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Photo credit: Grenada National Trust

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
Photo Credit: Grenada National Trust

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

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
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: 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
Joshua Bartholomew 2022 

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

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

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

Photo credit: Grenada Tourism Authority

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