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
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
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
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
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
Special recognition to ICH-Practitioners:
