The year 2018 was specifically action-packed, exciting, and fun filled. As well as dancing the quadrille in public and private settings, we facilitated dance workshops in community halls, day centres and at private events. We also had many requests to sing Jamaican folk songs, with audience participation, as an integral feature of our engagements. These sing-along sessions were a delight for the senior citizens of Caribbean origin, who happily sang along with us with smiles on their faces. They remembered their youth and told us “Those were the good old days”.
1.1: RECRUITMENT
We successfully recruited 5 children between the ages of 8-11 to our group. These children of Jamaican heritage were taught Jamaican folk songs, Jamaican children games and some basic Jamaican quadrille dance moves. One child was overheard gleefully saying “The adults want to pass the dance down to us”. That accurate perception of intent evoked a joyous feeling. We hoped the recruitment of children to our group continues.
Our biggest challenge remained the recruitment of men. When invited to join, they often retort a reluctance to dance in a group or unable to commit to regular practice. We haven’t given up on our men-folks and the recruitment drive continues.
1.2: TASTER SESSIONS
We facilitated four “Taster sessions” during the year, open to individuals of all gender, ages and stages of life. Two women subsequently joined our group. Other said they enjoyed the sessions and loved what we are about, but were unable to commit to regular practice. They offered to become Friends of JANUKA.
1.3: WORKSHOPS IN THE COMMUNITY (2018)
We facilitated 9 dance workshops in community halls, day centres, and other public and private settings. We also had 10 requests to sing Jamaican folk songs with audience participation as an integral feature of our engagements. The sing- along sessions were a delight for the Senior citizens who happily sang along with us as they went down memory lane. We enjoyed interacting with all participants.
Feedback from organisers
“JANUKA delivered 7 workshops as part of a Lewisham Public Health Programme in the community to improve the health and wellbeing of residents.
The workshops provided 90 minutes of quadrille dancing and Jamaican folksongs to groups of between 40-90 older adults and children in various community centres and church halls.
The dances, songs and vibrant costumes provided a change from the kind of activities normally offered and opportunity for those elders from the Caribbean to share and enjoy their culture with their friends and neighbours.
People in their 90s or living with dementia were able to enjoy the activities along with everyone else. The health benefits of singing and dancing is well documented.
Dance is unique because it uses and strengthens your emotions, cognitive skills, physical abilities and social connections – all of which are vital for daily life. Not only is it sky high on the fun factor, it’s really good for your health. Senior Physiotherapist Lucy Rath at Bupa UK explains the health benefits of dancing in an article .
These workshops provided lots of fun and laughter and were definitely what the doctor ordered. Best wishes.
Barbara Gray, Urban Dandelion
“Lots of great feedback. 35 people commented about the quadrille being the highlight of their holiday at home experience. “Loved the quadrille” “Haven’t heard those songs for a long time” Reminds me of home” “Fun way of exercising”
The quadrille sessions were held 4-6 times as part of the holiday at home days funded by the community neighbourhood development public health funding and at each event between 60 -100 older people took part. Many joined in the dancing and singing and it was a joy to see the pleasure in their faces. Thanks
(Lesley Allen – Bring Me Sunshine Club )
1.4: DANCE AROUND THE WORLD – Annual Festival of World Dance (2018)
In October we were allocated 20 minutes to showcase the Jamaican Quadrille at Dance Around the World – Festival of International Dance, at Cecil Sharp House – Camden – North West London. This is one of our regular annual performances on this beautiful dance floor. I could sense the concentration of spectators as we danced in Ballroom and Camp styles. They showed their appreciation in applause.
Feedback from organiser
“Thank you so much for JANUKA’s superb performance at Dance Around the World 2018. We have already received many very appreciative comments from festival visitors praising the outstanding high quality of all the performances at the event. The audience was certainly delighted and quite galvanised, by your beautiful, elegant and warm performance. We are aware of the amount of work that goes into preparing performances and we are very grateful. I’d like to take this opportunity to thank you personally for being our contact, yet again, and helping us with the arrangements leading up to the event. It was such a pleasure to welcome you and JANUKA back to Dance Around the World this year. Would you please pass on our thanks and congratulations to everyone in the group”
(Anne Leach)
1.5: BLACK HISTORY MONTH EVENT – TROWBRIDGE – WEST YORKSHIRE (2018)
In October, we travelled in inclement weather on British Rail to Trowbridge in West Wiltshire to take part in their Black History Month – Windrush Generation Celebrations. This was a long tedious journey, due to rail strike action, but a worthwhile experience for us outside of London.
Feedback from organiser
“I want to say a massive thank you to you and the whole group for the wonderful activities on Saturday. We have had lots of great feedback…..We are so grateful that you managed to overcome the travel issues and appreciate what a very long day it was for you ——- I will be shouting JANUKA’s name to everyone I meet”
(Terry)
1.6: DANCING IN PUBLIC SETTINGS – Lewisham People’s Day (2018)
On the 7th July, a hot summer’s afternoon, we danced and facilitated a short quadrille workshop at Lewisham People’s Day in Mountsfield Park, South East London. This annual event is always well attended by local and surrounding communities. We enjoyed dancing on this stage and it was a delight to see the adults and children participating in the workshop below.
Feedback was extremely positive. The defining moment was when the stage manager, overwhelmed with emotion, asked us to return to the stage. She thanked us for our performance and our service to the community. We ended on a high!
