Photo credit: Maria Mafla for Grenada National Trust, November 2022

All Saints’ Day and All Souls’ Day are annual Christian festivals held on the 1st and 2nd of November each year to honour the Christian Saints and celebrate the souls of the departed, respectively. On All Saints’ Night friends and relatives of the dead gather at cemeteries to light candles on their graves as a remembrance. On All Souls’ Night candles are lit on the steps of homes in the hope that the deceased will “find their way home.” These rituals are also associated with asham which is parched, ground and sweetened corn.  

Photo credit: Maria Mafla for Grenada National Trust, November 2022

Even though this event has not been documented in this first pilot inventorying fieldwork due to limited resources and timeframe, this element is alive as local people are still practicing it each November to honour their loved ones who have passed away.  

 

Disclaimer:
“Grenada National Trust under the Proud of my Heritage project funded by UNESCO, does not assume any responsibility or liability for any errors, omissions and information in the content of this site. The information contained in this site is provided on an “as is” basis with no guarantees of completeness, accuracy, usefulness or timeliness as the content and audio-visual materials were compiled from interviews done to specifics ICH practitioners and bearers around Grenada, Carriacou and Petite Martinique in 2022 who gave us their written consent during the pilot Intangible Cultural Heritage (ICH) inventorying exercises”
If you are an educational institution, organization and/or researcher who would like to receive more information about any specific ICH element’ material, please feel free to contact us at admin@grenadanationaltrust.org
Photo Credit: Teddy Frederick 2020, Grenada Film Company

Bèlè or Belair is a bare-foot folk dance which resembles the historical European Lancers and Quadrille dances, and incorporates African elements that define it today. Two versions of the Bélé are usually performed, the Bélé (plain) and the Grand Bélé. The women–costumed in brightly coloured head scarves, long-sleeved dresses and long white-laced petticoats–and men–in gandy shirts, red headband, white trousers or dungarees and bracelets–move to the beat of drums, with stylised and sensual foot movements. It is often referred to as the oldest Creole dance in the region and is common in the islands with colonial French influences. 

Even though this ICH element has not been documented in this first pilot inventorying fieldwork due to limited resources and timeframe, some local dance companies are doing efforts to keep this element alive and have recognized and expressed the need to do more research and fully document this living heritage element in further ICH inventorying initiatives. 

If you are involved in transmitting and/or practicing Bèlè or Belair Dance in your community and wish to share more information and material (oral testimonies, photos, videos, interviews), please feel free to contact Grenada National Trust and help us to keep alive this important element.

 

Disclaimer:
“Grenada National Trust under the Proud of my Heritage project funded by UNESCO, does not assume any responsibility or liability for any errors, omissions and information in the content of this site. The information contained in this site is provided on an “as is” basis with no guarantees of completeness, accuracy, usefulness or timeliness as the content and audio-visual materials were compiled from interviews done to specifics ICH practitioners and bearers around Grenada, Carriacou and Petite Martinique in 2022 who gave us their written consent during the pilot Intangible Cultural Heritage (ICH) inventorying exercises”
If you are an educational institution, organization and/or researcher who would like to receive more information about any specific ICH element’ material, please feel free to contact us at admin@grenadanationaltrust.org
Photo Credit: Daishell Bethel, 2012

A not uncommon sight in Carriacou and Petite Martinique are skeletal boat frames, like the one pictured here, along beaches, under trees, or in backyards. The islands’ famed boatbuilders craft these traditional vessels for fishing and carrying people and produce between the islands. The age-old craft of boat building remains a celebration of the everyday craftsmanship, utility and culture of Grenadine island life. Several ceremonies and festivals are associated with boat building, boat launching and regattas.

The boatbuilding was documented during early 2021 in Carriacou and Petite Martinique with the idea to propose this Living Heritage element at the Representative List of the Intangible Cultural Heritage of Humanity (UNESCO) by Grenada Tourism Authority.

