The Saraca is a thanksgiving feast, passed on from the African ancestors, during which communities bring along yard fowls, pork, rice, peas, bluggoe, green bananas, corn meal coo coo, yams, dasheen, boiled eggs and other foods to share with all participants. The foods are cooked on firewood and, when ready, they are placed on bluggoe leaves which have been laid on the ground in a circular shape. Food is also placed on a tray with a bouquet of flowers and a bottle of rum is brought to the pasture. Residents sit or kneel on the ground and partake. Drumming by the Tivoli Drummers or other groups is a big feature of the event and nation dances may also be held.
Saracas are held annually the Friday after Easter every year in River Sallee, St. Patrick and always held the Friday before Ash Wednesday in La Poterie, St. Andrew.
Saraca organizers and participants include Anika Edwards, Cadisha Edgar-Lewis, Elizabeth Thomas and others. Ms. Lizzy, 105 years old, lives across from the playing field in La Poterie and was one of the major cooks in that area.
The feast is announced by the blowing of the conch shell. The conch shell blowers walk through the community, stopping at every junction to blow the shell and make the announcement of the feast. A bell is also rung to alert the villages that the Saraca is coming up.
Andre Dolland and Real FM 91.9 assist with the promotions.
Practitioners believe the practice will live on because there are new, young volunteers coming forward to cook and participate in whatever way they can. In addition, children in the community assist their parents with seasoning meat and other chores, including lighting fires.
Schools in La Poterie have been invited for the past six to seven years by Diego Peters. The children and their teacher eat by Diego and then go to the playing field to experience the cooking and to participate in other activities. The Crochu R. C. School has also attended and students of the Tivoli R. C. School have participated in the nation dance.
Threats to the practice lie in commercialization where some persons may seek profits over cultural traditions. Practitioners also felt that DJ music should have no part in Saraca, yet it is sometimes present in some areas perhaps due to a lack of drummers. An increase in food prices puts a greater strain on the pockets of participants while the level of farming done previously by the community has declined with the result that more of the items community members once grew, now have to be bought.
Safeguarding the practice may involve ensuring that new drummers are brought into the tradition, perhaps by teaching it at schools. Practitioners would also like to see informational leaflets about the practice being made available to participants and visitors and more communities getting involved in putting on their own Saracas, as Telescope now seems to be doing. Improving linkages with the Grenada Tourism Authority and with hotels so that more visitors can experience the event is also something practitioners would like to see.
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
Shakespeare Mas is a unique Carnival masquerade to Carriacou, but derives from Grenada’s speech-mas tradition and stick fighting that illustrates Carriacou’s own history and culture in this Creole synthesis. The costume is a colourful shirt/tunic emblazoned with a black heart and mirrors over a white petticoat, face mask, long cape suspending from the head onto the back, and bullwhip. It takes to the streets of villages to the town Hillsborough each Carnival where players do mock battles in their recitation of verses from Shakespeare’s Julius Caesar, and if they should err, they are harassed about their padded crowns. Brave!
Persons and groups in villages across the island participate in the ‘Shakespeare Mas’, but those of Mt. Royal, Six Road sand Mt. Pleasant are historically identified with the element, and today it is widely recognized that these villages remain as the main areas associated with the element. Special recognition to ICH/Shakespeare Mas group and practitioners in Carriacou as:
“Hero” representing villages to the east, west and north of the island, which includes Mount Royal, Grand Bay, Windward, Top Hill, Bogles, Craigston, Dover, Petit Carenage, Belair, and Mount Pleasant.
“Freeport” representing central located villages, which include Mount Desire, Tiff, Six Roads, Brunswick, Prospect Hall, Hillsborough, and Beausejour.
“Banroy” representing villages to the south, which include Bellevue South, Belmont, Harvey Vale, and L’Esterre.
Jenny Duncan and Mary Noel, who have been training students at the Mt. Pleasant Government School since 2012.
Faithlyn George, one of the first women to play Shakespeare Mas’, has also been training students in her community of Harvey Vale since 2015.
Glenroy Boastwain, a current Shakespeare Mas’ King, is training children in the primary and secondary schools in Carriacou.
George Andrew, a local businessman, and his family based in the diaspora, render support to defray the cost by providing materials for costumes.
Lydia Andrew, a seamstress which sews for free.
The late Stephen Alexander, President of the Carriacou Historical Society and Museum, was a staunch supporter of the mas’ and its continuity.
Shakespeare Mas
Photo credit: Grenada Tourism Authority
Due to the importance of this element among Carriacou communities and its unique characteristic and location, Grenada has proposed this element to be nominated and included at the Representative List of the Intangible Cultural Heritage of Humanity (UNESCO). Courtesy by Grenada Tourism Authority.