1.7: DANCING IN PRIVATE SETTINGS (2018)
During 2018, we travelled near and far to entertain, educate, empower and inspire positive awareness of our Jamaican Cultural Heritage, to multicultural audiences of varying sizes, age groups and formality. Many verbal, non-verbal and written encouraging feedbacks were received.
Comments included:
“Please accept our heartfelt gratitude for your wonderful performance at our Family Day event. Everyone enjoyed the music and dance. It was the highlight of the night….It was also a joy that our guests were able to join in and learn new skills. Your entertainment contributed to the success of the occasion. We hope that we may have the pleasure of your company again….
“A wonderful experience that bounds our heritage and culture in a workshop,that allowed our older members and the younger ones to share special moments dancing in formation. Many thanks”
“This is a wonderful and enjoyable day for me. I learnt a lot about our heritage today. The quadrille dancing was very interesting; the dancing kept my feet tapping and was very enjoyable. I tried my best in dancing but had to sit out part of it. Thank you very very much”
“Excellent fun! Very informative 100%. A wonderful combination of entertainment, education and joyful spectacle. I look forward to seeing you again somewhere, sometime”
1.8: Performance and Elim Pentecostal Church
On the 21st July, we performed at Elim Pentecostal Church – Rushey Green – Catford, SE London, at their Golden Years Club annual event. This afternoon event was well attended by a multi-cultural audience of senior citizens. At the end of our performance, we were pleasantly surprised when called back to the stage to receive a commendation for our services to the community. This was another defining moment in our history.
CERTIFICATE OF RECOGNITION (2018)
On the 15th September 2018 JANUKA presented Part 3 in the series of events entitled The Will to Survive.
This grand event focussed on the period between Emancipation from Slavery in 1938 and Jamaica’s Independence in 1962, a timespan on 124 years.
The aim was to present a synopsis of the social, moral and political issues affecting the lives of Jamaicans during the 124 years of British rule, leading up to Independence in 1962.
Through the medium of games, storytelling, proverbs, images, rituals, folksongs, poetry, music and dance, we could celebrate our ancestors’ determination to reclaim their humanity and cultural identity; reaffirm their ethical values and moral principles of life; reconstruct their family structures and build cohesive communities during this period.
BACKGROUND INFORMATION
A literature review was undertaken to ensure accurate historical and socio-political events during that period. Informal discussions with family, friends and the wider public, to ascertain their recollections and personal experiences added depth and quality.
The literature reviewed related to:
- POST-EMANCIPATION YEARS
- POSITIVE DRIVERS TOWARDS JAMAICA INDEPENDENCE IN 1962
- SIGNIFICANCE OF JAMAICAN INDEPENDENCE
- SIGNIFICANCE OF ANANCY STORIES
- SIGNIFICANCE OF PROVERBS
- FOOD WE ATE POST-EMANCIPATION
(1) POST-EMANCIPATION YEARS
The Jamaican population increased in 1871 census (43 years after emancipation). The total population was 506,154, of whom 13,101 were White, 246,573 males, and 259,581 females, 100,346 Coloured (known as the Browning Class), and 392,707 Black. (Compared to records in 1834 (4 years before emancipation) showing a total population of 371,070, of whom 15,000 were White, 5,000 free black; 40,000 “coloured” or free people of colour (mixed race); and 311,070 were slaves)
2 societies existed (the haves and the have- nots). Jamaica divided by race, colour, class and political power.
Discriminatory government policies enabled the upper middle classes to (a) discourage industrialisation and manufacturing (b) endorsed an unfair systems of taxation on the poor (c) denied educational opportunities to the lower class and black people (d) created a type of caste system that kept black people at the bottom of the social pyramid.
Dominant European power-base maintained differences between themselves and freed Africans.
Jamaican people were not united in their mental attitude about who they were or where they came from. They had a negative concept of Africa – believed it to be the Dark Continent.
Human and plant diseases, natural disasters (4 hurricanes) and droughts (1911 – 1921- 1944) – resulted in agricultural decline; economic depression; high unemployment; heavy loss of life and suffering, especially on the rural poor; increased urbanisation to escape plantation life.
There was also increased migration / immigration to Cuba, Panama, Honduras, Costa Rico and United States, to seek employment in response to poverty.
1st World War (1914) and 2nd World War (1911 -1921) saw depletion of human resources from the island as many went to fight in the Wars.
The low price of sugar and repatriation – resulted in limited jobs opportunities abroad and many Jamaicans returned home from Europe and USA. However, returnees were very concerned about the 2 societies that existed in Jamaica, as well as the discriminatory government and social policies.
(2) POSITIVE DRIVERS TOWARDS JAMAICA INDEPENDENCE IN 1962
• Increase exports/trade post emancipation
Industrial – bauxite, copper, limestone; AND Agricultural – banana, sugarcane, spices, tobacco, coconut products, Blue mountain coffee, castor oil, rum, pimento, ginger, citrus
Increased economic growth (1945 -1960)
But gap between the general mass of people and new entrepreneurs widened. The “haves” getting richer and the “ have-nots” getting poorer.
• Abundance of food and fruits (see information on what we ate)
• Increase awareness of the narrow scope of education
Many Jamaicans could not read nor write, despite increase in basic, primary, secondary, technical and university education.