Special recognition to ICH-Practitioners:
Alwin Enoe
Baldwin DeRoche
Benson Patrice
Donald Rock
Frank Allard
Joan Patrice
Leo Joseph
Paul Bethel
Terrence & Rhonda McLawren
Verrol Compton

Disclaimer:
“Grenada National Trust under the Proud of my Heritage project funded by UNESCO, does not assume any responsibility or liability for any errors, omissions and information in the content of this site. The information contained in this site is provided on an “as is” basis with no guarantees of completeness, accuracy, usefulness or timeliness as the content and audio-visual materials were compiled from interviews done to specifics ICH practitioners and bearers around Grenada, Carriacou and Petite Martinique in 2022 who gave us their written consent during the pilot Intangible Cultural Heritage (ICH) inventorying exercises”
If you are an educational institution, organization and/or researcher who would like to receive more information about any specific ICH element’ material, please feel free to contact us at admin@grenadanationaltrust.org
Photo credit: by John James, 2022

A traditional wedding in Carriacou & Petite Martinique consists of dancing of the flags and cakes in a tradition known as the “Meeting up of the Cake”. This cultural performance handed down from the ancestors takes place before a wedding. It is a tradition which spread from Windward in Carriacou to the sister isle of Petite Martinique and to the Grenadine islands.

The bride’s family and that of the groom will decide on a neutral place where both sides will meet, accompanied by a string band, a flag, and a cake dancer to clash; usually, it is at a crossroads where a libation of rum and water will be made to the ancestors. The dancing of the flags is carried out before the display of the cakes. The flag dancers are mainly men, and the cake dancers are women. The flags and cakes of the groom must always be danced before that of the bride. Everyone dances to traditional, folk wedding songs.

People in Carriacou dancing

Photo credit: by John James, 2022

Lucy Deroche, 90, local historian, Ella Patrice, 82, cake dancer, Clint John, 47, flag dancer, Randolph H. Fleary, 67, string band musician, Neal Matheson, 48, string band musician, Gloria Roberts, cake dancer, Fedelin Bethel, 89, cake baker, and Dwight Logan, 51, local historian, are some of the well-known practitioners and culture bearers.

There are no specific costumes associated with this dance but many practitioners prefer to wear an African-like top or outfit.

Some of the threats posed to this tradition include Western influence via the advent of television and cell phones and the perceived attractiveness of foreign cultures over local traditions. In addition, the true meaning and history of the tradition is not taught in schools so all of these factors have resulted in waning interest in the dancing of the Flags and Cake. The cost is also a factor as a small private wedding can be cheaper than a traditional one. Another factor is that people are not getting married as much anymore.

One way to safeguard the tradition is to incorporate it in schools. Another suggestion made was that a Heritage Village could be built on Carriacou to showcase the flag and cake dancing as well as other traditions. Different villages in the tri-island state could also be invited to see performances and could perhaps take part in a Flag and Cake Dancing village competition. Public places like playing fields could be used teach the children about the island’s cultural traditions. Practitioners acknowledged that finding donors to support such programmes would be key to their success.

Special thanks to Gloria Roberts, Lucy Deroche, Fedeline Bethel, Dwight Logan, Niel Matherson, Ella Patrice, Clint John, Tyrone Bethel, Randolph Harrison Fleary, who were able to share with us this valuable and unique ritual.

Randolph Harrison Fleary/ICH Practitioner

Photo Credit: Proud of my Heritage - ICH-Zone/Team No.4 
Disclaimer:
“Grenada National Trust under the Proud of my Heritage project funded by UNESCO, does not assume any responsibility or liability for any errors, omissions and information in the content of this site. The information contained in this site is provided on an “as is” basis with no guarantees of completeness, accuracy, usefulness or timeliness as the content and audio-visual materials were compiled from interviews done to specifics ICH practitioners and bearers around Grenada, Carriacou and Petite Martinique in 2022 who gave us their written consent during the pilot Intangible Cultural Heritage (ICH) inventorying exercises”
If you are an educational institution, organization and/or researcher who would like to receive more information about any specific ICH element’ material, please feel free to contact us at admin@grenadanationaltrust.org
Photo credit: Alexis Riel, ICH-Photo Competitor (Youth)

Djab-Djab is a traditional masquerade which originated during slavery. Practitioners paint their bodies in charcoal or black oil and redden their tongues with food colouring. Djab-Djabs beat drums on the streets during the lead up to the February carnival on Carriacou and the August carnival in Grenada and are especially seen at j’ouvert. The bands play within their own parishes and clash with other bands from neighbouring villages or with bands from other parishes.

