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
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
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
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
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