• Restrictive British Colonial Education Policy
Hindered development of the folk-language (patwah) from becoming a unifying force.
• Increase recognition of Jamaican culture in literature and the Arts (1920s- 30s)
Claude Mc Kay and Una Marson – the first to create a Jamaican literature, drawing inspiration from African – Jamaican historical experience.
Louise Bennett – folklorist, comedienne and writer, used the Jamaican dialect on stage and in print, helping it to gain acceptance at all levels of society.
• Development of the National Arts Gallery of Jamaica
Present uplifting portraits of Jamaican people by local artists.
• Increase awareness of need for racial and cultural affirmation (1927- 35)
A movement initiated by Marcus Garvey – socio-political activist, supported by Robert Love– a Rastafarian set African Jamaicans the task of reclaiming their identity and their African heritage. Garvey insisted on self-discovery, self-liberation and self-discipline. He upheld the view that Black people of every class should have the opportunity to develop their intellectual ability to the full.
• Emergence of Women Leaders (1920s – 30s)
They set about putting an end to marginalisation of women in Jamaican society by promoting investment in womanhood with its proper meaning and dignity. Women emerged as advocates for social accountability.
• Changing Role of Women (1930s- 40s)
In the post-emancipation period, 80% of women were gainfully occupied in agriculture. Women were crowned Farm Queens because of their knowledge of agriculture. Their numbers steadily declined and by 1943 only 47% were agriculturists as more began to work in domestic and commercial occupations.
• Re-building Family Units (1930s- 40s)
Population and promiscuity increased.
• Increased community spirit and support (1930s- 40s)
Farmers cultivated together, exchanged day labour, shared their produce.
• Development of a two Political Party System 1934-1942
In 1934, Alexander Bustamante and AGS Coombs formed the Jamaican Workers and Tradesmen Union because workers needed representation.
In 1938, Norman Manley launched the People’s National Party He called on all Jamaicans to unify, to feel more and more that Jamaica, as a place, is their home and their destiny.
In 1942, Alexander Bustamante launched the Jamaica Labour Party He called on all African Jamaicans to expect a better life in a country where they are in the majority, but from whose society they have been excluded.
• Protests against working conditions, poor wages and inequality (1865 -1944)
In 1865, the Morant Bay Uprising led by Paul Bogle – protesting for Liberty, Justice and Human Rights. Between 1938 -1944, Continuous Riots at FROME Sugar Estate – a critical turning point in cultural and political uprising
• Rejection of British Crown and Colonial dependence (1944)
Self-government and Partial Independence granted by Britain. The Jamaican constitution was reformed, signalling the end of colonial policy of economic exploitation.
• Voter registration introduced (1944)
The British Government introduced Universal Adult Suffrage. Everyone at the age of 21 years can register to vote.
• Development of the Cottage Industry (1945)
International Monetary Fund (IMF), UNESCO, Food and Agriculture Organisation (FAO) (1945); International Mainly driven by women, creatively transformed raw materials into products for internal and external markets.
• Specific Development Funding (1936)
Specific Funding for Development of Rural Communities from the Jamaican Welfare Ltd. Founded by Samuel Zemurray (American)– to enable people to make the best use of opportunities that existed or that they can create for betterment.
• Global Development Funding (1940s – 46s)
Global funding to provide Social and Economic Assistance to Developing Countries Labour Organisation (ILO) (1946); International Bank for Reconstruction and Development (IBRO).
• British Government Colonial Development Fund (1942- 45)
10 – 20 million pounds granted for development.
• Increase in religious rigour (1930s – 1960s)
Proliferation of Churches/Christianity (African, mixed, European religion), and increasing recognition of Rastafari as a religious and ideological movement.
The Rastafari movement, originating in Jamaica, began as a “cult of outcasts” who felt derided and persecuted. Rasta identified themselves as “exiles” “captives” in their own “Babylon” and believed redemption could only be achieved through repatriation to Africa.
Haile Selassie perceived as the Messiah of African redemption, the black reincarnated Christ, the redeemer. His title “King of Kings and Lion of Judah” puts him in the line of descent from King Solomon. Rastas believe that Marcus Garvey is the great prophet.
Rastafarians draw their inspiration from The Old Testament – The Sixth and Seventh books of Moses. The Bible is interpreted literally and provides a continuous source of guidance for daily living and intellectual discussions.
The use of Ganja (Marijuana) is seen as a means of communicating with God or gaining insight or wisdom.
Prominent names in the early Rasta movement include Leonard Howell, Robert Hinds, Joseph Hibbert, Henry Dunkley, and Claudius Henry.
• Increase recognition of Jamaican music, nationally and internationally (1950s – 60s)
Ska was the music of the poor and dispossessed, expressed especially in the melancholy of the horns. Popularised by big bands such as Byron Lee and the Dragonnaires, was something that the Jamaicans could proudly claim as “Ours”. Ska music coincided with Jamaican Independence. Edward Seaga -Minister of Culture, contributed to both its recognition and its appropriation by officialdom.
• Partial Independence (1958)
Jamaica became an Independent country in all internal affairs. Defence and International affairs were reserved for the Queen of England.
Full Independence was delayed by the colonial education system, instilling a lack of self confidence among Black people in their own ability to manage their affairs, and confirming amongst White ruling classes the sense of superiority in their dealing with the freed colonial people. 18 years of tutelage was imposed before self -government was granted.