Djab is a village mas’ that is particularly popular in the parish of St. Andrew such as at La Fillette. Perdmontemps and Windsor Forest in St. David, Willis in St. George, and Sauteurs, St. Patrick are some of the places also well known for Djab, as well as throughout Carriacou.

DJab-DJab

Photo credit: Proud of my Heritage - ICH Team/Zone No.3

Glen Forsyth, Colin Dowe, and Vaughn Thomas, better known as “Irack”, whose brother captains a Djab band, are practitioners. Other Djabs include Darius who was born on Carnival Monday morning and says that he started to play Djab-Djab while he was still in school. He is the founder of a Djab-Djab band in La Fillette. Clarie Joseph has been the captain of Darius’s band for the past 46 years and the band has won the championship 10 times. Fitzroy Roberts, better known as “Crabbi”, has been the lead drummer in the band for the past 38 years.

Some instruments used are chains and shackles which are worn around the neck and body or dragged along the street (an expression of breaking free from the physical bondage of slavery), a construction helmet or potty with horns, baby oil to grease the skin before putting on the oil, and the jawbone of a donkey to make the Djab look fierce. Djab-Djabs once carried live serpents but this has been banned. Now, they may use the heads of animals such as pigs or chickens, an octopus, cod fish, crapauds or frogs, or even a container filled with millipedes. Some Djabs may also drag a coffin behind them while others, as previously noted, may carry chains or shackles.

A torch signifies that the band is coming and may also be used in performances. When the captain puts the torch on the ground, the Djab form a circle, the captain does a ‘vandam’ over the torch, then all the players move to the beat of the drum. The blowing of the shell signifies the captain calling or gathering his members. It is a signal.

Playing Djab-Djab attracts people to Grenada during carnival and soca artists have helped to promote Djab-Djab music.

Practitioners believe that education programmes about Djab-Djab need to be carried out and included in schools so people can understand the masquerade and the traditions behind it. Being educated about the cultural and historical significance of Djab-Djab might also help to reduce negative behaviours by younger players.

They also point out that DJ music adversely affects the masquerade as it competes with the drums of the Djab. Practitioners note that the younger generation wants to introduce their own spin on the playing of Djab-Djab (such as introducing colours other than black on their bodies) but their portrayal of Djab is not aligned with the traditional reasons why Djab-Djab came into existence. Practitioners also believe that the masquerade has gotten more commercialized which has detracted from the small village bands. They further noted that the high use of alcohol enabled some people to display negative behaviours and should be discouraged.

During Carnival in Grenada (August 2022) this well recognized ICH-element was documented by the ICH-teams in different communities by interviewing some practitioners as Colin Dowe, Glenn Forsyth, Clary Joseph & Vaughn Thomas, La Fillete.

Photo Credit (Painting): Joachim McMillan, 2021

 

Disclaimer:
“Grenada National Trust under the Proud of my Heritage project funded by UNESCO, does not assume any responsibility or liability for any errors, omissions and information in the content of this site. The information contained in this site is provided on an “as is” basis with no guarantees of completeness, accuracy, usefulness or timeliness as the content and audio-visual materials were compiled from interviews done to specifics ICH practitioners and bearers around Grenada, Carriacou and Petite Martinique in 2022 who gave us their written consent during the pilot Intangible Cultural Heritage (ICH) inventorying exercises”
If you are an educational institution, organization and/or researcher who would like to receive more information about any specific ICH element’ material, please feel free to contact us at admin@grenadanationaltrust.org

Photo Credit: Proud of my Heritage - ICH-Zone/Team No.3

According to practitioners, drumming which is an aspect of the performing arts and traditional craftsmanship, evokes a sense of freedom, jubilation and releases persons from stress and pain.

