaeton, And kompa  all widely heard especially in the North, to Mexican rancheras heard in the interior rural part of the country. Honduras' capital Tegucigalpa is an important center for modern Honduran music, and is home to the College for Fine Arts. Folk music is played with guitar, marimba and other instruments. Popular folk songs include "La ceiba" and "Candú". Other genres include: Jamaica. Reggae is a music genre first developed in Jamaica in the late 1960s. While sometimes used in a broader sense to refer to most types of Jamaican music, the term reggae more properly denotes a particular music style that  originated following on the development of "ska" and "rocksteady". Ska is a music genre that originated in Jamaica in the late 1950s, and was the precursor to rocksteady and reggae. Ska combined elements of Caribbean "mento" and "calypso" with American jazz and rhythm and blues. It is characterized by a walking bass line accented with rhythms on the upbeat. Mento is a form of Jamaican folk music that uses topical lyrics with a humorous slant, commenting on poverty and other social issues. Sexual innuendos are also common. Mento was strongly influenced by calypso, the musical traditions of the "Kumina" religion  and Cuban music. During the mid-20th century, mento was conflated with calypso, and mento was frequently referred to as "calypso", "kalypso" and "mento calypso"; mento singers frequently used calypso songs and techniques. Other genres include: Saint Lucia. "Jwé" is a kind of rural music from Saint Lucia, performed informally at wakes, beach parties, full moon gatherings and other events, including "débòt" dances. Jwé uses raunchy lyrics and innuendos to show off verbal skills, and to express political and comedic commentaries on current events and well-known individuals. One well-known technique that has entered Lucian culture is "lang dévivé", which  is when the singer says the opposite of his true meaning. Other genres include: Saint Vincent and the Grenadines. Big Drum is a style found in Saint Vincent and the Grenadines and elsewhere in the Windward Islands, especially Carriacou. It is accompanied by drums traditionally made from tree trunks, though rum kegs are now more common. Satirical and political lyrics are common, performed by a female singer called a "chantwell" and accompanied by colorfully costumed dancers. Big Drum is performed at celebrations like weddings and the launchings of new boats. Chutney-soca is another genre. Suriname. Kaseko is a music  genre that originated in Suriname. The term "Kaseko" is probably derived from the French expression "casser le corps (break the body)", which was used during slavery to indicate a very swift dance. It is a fusion of numerous popular and folk styles. It is rhythmically complex, with percussion instruments including skratji (a very large bass drum). Songs are typically call-and-response. Other genres include: Trinidad and Tobago. Calypso. Calypso is a Trinidadian music, which traditionally uses a slow tempo to accompany vocalist-composers, or "calypsonians". Songs are often improvised and humorous, with sexual innuendo, political and social commentary, and  picong, a style of lyricism that teases people in a light-hearted way. Calypso is competitively performed in calypso tents at Carnival. Calypso uses rhythms derived from West Africa, with cut time, and features dance as an important component. Calypso's roots were frequently ascribed to the Bahamas, Jamaica, Bermuda or the Virgin Islands. Calypso can be traced back to at least 1859, when a visiting ornithologist in Trinidad ascribed calypso's origins in British ballads. While calypso has a diverse heritage, calypso became a distinct genre when it developed in Trinidad. The word "caliso" refers to "topical songs" in  the dialect of Saint Lucia, and may be linguistically related to the word "calypso". Cariso. Cariso is a kind of Trinidadian folk music, and an important ancestor of calypso music. It is lyrically topical, and frequently sarcastic or mocking in the "picong" tradition, and is sung primarily in French creole by singers called "chantwells". "Cariso" may come from "carieto", a Carib word meaning "joyous song", and can also be used synonymously with "careso". Chutney. Chutney is a form indigenous to the southern Caribbean, popular in Guyana, Trinidad, Jamaica and Suriname. It derives elements from traditional Indian music and popular Trinidadian  Soca music. Soca. Soca is a style of Caribbean music originating in Trinidad and Tobago. Soca originally combined the melodic lilting sound of calypso with insistent cadence percussion (which is often electronic in recent music), and Indian musical instruments—particularly the dholak, tabla and dhantal—as demonstrated in Shorty's classic compositions "Ïndrani" and "Shanti Om". During the 80's, the influence of zouk as popularized by the French Antillean band Kassav' had a major impact on the development of modern soca music. Virgin Islands. Quelbe. Quelbe is a form of Virgin Islander folk music that originated on St. Croix , now most commonly performed by groups called "scratch bands". Traditionally, however, quelbe was performed informally by solo singers at festivals and other celebrations. Hidden meanings and sexual innuendos were common, and lyrics focused on political events like boycotts.