• Jamaica Independence (1962)
Jamaica became an Independent democratic Nation State within the British Commonwealth on the 6th August, after over 300 years of British rule (1665 -1962), and
124 years after Emancipation (1838).
(3) SIGNIFICANCE OF JAMAICAN INDEPENDENCE
British White authority transferred the seals and symbols of power to duly constituted Jamaican Black authority. Sir Kenneth Blackburn was appointed temporarily as Governor General until Sir Clifford Clarence Campbell was sworn in. Sir Clifford Campbell was the first Black Governor General of Jamaica.
Independence was celebrated throughout the island with many street parties, special events and memorabilia given to all school children to mark this important milestone in our development.
The Jamaican National Anthem
Replaced the British anthem – God Save the Queen. The words of the anthem were by Rev Hugh Sherlock, the music composed by the Hon. Robert Lightbourne.
Eternal Father, bless our land Guard us with thy mighty hand, Keep us safe from evil powers, Be our light through countless hours, To our leaders, Great Defender, Grant true wisdom from above, Justice, truth be ours forever Jamaica, land we love, Jamaica, Jamaica, Jamaica, land we love
Teach us true respect for all, Stir response to duty call, Strengthen us, the weak, to cherish, Give us vision, lest we perish, Knowledge send us, Heavenly Father, Grant true wisdom from above, Justice, truth be ours forever Jamaica, land we love, Jamaica, Jamaica, Jamaica, land we love.
The Jamaican National Flag
On the 5th August the Red White and Blue Union Jack was lowered at midnight and replaced by the Jamaican Flag. The colours of the flag have symbolic meanings.
Black represents hardships overcome and to be faced (resilience). Green represents hope and agricultural resources – Gold represents the natural wealth and beauty of sunlight.
The overall message at the time was “Hardships there are but the grass is green and the sun shineth” In 1997, the Jamaican Parliament debated and changed the symbolic meaning of the flag, i.e. Black for strength and creativity. Green for the land is green. Gold for the sun shineth
The new message being “The sun shineth, the land is green and the people are strong and creative”
The National Pledge
Before God and all mankind, I pledge the love and loyalty of my heart, the wisdom and courage of my mind, the strength and vigour of my body in service of my fellow citizens. I promise to stand up for justice, brotherhood and peace, to work diligently and creatively, to think generously and honestly, so that, Jamaica may, under God, increase in beauty, fellowship and prosperity, and play her part in advancing the welfare of the whole human race.
National Coat of Arms
The Jamaican coat of arms is a variation of the original, given to Jamaica as an English Colony in 1661, designed by the Archbishop of Canterbury. It consists of a shield that bears a red cross with five golden pineapples. Flanked on either side of the cross is a male and female TAINO. The male Taino is shown carrying a bow and arrow and the female Taino is shown. On top of the shield is the royal helmet and mantling with a Jamaican alligator on top of it. Below the shield is the motto “Out of many one people” adopted at the time of Independence.
The 6 National Symbols:
(1) Flower –Lignum Vitae (2) Fruit – Ackee (3) Motto – Out of many one people (4) Tree – the Blue Mahoe (5) Bird – The swallow tail /streamer tail humming bird (6) Costume – Bandana
The 7 National Awards:
(1) National Hero of the shield (2) Award of the Nation (3) Award of Merit (4) Award of Jamaica (5) Commander and Officer Distinctions (6) Medal of Honour (7) Badge of Honour
Conclusion – The National Challenge:
All African-Jamaicans should be emboldened to claim their past with its record of heroic uprisings against European oppression, to claim their African heritage and to draw on today’s achievements as a source of empowerment.
References:
- Dexter N. Taylor G. (2007) Mango Time. Folk Songs of Jamaica. Ian Randle Publishers, Kingston.
- Lewin O. (2000) Rock it come over. The Folk Music of Jamaica. University of the West Indies Press.Kingston. Jamaica
- Senior O. (2003) Encyclopaedia of Jamaican Heritage. Twin Guinep Publisher.
- Sherlock P. Bennett H (1998) The Story of the Jamaican People. Ian Randle Publishers, Kingston Jamaica
- Tanna L. (2000) (3rd Ed) Jamaican Folk Tales and Oral Histories. Institute of Jamaica Publications Ltd.
(4) SIGNIFICANCE OF ANANCY STORIES
I have fond memories of growing up in Jamaica and can recall hearing Anancy stories at home, school, on the radio, and at community gatherings. This was common place entertainment by elders and entertainers. We loved the character of Anancy the trickster. The way he spoke in a high pitched voice with lisp tongue was comical. We even tried to make up our own stories as children, based on their unusual names, eg, Bredda Tukuma. The stories always made us laugh, but as children, did we really understand the true significance of these stories to real life situations? Certainly not!
During my investigation, one Elder said to me;
“The telling of Anancy stories was not just for entertainment when he was growing up. Anancy stories were also educational, because they teach us to be always aware of tricksters. The first trickster to be aware of is the trickster within yourself. You have to develop control to overcome evil acts because a “trickster”is a person who cheats and deceives people…. Beware of the trickster”
Because we wanted to include Anancy stories in our programme, the significance was further explored in the literature.