Most skilled drummers were exposed by relatives to the playing of drums from childhood and all agree that being constantly around drummers helps enhance one’s skills. Drumming performances occur throughout Grenada, Carriacou and Petite Martinique during a variety of events. Several noted communities include Calliste – St. George’s, St. George – St. George’s, Tivoli – St. Andrew and Fontenoy – St. George’s. Drumming is also very prevalent in the Maroon festival and at the Sarakas in the communities of River Sallee, La Poterie and Telescope.

Some of the well-known practitioners include Livingston Nelson, founder of the Tivoli Drumming Group, Nigel De Gale, principal of the St. George’s Anglican Senior School, Godfrey Luke, Ervin Francis, and Harlin De Gale. The Theatre of Unique Music and Dramatic Art, TUMDA, is also involved in the practice. Drumming groups have also been formed in villages like Birchgrove and Mont Horne. Some practitioners have a strong connection with the La Fillette Djab, River Sallee and La Poterie drummers. Drumming is an important part of Shango rituals.

Photo credit: Proud of my Heritage - ICH-Zone/Team No.3

One practitioner interviewed has hosted workshops in local groups and some schools in different parishes.  He is not only a skilled drummer but also can build drums. He formed a drumming group in Canada, and they became part of the inaugural drum festival in Grenada on his return. Another drummer has performed in several drum festivals in many countries such as Canada, Tobago, and Guadeloupe. He has also performed at two Caribbean Festivals of Arts (CARIFESTA).

The different tools used in drum-making include gout, axes, cutlasses, and even flat-blade screwdrivers. Mango, Pear, Mahogany, White Cedar, and other trees such as coconut and breadfruit are used to make the base of the drum while the skin of goats or cows are used to create the tops. Currently, some local groups are using synthetic materials such as canvas. Plastic ropes are also used to tie the skins onto the base.

No specific costumes are associated with the playing of drums but many practitioners prefer to wear an African-like top or outfit while performing.

All practitioners interviewed are still involved in the art form and are willing to teach others what they have learnt. One practitioner collaborates with other drummers and dancers to put on a concert with the children in the community and drums with a local dance company at hotels and other venues. One practitioner believes that once a student can mimic the teacher’s rhythms with their voices, it becomes easier to play the rhythms on the drums. This was a method of teaching drumming that was proven by him in teaching and learning environments. One practitioner believes that one’s involvement in drumming will come from being around the drum and not necessarily being taught to play the drums. However, some aspects of teaching will be necessary. He proposed that drummers can collaborate to share rhythms.

Practitioners highlighted challenges which include a lack of appreciation for drummers especially when they are asked to perform at events. They also pointed to a lack of assistance from the government or other entities. Some practitioners identified a lack of cultural knowledge in communities while others pointed a perceived sense of superiority demonstrated by some drummers based on which parish they are from. The division between drummers hinders collaboration which, in turn, has resulted in information on traditions and practices not being shared among drummers within the tri-island state or within the wider Caribbean region. Collaborative efforts are also stymied by those drummers who fear losing their culture if they engage with drummers from other countries.

Some practitioners believe that young people do not have the vigor and enthusiasm to get involved in playing the drums. Lack of sponsorship from businesses and the minimal amount of monetary contribution from the government is a challenge to the continuation of the drumming and they noted that community drumming is not as prominent as before due to lack of community spirit.

To safeguard the practice and encourage future enactment and transmission of the element programmes to further the knowledge need to be implemented in schools and elders need to be brought into the process of learning and passing on the tradition. Workshops are another way in which practitioners and interested persons can learn about the practice.

Other relevant drummers visited in Grenada are Nigel De Gale, Dionel De Gale, Alim De Gale, Godfrey Luke, Irwin Francis and Livingston Nelson.