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
The Short Knee is a distinctive masquerade whose members sing call and response songs composed by the band. Participants wear the same costume from head to toe with the exception of a unique headpiece expressing individuality. The components of the mas traditionally included starched headgear and a handmade face mask. The elder participants say the traditional headgear, called a head kerchief, was made to replicate an elephant, sheep, or goat head. This was achieved by manipulating cotton fabric starched with manioc into whatever shape the player desired (some people also used wax to enhance the effectiveness of the starch). Each headgear was unique. A white towel covering the head and pinned under the chin is also a part of the costume.
Currently, players use only the white towel as a headpiece, and this is kept in place with a headband made in the colour palette of the main costume. The costumes are made from brightly coloured fabric comprising baggy knickers (pantaloons), and a baggy top piece made with puffed sleeves which reach down to the player’s knees and are secured with elastic like the hem of the pants. This creates the puff sleeves or a kind of loose balloon effect with the whole costume. A neck bib with lace around the edge is a standard part of the costume and the colour of the bib signifies the band’s home village. Participants are required to wear the same colour shoes (sneakers), so that no one is distinguishable by their foot-gear. Willows (bells) are worn on the ankles to create a rhythmic sound effect as masquerades parade through the streets. The wearing of the same costume by all members signifies that the masquerade is one unit.
There is an element of secrecy regarding the costume which is further compounded with the wearing of a face mask to disguise the identity of the practitioners when the band is in pageant. The elder practitioners recall that, in the past, the anonymity of the players was important because of the potential for violent clashes involving the use of weapons. This was because the carnival period was used to settle old scores or deal with conflicts which flared up between rival villages during the period leading up to the annual event. This is less of an issue today.
The songs composed by the band can share a moral lesson, admonish individuals for behaviour that goes against accepted societal standards, or discuss events happening in the village or country. No topic is considered off-limits but, if songs are created about an individual in a particular village, the band would not sing that song in another village. While calling out folks, there’s still a responsibility to keep your business close and not make your people look bad in front of others.
Typically, the Short Knee masquerade is played during the annual carnival events held in Carriacou and Grenada in February and August, respectively. The bands play within their own parishes and clash with other bands from neighbouring villages or with bands from other parishes.
Chantimelle, Hermitage, River Sallee, Mt. Rich, Levera, and Samaritan in St. Patrick are all home to well-known Short Knee bands. Bands can also be found in the parish of St. Andrew, St John, and St. Mark.
The village of Chantimelle was a very popular band and notorious for violent clashes with neighbouring bands in times past. Elder practitioners remember Short Knee to be confrontational, like a “war”. Over the years, the element has changed from a men-only mas, to now include women and children. They were previously prohibited because of the potential for violent clashes during the expression.
Some well-known practitioners include Lionel Alexander (83) from St. Andrew who has been playing Short knee since the early 1960’s; Hennessey Jeffrey, now in his eighties, from the village of Chantimelle, St. Patrick who started playing Short Knee aged 14, and was Captain for his band; Hensley Jeffrey, son of Hennessey, and a teacher at St Patrick’s R.C. school; Andy Purcell (aka Lakay) (54) who has been playing Short Knee for 36 years and is the captain of the Hermitage Short Knee Band; Davis Richards (aka Kasa) (58) who has connections to the village of Chantimelle and has been playing Short Knee for 45 years; Frank Bartholomew of Tivoli, a Short Knee mask maker for the past 45 years, and former Captain of a Short Knee band and; Alister (aka Gaja) Thomas of Coast Guard, St. Mark, originally from Chantimelle and presently Captain of Coast Guard Short Knee.
There is evidence of intergenerational transmission as practitioners say they were influenced by a parent, sibling, or other close relative to take part and, consequently, all have been playing Short Knee for decades. Practitioners have varied accounts as to the origins of the mas in Grenada with links being made to Nigeria in Africa and others making the link to the emancipation of chattel slavery and the enslaved people’s expression of liberation. Some say Short Knee is an expression was a sign of protest.
Tailors who make the costume are integral to the mas and are expected to keep secret the colours chosen until the bands unveil them on the day of the pageant. Because of the level of confidentiality expected, some bands have a single tailor dedicated to sewing their costumes.
Mask makers are also integral to the overall expression of Short Knee. They have either been shown how to make the mask, or they are self-taught, simply by watching others.
By all accounts, only a few mask makers are known across the island and they supply masks to Short Knee practitioners at home and abroad. They are concerned about the lack of interest shown by the younger generation in taking up the skill, which they say is simple to learn. Mask makers are usually also practitioners of Short Knee.
With the exception of some of the composed songs having French patois words or phrases, the element is played out in English.
Mt.Rich Shortknee costume
Components of the masquerade include:
The face mask.
The costume which is made of an average of 6.5 yards of fabric to create the knickers (pantaloons) and a top with puffed sleeves adorned with a bib, overlapping to finish the look. It is made in such a way that it can give the appearance of a different costume when the back is worn as the front and vice versa. Nylon stockings complete the bulky look.