The word “Anancy”/ “Anansi” is derived from Twi, a West African language. The telling of Anancy stories was part of the tradition in African villages where everyone gathered around a fire at night to hear the old tales. The displaced Africans brought their story telling tradition to Jamaica/ Caribbean.
Anancy is the name given to the house spider, and is the main character in the stories. Anansi is depicted as a trickster hero. He is portrayed as a short, small and greedy spider with human qualities and characteristics. Anancy survives by “working his brains” i.e. by his cunningness, helped by his glibness of speech, despite his “tie- tongue” and a falsetto voice.
Anancy personifies the qualities of survival and the triumph of the weak over the strong. These are attribute that our enslaved ancestors’ could have found uplifting and empowering. Stories always end with the words “Jack Mandora mi noh choose none” Although the origin is uncertain it is supposed to mean that the teller does not approve of Anancy’s tricks. Anancy stories are preserved through literature and on the stage, most notably Sir Phillip Sherlock and Louise Bennett.
In Jamaica, Anancy stories were frequently told to children usually at bed-time. Adults also told Anancy stories at “Wakes/Nine Night” and moonlight gatherings to entertain themselves
References:
- Bennett L (1966) Jamaica Labrish. Sangster’s Book Stores Limited, Kingston. Jamaica
- Bennett L (1979) Anancy and Miss Lou.. Sangster’s Book Stores Limited, Kingston. Jamaica
- Zaul Peter-Paul 92003) Anancy Mek it . LMH Publishing Ltd. Kingston. Jamaica
(5) SIGNIFICANCE OF PROVERBS
When growing up in Jamaica, our parents, grandparents and other elders in the community expounded proverbs during or after talking about a particular subject or event. This was common place, spoken in patwah, and was meant to make us think about the consequences of certain actions. Some proverbs were multifaceted and difficult to understand. The true meaning was not always obvious to us as children, and at times meant different things to each of us. After several guesses at the true meaning of some proverbs, sometimes never getting it right, or told by an elder to think again, we would give up in frustration and subsequently disregard them. Interestingly, some proverbs were also included in the songs we sang without any real understanding their meanings.
We wanted to distribute some proverbs with our programme, to increase awareness of their cultural importance as a learning tool. We hoped they would stimulate discussion with adults and children as to their true meaning.
The significance of proverbs was further explored in the literature. The books reviewed provided useful information, especially on interpretations.
Proverbs are of West African, European and Jamaican origins. They are wise words of wisdom reflecting the customs and philosophies of our ancestors. They helped our ancestors cope in difficult times and can provide inspiration to guide us safely through the rough and tough corners of our daily lives. Proverbs are unassuming statements or statements of fact that reflect the humour, colour and vitality of Jamaican culture in everyday conversations. They have multiple purposes, for example, to influence the behaviour of others; suggest a course of action; pass judgement; criticise; ridicule; warn; disrespect; and dissention. Proverbs that are wide ranging and generic can serve as an educational and social tool, assisting children to learn the norms of society. Many Jamaican Proverbs have double or hidden meanings, and often the most obvious meaning is not the main one. The meaning will depend on the context in which the Proverb is used. You sometimes need to mediate on some Proverbs before you can fully understand them. Proverbs also contribute to the worldwide popularity of Jamaican cultural lifestyle, language and music. The lyrics of many Jamaican songs are infused with Proverbs, e.g. “Chicken merry, hawk deh near”; “Sarry fe mawga dawg, mawga dawg tun roun’ bite yuh”; “Rain a fall, but dutty tuff”; and “Time langa dan rope”.
References:
- Hutchinson J A. (2004) Hamper of Jamaican Proverbs; proverbs to colour yuh language and yuh life. Kingston. Jamaica
- Mc Kenzie E (ed) (2002) Jamaica Proverbs and Culture explained. Blue Mountain Media.
(6) FOOD WE ATE POST-EMANCIPATION
I enjoyed discussing this topic with family, friends and the wider Jamaican community. It was interesting to note that the same food would have different names depending on which part of the island they were produced. Elders would recall their favourite foods with smile on their faces and watery mouths and even recalled the names of the farmers and women who cooked it. They told me they were never hungry growing up in Jamaica because of the abundance of food, fruits and water. That was also my experience. The Encyclopaedia of Jamaican Heritage by Olive Senior was also a useful comparative resource.
The variety of food and fruits identified was used to comprise my Dub – Rap entitled “Wi shoulda neva go hungry – in a fi wi culture”
The origins of our Jamaican food and fruits are: Arawak Indians, Spanish, Portuguese, Jews, French, Africans (Ashanti, Fanti, Yoruba, Ibo people), Europeans (English, Irish, German), Indians, Chinese, Arabs/ Middle East/Syrians.
Apples: Otaheite; Custard/Bullock’s heart; Crab Apple; Mammey
Avocadoes: Midshipman’s butter; Poorman’s butter; Round- Simmonds; Long neck Alligator; Green Skin; Purple Skin
Breadfruit: Yellow heart; Cus Cus
Bananas: Lakatan ; Gross Mitchel; Robuster; Chiney; White house; Froggy; Red banana
Beans: Red/Kidney Beans; Butter Beans; Lima Beans; String Beans; Broad Beans; Crab –eye; Rose cocoa
Cocoas: (Taro and Tannia); Bedoe; Commander; Minty; Sally; Dasheen
Coconut: Mandora; Jamaica Tall; Malayan Dwarf
Fruits: Guinep; Gimbilin; Jew/June Plum; Hog Plum; Coolie Plum; Pomegranate; Guava; Peanut; Cashew; Calabash Fruit; Fig; Date Palm; Jack Fruit; Pineapple; Mammee Apple; Rose Apple; Star Apple; Custard Apple; Crab Apple; Otaheitte Apple; Golden Apple Velvet Apple; Sweet Sop; Sour Sop; Tamarind; Passion Fruit;; Garden Cherries
Oranges: Tangerine; Mandarine; Ortanique; Limes; Lemon.