 

Disclaimer:
“Grenada National Trust under the Proud of my Heritage project funded by UNESCO, does not assume any responsibility or liability for any errors, omissions and information in the content of this site. The information contained in this site is provided on an “as is” basis with no guarantees of completeness, accuracy, usefulness or timeliness as the content and audio-visual materials were compiled from interviews done to specifics ICH practitioners and bearers around Grenada, Carriacou and Petite Martinique in 2022 who gave us their written consent during the pilot Intangible Cultural Heritage (ICH) inventorying exercises”
If you are an educational institution, organization and/or researcher who would like to receive more information about any specific ICH element’ material, please feel free to contact us at admin@grenadanationaltrust.org
Photo CreditJohn James 2016

Fishing is a traditionally male dominated livelihood for many families living in coastal communities throughout the tri-island state of Grenada, Carriacou and Petite Martinique.  While Petite Martinique is known for trawler fishing, Carriacou is known predominantly for seine, and Grenada is associated with seine, long line and hand-line. Some particular fishing communities are Gouyave in St. John, Grenville in St. Andrew, Sauteurs in St. Patrick, Grand Mal in St. George and Waltham in St. Mark. Desmond Gill and Daniel Phillip are two well-known practitioners.

Many fisherfolk still make and repair their seine nets by hand but others import their nets or buy them. The needles for hand-crafting the nets were traditionally made of wood but, today, are made of plastic and purchased locally. There are stores in Grenada where ready-made seine can be purchased whole or where practitioners can buy pieces of nets and/or needles to put together or amend damaged seine.

The standard equipment required for fishing expeditions varies depending on the type of fishing but includes boats, seine nets, needles and twine for repairing the nets, “stores”(a box containing food for survival in the event the crew go adrift), gas, ice, live-bait, bait sac, reels, lines, hooks, flags, and GPS.

Intangible elements associated with fishing include being able to understand moon cycles and their impact on fishing, being able to read bird behavior as that may be an indication of fish shoals and being physically fit.

Practitioners are willing to teach the trade but lament the lack of interest by younger generations and the stigma towards the livelihood. The elder practitioners think the lack of interest may be linked to the traditional perception of fishermen as being those who did not succeed in school. This is emphasized by a lack of respect for the trade in society overall resulting in fishing not being considered a highly regarded occupation among many people. The disrespect sometimes extends into the domestic sphere, affecting relations between fishermen and their spouses. The general perception of fishing needs to be changed to raise the profile and make it more respected by society. Due to these concerns, practitioners lack optimism about the future of traditional fishing such as seine fishing, and the continuation of the skills required to make and repair nets.

Some of the older fisherfolk believe that young practitioners see fishing as a ‘hustle’, a way to earn a casual wage or “quick money” to support the cost of a particular expenditure. This often means that they do not invest/turn-over their earnings from fishing. They also fail to consider the financial, organizational, and managerial skills that could be gained from the trade if they thought of their involvement as a business venture.

Other than the willingness of the elder practitioners to motivate and train the younger generation, no other measures to promote its continuation were identified by interviewees.

 

Daniel Phillip explaining fishing skills and tools

Photo credit: Maria Mafla


In October 2022, the Proud of my Heritage fieldwork teams were able to interview and recognise two fishermen, Daniel Phillip and Desmond Gill.

 

Disclaimer:
“Grenada National Trust under the Proud of my Heritage project funded by UNESCO, does not assume any responsibility or liability for any errors, omissions and information in the content of this site. The information contained in this site is provided on an “as is” basis with no guarantees of completeness, accuracy, usefulness or timeliness as the content and audio-visual materials were compiled from interviews done to specifics ICH practitioners and bearers around Grenada, Carriacou and Petite Martinique in 2022 who gave us their written consent during the pilot Intangible Cultural Heritage (ICH) inventorying exercises”
If you are an educational institution, organization and/or researcher who would like to receive more information about any specific ICH element’ material, please feel free to contact us at admin@grenadanationaltrust.org

Maroon Fest is a three-day annual event that showcases Carriacou’s culture. On the first day, cultural activities, including the cooking of food, take place in a park and, on the second day, there are events for children and young people. The third day showcases the Carriacouan musicians living in the diaspora.

Faithman Simon, a musician and producer, is the promoter of the event in which other people, government ministries, community groups, the Festival Board, and private businesses are involved.

The politicization of the event, a lack of financial accountability, and the often exorbitant fees foreign performers charge to participate are seen as threats to its continuation.

In order to safeguard the practice, organizers feel that Carriacouans must control every aspect of the Festival and must put in place an accountable organization that adheres to the same principles that sparked its creation. Encouraging young people to get involved in organizing Maroon Fest and training them to assume various roles would help keep the tradition going.