The bib is ribbed (laced) with a contrasting colour and decorated with mirrors. The colour of the bib denotes the identity of the band. The bib is also referred to as the collar.
Willows (bells) worn on the ankles are used to amplify the songs and chants.
The conch shell was used in the past to communicate an attack. Nowadays, the shell is typically used to gather the group members.
Talcum powder is a standard accessory and, depending on the band, has multiple uses. Some say it is used to excite the crowd, others say they use it to either thank spectators for contributions received, or to intimidate the crowd.
Perfume was mentioned by one of the practitioners who said it is used for fragrance.
Mask makers are concerned about the lack of interest by young people in learning the craft. They often receive orders from the diaspora including Canada, the USA and England so this could be a financially lucrative venture for artists.
The Short Knee bands have a structure which is self-funding. Members pay for their own costumes and the Captain is responsible for transportation during the carnival season. The element is popular island-wide in Grenada and is also played during Carnival on the sister isle of Carriacou. Wherever there is a sizable Grenadian community in the diaspora, Short Knee is showcased – during Notting Hill Carnival in the UK, Caribana in Canada, and Labour Day in New York City.
For practitioners, a principal threat to the tradition is the cost to play Short Knee as opposed to the cost of playing Djab-Djab, which requires very little by way of costume. For this reason, more revelers are opting to play Djab-Djab.
Another threat to the element is the lack of interest shown in mask making. During enactments of the element in the diaspora, practitioners reach out to Grenada for their mask supplies, suggesting they are seeking authenticity. If the lack of interest in mask making is not addressed, the most likely scenario is that in time to come, that component may transition into a mass-produced mechanized process or disappear.
The scheduling of J’ouvert was cited as a possible threat to the showcasing of the element within the villages.
The prevailing issue appears to be funding of the element to make it more affordable for current practitioners to carry on playing and for new players to carry on the tradition.
Captain Chantuelle/Hennesy Jeffrey – Short Knee Interview
Photo Credit: Proud of my Heritage - ICH Team/Zone No.2
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
String band members play a variety of instruments which may include the guitar, banjo, cuatro, barrel drums, triangles, mandolins, shak-shaks, tuk-tuks and violins. String bands play at a variety of events such as at the Carriacou Parang Festival, or at social gatherings including tombstone feasts, serenading, and weddings. While there are no specific costumes associated with string bands some musicians like to dress in African outfits.
Most string band musicians are self-taught and/or learned by watching elders. It is passed down from the ancestors and is rooted in African and European/Scottish traditions. In the past, every village had a string band.
Noted string band members include, Evris Noel, Alban Stewart, 61, Anderson Matheson, 53, Randolph H. Fleary, 67, Neal Matheson, 48, Tyrone Bethel, 70, and Anslem James. The Carriacou Parang Festival Board and the Carriacou Maroon Festival Board are also involved in the organization and promotion of the practice.
Some practitioners noted that it is difficult to get young people to participate in string band music or to show interest in it because they are more fascinated by the use of technological gadgets. Young people also seem more taken with DJs and sound systems that can play the same music without the hassle of a band so they are not learning to play the instruments. The advent of party halls and of DJs are contributing to the demise of string band music (in Windward). Practitioners also noted that it can be hard to obtain certain instruments.
One way to pass on string and playing skills would be by starting a junior string band club. String band music can also be taught in schools or in after-school and summer programmes.
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
The Maroon is a Petite Martinique tradition held annually at different estates that involved villagers coming together to share food or harvest produce with each other and to offer some to the ancestors while thanking God for the bounty. At some Maroons, food was scattered on the sea for the souls of the African captives who had died on the Middle Passage. The people strongly believed that their ancestors ate and drank and partook of the feast just as the living did. Maroons included big drum dancing.
A related practice was called Sugaring the Piton which involved people journeying to the highest peak on the island, the Piton, with trays of food. At the summit, prayers were recited, and food was offered to the Petit Kengays (spirits of dead children). Rum, water, and food, including sugar, were scattered on the hills, giving the Deroche Maroon the name “Sugaring the Piton.” The Maroon would conclude with singing, dancing, and playing music at the estate owner’s home.
Lucy Deroche, 90, Dwight Logan, 51, Fedelin Bethel, 89, and Tyrone Bethel, 70, were some of those involved in the tradition.
A factor leading to the demise of the annual Maroons was the rising cost of the tradition as people stopped contributing to its success as they had in the early days. Attempts have been made to keep this tradition alive or to revive it but they have ultimately proven futile given financial restraints and migration. In addition, many of the elders who know about the practice have died.
Providing opportunities where elders can speak at schools and talk to the children about cultural practices could help revive interest as could making cultural education more accessible in schools. People, in general, should also be made more aware about the tradition and its purpose of honouring and remembering the ancestors.
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