Mangoes: Bombay; East Indian; Cow Tone; Turpentime; Robbin; Kidney; Julie; Suppy; Stringy; Black; Number Eleven.
Sugar Canes: Craw Fish; Stripe; Salango; White; Baby Leg; Uba (to feed cattle); Hard (for sugar and rum)
Vegetables: White Cho Cho; Green Cho Cho (also called chayote, bironne, christophene); Okra; Bitter Casava; Sweet Casava; Corn; Pumpkin; Susumber; Escallion; Irish Potatoes; Sweet Potato; Garden egg/Egg-plant/Aubergines; Carrot; Capsicum (hot & sweet pepper); Watercress; Callaloo; Spinach; Indian Kale; White Cabbage; Lettuce; Cucumber; Gherkin; Turnip.
Peas: Gungo/ Pigeon; Congo; Jerusalem; Cow; Black Eye; Red .
Peppers: Scotch bonnet; Bird; Red; Yellow; Green; Cayenne/ Chilli; Paprika.
Eggs: Boobie eggs; Hen eggs
Fish: Saltfish; Shad; Shrimps; Red Snapper; Black Snapper; Grey Snapper; Yellow tail Snapper; Red tail Snapper; Red belly Snapper; Sprat; Turtle; Calepeaver- (Jamaica salmon); Conch; Land Crab; Sea Crabs; Cutlass; Goat; Grouper; Jack; Jonga/Janga; June/Jew; Kingfish; Lobster; Mackerel; Conch; Tiki-Tiki fish; Marlin (blue); Mullet (mountain); Old wife; Oysters; Parrot; Red herring.
Herbs/Spices: Bissy/Kola; Sage; Thistle; Leaf of Life; Wis; Parsley; Thyme; Escallion; Sweet Basil; Sour-sop Leaves; Pimento Leaves; Lime leaves; Annatto; Velvet Bush; Arrow Root; Jack in the Bush; Cow-foot Bush; Elder Bush; Liquorice Bush; Ackee Leaves; Pawpaw Leaves; Chew stick; Cassareep; Dandelion; Bitters; Castor oil; Ginger; Garlic; Onions; Black Pepper corns; White Pepper corns; Cardomon; Turmeric; Cloves.
Bread and Buns: Ginger Bread; Pitta Bread; Bun and Cheese; Patties; Coconut Bun; Easter Bun; Bread and Pear; Cocoa Bread; Hard dough Bread; Peg Bread; Bammy; Bulla Cake; Toto; Johnny/Journey Cakes; Grater Cake; Fried Dumplings; Corn Bread; Coconut Bread; Banana Bread; Water Crackers
Candies: Coconut Drops; Orange Sweetmeats; Banana Figs; Breadfruit Blossom- Preserve; Tamarind Preserve; Candid Fruit / Ginger, Peel; Pinda cake-Wangla; Guava Cheese; Mango Cheese.
Jams and Jellies: Seville orange marmalade; Tangerine marmalade; Banana Jam; Mango Jam; Pineapple Jam; Sorrel Jam; Garden Cherry Jam; Hog Plum Jam; Guava Jelly; Mango Jelly; Sorrel Jelly; Garden Cherry Jelly, Cow foot jelly.
Soups: Pepperpot; Black Crab Pepperpot; Callaloo; Ackee; Cold Avocado; Beef Soup; Chicken; Fish Tea ; Coconut; Goat head (manish water); Gungu peas ; Red peas; Split peas; Cane piece rat; Alligator tail; Cow cod (testicles).
Cooked Food:
Seafood: Escoveitch Fish; Steam fish with Okra; Boiled/Baked/Crab; Turtle Balls, Curried Crab, Lobster and Shrimps, Strew;
Beef: Roast; Strew; Curried; Beef with Okra / Carrots/ other Vegetables; Soup
Chicken: Fricasseed; Fry; Strew, Curried; Soup, Jerk
Goat: Curried; Roast, Goat head soup;
Pork: Jerk; Strew:
Bird: Roast; Fricasseed Game bird;
Rice: Rice & Peas; Brown Rice; Coconut Rice;
Saltfish: Ackee & Saltfish; Paw Paw & Saltfish; Susumber & Saltfish; Cabbage & Saltfish; Callaloo & Saltfish; Cod Fish Balls.
Boiled /Steam/ Baked/ Fried food: yams, potatoes & green bananas; Fried, Baked & Boiled Plantain; Yams, Candied Sweet Potatoes; Gungu Peas strew; Stamp and Go; Callaloo in butter; Fufu; Baked ChoCho; Avocado Dip; Ackra cakes(black eyed peas) Plain Flour and Cassava dumplings, Curried Ackees & Eggs;
Run Dung/Dip and Fall Back.
