Barbados’ traditions are
drawn from the synergies of West African and British cultures that shaped the
island’s national identity. While the
majority of the population is of African descent the island was a colony of
the British Empire for over 300 years, hence the British influence is
inextricably interwoven in the shaping of its cultural icons.
|
INTRODUCTION
A
country’s culture is what makes it unique and sets it apart from the culture of
other countries. This neither excludes nor can it negate the influence of
earlier parent cultures, which help to shape and define that country’s cultural
identity. The shaping of Barbadian cultural icons certainly springs from this
maxim. Indeed, our dominant parent cultures, what some term the historical
hegemonies, are at times an uneasy symbiosis of African and British cultural
influences. One must also remember the Arawaks; the first indigenous people to
settle the island.
Recent
archaeological discoveries unearthed at the site of Port St. Charles Resort, located on the northwestern coast of Barbados, point
to Amerindian settlement some time around 1623 B.C. The British settlers of
1627 A.D., like their ancient Amerindian seafaring predecessors, who arrived
here from Venezuela, also saw the unique geographical location of Barbados as
an ideal place to call home. As the eastern-most Caribbean island, this
sovereign island nation with just 431
square kilometers (166 sq. mi) of land area has become home to more than
280,000
people. If home is where the heart is, then Barbadians, whether born on Barbados or born elsewhere, continue
to express heartfelt commitment to the preservation of Barbados as a
prosperous, peaceful and democratic
state.
Barbadians,
or Bajans, a people of warm, friendly and
open character, have always embraced and celebrated authentic Barbadian culture as a growing multiethnic one, developed under the
influence of various cultures
into a strong character of its own. Nowhere is this more evident than in the
demographics of Barbados. About 90% of the
inhabitants are of Afro-Caribbean descent. The rest of the population,
comprised of Europeans (4%),
mostly from Ireland, and the United Kingdom, as well
as Asians,
particularly Indians and
Chinese, including communities of Syrians and
Lebanese, Indo-Guyanese, and a Jewish community of descendants who arrived in
the early 17th century; have all come to call Barbados home.
This cohobblopot
of strong historical elements has given rise to inherent iconic folk traditions.
We are more than the dialect we speak, a regional variant of English, the
official language of Barbados, spoken by most people in informal settings.
While we share similar cultural characteristics to those of our sister
Caribbean nations and to others further afield, such as Japan: both countries
have the highest per capita occurrences of centenarians on earth, these alone
do not define us. Our uniqueness stems from the fact that we are Bajan.
It is a distinction of privilege, which can only be claimed by those so ‘born
and bred’, naturalised, assimilated and ‘culturised’. Like our beloved
centenarians, the Bajan cultural identity is a finely aged tradition.
Yet, one cannot underestimate the irresistible influence
of the Afro-Caribbean folk traditions in the shaping of Barbadian cultural
icons. Specific mention will only be made of some of these cultural icons.
Namely: Tuk Band, Shaggy Bear, Mother Sally, Green Monkey
and Stilt Walker.
The Tuk Band is an African-based Barbadian musical ensemble, which plays tuk or rukatuk drum music mixed with British military
rhythms, folk ballads and religious songs. Tuk is one of the most
traditional forms of folk music, having its origins in the slave culture of the
17th century in Barbados. This
is a roving band that consists of a kettle drum, bass drum, triangle, and penny whistle. It starts
with a slow waltz, followed by marching rhythms and then breaks into a
fast African beat accompanied by
dancing, movement and merriment. Over the years, Bajans have added their own
mix to these regimental rhythms.
The Tuk Band performs during various
festivals, such as, Crop Over, the Holetown Festival, and at Christmas and New Years. In addition, the Tuk
Band provides musical accompaniment for the Barbados Landship; an institution unique to Barbados. Indeed, the ship’s
“engine” is the Tuk Band. Various costumed figures that are African in origin accompany the
Tuk Band.
Shaggy Bear is said to represent an African witch doctor figure. Shaggy gained a reputation as the Bank Holiday Bear because he always shows up on Bank Holidays. His shaggy costume, designed to frighten as well as impress onlookers, resembles the bushy coat of a bear as he flips around the Tuk Band doing acrobatics. While the shaggy costume speaks to the existence of harsh economic times the energetic movements simultaneously represents the persistence of Barbadians to break free from the doldrums of financial hardships. Perhaps this is Shaggy’s way of ‘conjuring’ good fortune for those seeking prosperity during difficult economic times.