 

Disclaimer:
“Grenada National Trust under the Proud of my Heritage project funded by UNESCO, does not assume any responsibility or liability for any errors, omissions and information in the content of this site. The information contained in this site is provided on an “as is” basis with no guarantees of completeness, accuracy, usefulness or timeliness as the content and audio-visual materials were compiled from interviews done to specifics ICH practitioners and bearers around Grenada, Carriacou and Petite Martinique in 2022 who gave us their written consent during the pilot Intangible Cultural Heritage (ICH) inventorying exercises”
If you are an educational institution, organization and/or researcher who would like to receive more information about any specific ICH element’ material, please feel free to contact us at admin@grenadanationaltrust.org

Maypole is a folk dance once common in Grenada, deriving from the European celebration commemorating spring rites and fertility …

Quadrille which originated in France in the 1760s is a traditional dance practiced in Carriacou consisting of six figures or sets of dances with six different sets of music and four (4) couples dancing in a square.

This traditional dance is performed with string band music and includes the following figures:

  • The first set, which used to be called “the trousers” The rhythm used is four-fourths or six-eighths. This figure is mild and smooth.
  • The second set is called “the Summer,” which is light and warm.
  • The third set is called “the Hen.” The Hen has a six-eighths rhythm. It also has the most moves. All of the dancing couples move together. One can tangle everything up if a move is missed.
  • The fourth set is called “the Shepherd Girl” and is more rhythmic, romantic and humorous. During this set, the gentlemen stop dancing, and the ladies scratch their heads.
  • The fifth figure is a formation of a circle holding hands. Dancers move right or left, and when they get directly opposite where they started, they will stop, the ladies will bow once, twice, then wheel and dance around.
  • The sixth figure is like the fifth, but when the dancers get to the opposite station, the men bow first, at which point they will wheel and dance heels and toes or a waltz. Sometimes a “break away” piece is incorporated where anyone can join and dance.

Quadrille is danced at major festivals and celebrations such as at the Maroon Festival and other cultural events in L’Esterre, Carriacou. Well known practitioners include Mr. Cosmos Bristol, Mrs. Marilyn Samerson, and Mrs. Kwame Hamilton. The Regatta Festival Board and the Maroon Festival Board both assist in its promotion and organization.

String Band musical instruments such as the violin, bass drums, tambourine and triangle provide the music for quadrilles. In the past, the dance had a formal dress code in which the men wore black pants, white shirts, and black bow ties, and the women wore black skirts and white shirts. Today, the costumes are brightly coloured and African inspired.

The quadrille is taught in the primary school.

Some of the challenges to the preservation and transmission of this practice include the fact that the first, second and third sets are no longer danced since they are not known to the instructor and that no live bands are available for practice sessions. The lack of documentation of the dance in previous years has meant a lack of knowledge of how the different sets are performed and some changes have been made to the movements. Some practitioners also mention a lack of willingness on the part of younger people to be taught the dance.

Practitioners believe that holding community events at which quadrille dancers perform and finding other avenues by which it could be passed on would help keep the tradition alive.

Anderson Matherson Group

Photo credit: Grenada Tourism Authority

Special recognition to people and communities in Carriacou. Thank you to the Living Heritage practitioners interviewed who are still keeping alive this ICH element as Tyrone Bethel, Randolph Harrison Fleary, Anderson Matherson, Anslem James, Alban Enoe-Stewart, and Evris Noel.

 

Disclaimer:
“Grenada National Trust under the Proud of my Heritage project funded by UNESCO, does not assume any responsibility or liability for any errors, omissions and information in the content of this site. The information contained in this site is provided on an “as is” basis with no guarantees of completeness, accuracy, usefulness or timeliness as the content and audio-visual materials were compiled from interviews done to specifics ICH practitioners and bearers around Grenada, Carriacou and Petite Martinique in 2022 who gave us their written consent during the pilot Intangible Cultural Heritage (ICH) inventorying exercises”
If you are an educational institution, organization and/or researcher who would like to receive more information about any specific ICH element’ material, please feel free to contact us at admin@grenadanationaltrust.org