Corn/ Cornmeal: Dumplings; Turn Cornmeal; Porridge;; Parched corn; Roast; Ground corn; Asham -Sham Sham- Brown George Coction-parched corn.
Chips: Plantain, Banana, Coconut & Breadfruit Chips.
Corned meat: Pork; Beef; Pigs tail; Pickled Red Herring; Solomon Gundy.
Offal: Chicken, Goat & Cow – Tripe, Maw (Mae) Heart, Liver, Light, Head, Foot, Kidneys. Tail
Porridge: Hominy; Banana; Cassava; Plantain; Cornmeal
Desserts: Sweet Potato Pudding; Mixed Fruit Salad; Matrimony; Angel Food; Ripe Bananas and Cream; Baked Bananas; Banana Tart; Banana Custard; Banana Fritters; Banana Biscuits; Stewed Cashew; Stewed Guava; Cho Cho Pudding; Dukunu (Blue drawers); Pineapple Pie; Plantain Tarts; Cho Cho Pie; Guava Pie; Mango Pie; Gizzadas; Syrups; Rum Cake; Grater Cake; Bread Pudding; Christmas Pudding.
Drinks: Lime Squash; Fruit punch (orange, pineapple & limes); Coconut Drink; Carrot Punch; Peanut Punch; Cashew Punch; Banana + Fruit punch; Banana punch; Banana milkshake; Cherry Cup; Egg Nog; Sweet-corn punch; Mango Punch; Lemonade; Guava Drink; June Plum drink.
Ice Creams: Banana; Coconut; Guava; Mango; Pineapple; Sour-sop; Snow Ball
Rum Drinks: Pineapple Liqueur; Falarium; Rum Punch; Rum Collins; Rum Mint Julep; Prickly pear punch – (tuna); Jamaica Planters Punch; Banana Daiquiri; Coconut Daiquiri
Wines: Banana wine; Cashew wine; Grapefruit wine; Orange wine; Ginger wine; Sangaree; Pimento dram.
References:
(1) Senior O. (2003) Encyclopaedia of Jamaican Heritage. Twin Guinep Publishers
(2) Oral Testimonies.
Highlights of the Programme
Seven themes emerged from the literature and informal discussions that underpinned the narrative for our concert.
- Theme 1: Reclaiming Our Identity
- Theme 2: Restructuring Our Work Life
- Theme 3: Restructuring Our Family Life
- Theme 4: Reclaiming Our Rights and Dignity
- Theme 5: Our Spirituality Revived
- Theme 6: Unity, Solidarity and Pride
- Theme 7: The Cultural Challenge
Lyrics related to the 7 Themes were written by Joan Small and Beverley Bogle in Jamaican dialect (Patwah), and presented intermittently throughout the concert in a conversational style Dub Song with a Day Oh chorus line. This was very entertaining and educational.
“Day come, an wi can go home.
Daylight cum an wi can go home
Cum mek mi tell yuh ow wi–a-go teck back wi culture
Daylight cum an wi can go home”.
The audience was encouraged to sing the chorus line with us, i.e.“Daylight cum an wi can go home”
The theme related dub song
Theme 1: Reclaiming Our Identity
Day come, an wi can go home. Daylight come an wi can go home
Come mek mi tell yu how wi a tek back wi culture. Daylight come an wi can go home
Wi can change wi name as wi tek back wi culture
Choose name wid meaning as wi do in a wi culture
Give wi pickney first name, in keeping wid wi culture
But memba pickney last name, no represent wi culture.
Wi register pickney birthdays, as part a fi dem culture
But celebrate dem “Rite of Passage” part a fi wi culture
Wi can chat patois, fi identify wid wi culture
Miss Lou an Mass Ran, mek wi proud a wi culture
Day come an wi can go home. Daylight come an wi can go home
Wi status restoring, as wi tek back wi culture
Use wi knowledge an skills, to build up fi wi culture
Wi will write wi story dong, so dem know bout wi culture
Marson an McKay, dem write bout wi culture
Wi start wi “little school” fi teach fi wi culture
Dispel di myths an lies, dat dem tell wi bout wi culture
We go teach wi pickney how fi play, as part a fi wi culture
And mek dem sing an dance, as we do in a wi culture
Day come an wi can go home. Daylight come an wi can go home
Wi can wear fi wi clothes, in keeping wid wi culture
Bright pretty clothes, dat represent wi culture
Sing fi wi songs, dat chat bout wi culture
Di rhythm an di style, will reveal fi wi culture
Wi a go dance fi wi dance, fi show-off wi culture
Wi African dances, dat represent wi culture
Whine up wi waist, as wi do in a wi culture
Di drumming an di beat, will wake up wi culture
Day come an wi can go home. Daylight come an wi can go home
Wi can dance di Quadrille, fi mimic fi dem culture
Di Ballroom Dance dat dem bring to wi culture
Dat deh rhythm an style, it noh fit fi wi culture
So wi tun it inna “Camp Style” fi fit fi wi culture
Day come an wi can go home. Daylight come an wi can go home
Theme 2: Restructuring Our Work Life
Day come an wi can go home. Daylight come an wi can go home
Come mek mi tell yu how wi a tek back wi culture. Daylight come an wi can go home
Respect fi di land, is a part a wi culture
Farm it top an bottom, as wi tek back wi culture
Can work hard all day, in keeping wid wi culture
Can swap day work, fi support fi wi culture
Wi mek nature guide wi, in keeping wid wi culture
Rotate wha wi grow, fi maintain fi wi culture
Grow wha wi eat, fi strengthen fi wi culture
Grow enough an send abroad, fi spread out wi culture
Day come an wi can go home, Daylight come an wi can go home
Wi can wok fi wi self, as part a wi culture
Wok when wi want, as we do in a wi culture
Wi can set up one shop, as part a wi culture
Fi sell nick- nacks, fi support fi wi culture
We can wok a foreign or a town, in keeping wid wi culture
Or wok in a “Industry”, exporting fi wi culture
Use wi skills in Arts an Crafts, fi show off fi wi culture
At home or abroad, wi will promote fi wi culture
Day come an wi can go home. Daylight come an wi can go home
Theme 3: Restructuring Our Family Life
Day come an wi can go home. Daylight come an wi can go home
Come mek mi tell yu how wi a tek back wi culture. Daylight come an wi can go home
Wi can choose wi own spouse, as part a wi culture
But family do di vetting, dats di norm in a wi culture
Have one wife, fi fit in wid dem culture
But can have more dan one wife, according to wi culture.
