Commentary
Newsday reporter
Dr. Rita Pemberton
Tobago’s popular music culture reflects the influence of the various historical influences upon which the fabric of the island’s society has been woven. These songs, which deal with subjects that have been a central concern of the population at particular periods of the island’s history, are subject to change and can be classified according to their themes. They are spontaneous responses to real encounters of the population, and are usually expressed in the vernacular of the period and transmitted and preserved in oral tradition. The development of the island’s folk culture can therefore be traced back to particular periods of the island’s historical experience.
There is no available evidence of the influence of First Peoples or Dutch or French colonization efforts on the body of folk songs currently known, although there are some with patois French words. However, the most prominent periods in folk songs are: the era of the creation and growth of plantations; Emancipation; the years after emancipation and the changes that occurred during the 20th century.
Tobago’s popular culture reflects strong African influences because, since the era of European colonization, enslaved Africans constituted the dominant element of the population. However, despite this, other cultural influences have left their mark on the popular culture of the island at certain periods of time, but these influences have not eroded the basic African cultural fabric.
During the period of slavery, songs were among the first strategies that enslaved Africans used to respond to the circumstances they encountered on the island. They were expressions of hostility to slavery, anger and resistance to their slavery and a desire to return to Africa, aided physically or spiritually by African rituals and usually accompanied by the music of drums, stringed instruments and cow horns. While other forms of resistance carried a higher risk factor and faced brutal repression, the messages that were encoded in the songs were usually not recognized by the ruling class and were allowed to continue unfettered.
The next phase of influence came from the British who ruled the island from 1763. Exposure to linguistic and musical culture from enslaved cooks, nurseries, maids and butlers led to the introduction of aspects of British culture into popular expressions on the island. During this period, the development of European dance genres, such as reels, jigs, and polkas, from which heel and toe are derived.
It was generally felt by the ruling class that African culture was inferior and the population should be exposed to a more elevated and civilized culture. This created a role for Christian churches and schools, which were the agencies of the European “civilizing” mission. Church missionaries were actively cultivating local musicians while teaching music, organizing school and Sunday school choirs, where British and Scottish tunes and sacred songs were taught. However, despite the intention of the colonizers, these influences did not destroy the folk song culture that was able to adapt.
Migration has also had a marked impact on Tobago’s popular culture. Migration from other Caribbean territories facilitated the strengthening of old African practices on the island. The introduction of immigrants from Grenada to increase cocoa production on the island resulted in the practice of saraka music and other African traditions growing from Grenada, while immigrants from Carriacou brought the nation’s old kalinda music and dance cult and those from St Lucia they brought kele music. The result was a cross-cultural stream of folk songs with a local flavor.
The union with Trinidad allowed the flow of aspects of Trinidadian culture such as carnivals, kalinda and parang to Tobago, which was augmented by the return migration of Tobagonians working in Trinidad. In addition, returning immigrants from Venezuela, Cuba and Panama resulted in the introduction of cultural influences from these countries.
Therefore, by the end of the 19th century, influences on Tobago’s popular culture shifted from its predominantly African base to include British influences which became stronger during the early 20th century as the provision of education in church schools. By the mid-20th century, a synthesis of African/Caribbean and European influences occurred in the island’s popular culture, particularly the folk songs that remain a defining feature of Tobago’s culture.
The folk songs of Tobago are of various types. There are work songs for all kinds of work – work in the field, on the road or in construction; digging, pulling and harvesting. Sometimes they express the pain of work and at other times they set a work pace to get the job done. This is especially important when performing more hazardous operations such as felling trees, hauling timber and repairing equipment.
There were religious songs for special occasions, which were required for both traditional and Christian church practices. Religious music is therefore an important feature of Tobago’s folk songs. There are songs of joy, thanksgiving, harvest. There are related songs songs of pain and mourning; special songs are required for certain rituals or dances, such as bongos, limbo reels, and jiro.
Recreational songs are used on occasions of pleasure and entertainment There are folk songs that express pleasure in dancing; the boast songs of speech groups (preserving the male); and carnival songs and drama. Joke songs, which are mockery, gossip and erotic songs, have been the preserve of women. The last group of folk songs is children’s music which includes nursery rhymes, play songs, riddles, story songs and lullabies.
Tobago’s folk culture reflects the island’s historical journey. At its earliest stage of development, it is an indicator of creative resistance to slavery and a commitment to maintaining their own distinct identity rather than submitting to the forces of “superiority” and control. It is possible to identify aspects of that past from the various types of folk songs that remain indelible features of the island’s culture.