Mother Sally, pronounced by Barbadians as ‘muddah sally’, represents female fertility, with extra large buttocks and protruding bosoms. Some would argue a genetic or anatomical legacy and blessing of Mother Africa on her diasporic daughters of the New World. Traditionally, a man dressed as a woman who wore a mask to hide his identity, bearing the trademark bulging buttocks, performed the role of Mother Sally. Within recent times, women who wear no mask have increasingly performed Mother Sally. Their comical performance is a favourite among Bajans and visitors alike, specifically since the movements of rhythmic pelvic thrusts and gestures are heightened by the voluptuous shape of the wearer.
Like Shaggy Bear,
the masquerader who performs the Green Monkey is male, and his comic and at times startling performances
are acrobatic in nature. His antics mimic these mischievous little creatures,
which inhabit the gullies that run across the island and even in peoples’
gardens! The Barbados Green Monkeys originally
came from Senegal and the Gambia in West Africa, approximately 350 years ago.
However, as a result of environmental differences and evolution, the Barbados
monkeys today have different characteristics than those in West Africa.
As
our most famous or infamous resident, the Barbados Green Monkey often
carries the dual ambivalent role of national
animal of Barbados but also a national nuisance, particularly for farmers.
Yet, this green hairy primate, whether mischief-maker or merry-maker, has
secured its residency in the parishes of St. John, St. Joseph, St. Andrew and
St. Thomas, where much natural vegetation and woodlands still exist. His
notoriety has been enshrined in the logo of the Barbados Wildlife Reserve and carved into the prodigious
estates of The Green
Monkey golf
course of Sandy
Lane, Barbados’ premiere world-renowned golf resort. The
Barbados Green Monkey unquestionably
has also found his home in the hearts of all Barbadians.
The Stilt Walker
or Stilt Man (‘tilt
man), Moko Jumbies, as they are commonly known in Trinidad and Jamaica, is a stilt walker or dancer
who represents a ghost or
spirit (traditionally a god) of Congolese origin. The Stilt Walker
dances on long pieces of wood known as stilts.
These stilts make him appear to have long legs. The Stilt
Walker not only accompanied the Tuk
Band during festive occasions but also acted as guide to the Tuk Band as he was elevated above the
band. Due to his towering height and power of divination, he
watches over his village and is able to foresee danger and evil.
While this figure was rooted in African heritage, the costume of the Stilt Walker imitated the style of clothing worn by elite men of
Barbadian society and was made complete with the use of a mask which was
intended to look European. Today, the Stilt
Walker wears brightly coloured clothing and seldom wears a mask. He also
represents the importance of surviving hard times, often symbolised by the stilt
figure effigy of Mr. Hardin’. The latter
so named due to that period between sugar crops, when employment was difficult
to obtain and money was scarce. This time was referred to as “hard times”. The
burning of Mr. Hardin’, a tradition
that ended in 1979, symbolized the hope that the hard times to come would not
be too severe.
Best, Curwen. Barbadian
Popular Music and the Politics of Caribbean Culture. Rochester, Vt.: Schenkman
Books, 1999.
Callender, Allison. “Folk
Culture and Costume at the Folk Museum in Barbados”. Clothes Tell Stories: Working with Costume in Museums. (ICOM
Triennial General Conference), Aug. 2013
Hoyos, F. A. Barbados: A
History from the Amerindians to Independence. London: Macmillan, 1978.
Marshall, Trevor G. and Watson,
Elizabeth F. “Barbados”. Music in Latin America and The Caribbean, Vol. 2.
Austin, Tex.: U of Texas P, 2004. 345–357.
Meredith, Sharon. “Barbadian Tuk Music – A Fusion of
Musical Cultures”. Music, Power and Politics. Ed. Annie Randall, London: Routledge, 2004.
Millington, Janice. “Barbados”. Garland Encyclopedia
of World Music, Vol. 2. New
York: Routledge. 1999. 813–821.
OOW
2015
No comments:
Post a Comment