Keep all wi pickney dem, fi build up wi culture
Have as many as wi want, fi represent wi culture.
Wi include di whole community, in keeping wid wi culture
Fi help raise wi pickney dem, as wi do in a wi culture
Discipline wi pickney dem, as part a fi wi culture
Fi have manners an respect, in line wid wi culture
Day come an wi can go home. Daylight come an wi can go home
Respect for our elders, is the norm in our culture
Dem experience and wisdom, is vital to wi culture
The Proverbs an Stories, dem tell wi bout wi culture
Will help wi fi learn and live wid wi culture.
Wi will throw “Pardner” fi support fi wi culture
Save wi money wid wi people, show trust in wi culture
Wi can buy land an build house, fi keep up wid wi culture
Shelter all we people dem, as we do in a wi culture
Buy Mule and Cart, fi wok in a wi culture
An buy Horse and Buggy, fi style up wi culture
Day come an wi can go home. Daylight come an wi can go home
Wi cook in- a- di Yabba pot, wi use in a wi culture
An a 3 legged Dutchy, dat wi have in a wi culture
Use di herbs an spices, dat wi grow in a wi culture
Fi mek wi food taste nice, is normal in wi culture
Mek fashion wid food, as wi do in a wi culture
A bit a dis an some a dat, wi nourish wi culture
Wi share wha wi cook, dats the norm in a wi culture
Share wid “Pass-byes an Call-eens” ,as wi do in a wi culture
Drink di Bush tea, cause it good fi wi culture
Drink fruit an veg juice, fi strengthen wi culture
Drink Roots wine, as the tonic fi wi culture
An drink di White rum, fi stir-up wi culture
Day come an wi can go home. Daylight come an wi can go home
Theme 4: Reclaiming Our Rights and Dignity
Day come an wi can go home. Daylight come an wi can go home
Come mek mi tell yu how wi a tek back wi culture. Daylight come an wi can go home
Paul an Moses Bogle, help wi fight fi wi culture
Fi di justice an equality, wi need in a wi culture
White Governor Eyre condone injustice, pan fi wi culture
Black Governor Campbell, mek sure equality in wi culture
Law an order now enforced, fi protect fi wi culture
An brutality now reduced, in respect fi wi culture
Wi mus think before wi act, so wi noh let down wi culture
Wi fi live in peace and harmony, wi should in a wi culture
Day come an wi can go home. Daylight come an wi can go home
Wi have voter’s rights, fi influence wi culture
Can choose suh-mady, fi represent wi culture
Wi have workers’ rights, as part a wi culture
Bustamante play him part, in helping wid wi culture
Wi have human rights, as part as wi culture
Wi should have equal treatment, regardless a wi culture
Wi dignity reviving, in keeping wid wi culture
Wi can hold wi head up HIGH, as wi tek back wi culture
Day come an wi can go home. Daylight come an wi can go home
Theme 5: Our Spirituality Revived
Day come an wi can go home. Daylight come an wi can go home
Come mek mi tell yu how wi a tek back wi culture. Daylight come an wi can go home
Wi Spirituality reviving, in keeping wid wi culture
Can praise fi wi God, as wi do in wi culture
Build wi own Church, fi support fi wi culture
Di Community wi serve, dat is vital to wi culture
Celebrate the life of wi dead, is part a fi wi culture
With rituals, songs, an dance, in keeping wid wi culture
Libation ritual, is a part a fi wi culture
Fi honour wi ancestors, dats di norm in wi culture
Day come an wi can go home. Daylight come an wi can go home
Wi can join “One Lodge”, to learn more bout wi culture
Dem secretive an supportive, an wi need dat in wi culture
Wi can join Rastafari, as part a fi wi culture
Dem strong belief in Bible teaching, guide fi dem culture
Dem smoke di “sacred herb”, fi gain wisdom bout dem culture
Dem “Peace and Love lifestyle” is in keeping wid wi culture
Rasta link wid nature is part a fi wi culture
Di food dem eat is natural, dat’s good fi wi culture
Dem ritual, chant an songs, an slow drum beat
Help raise consciousness, bout wi African culture
Day come an wi can go home. Daylight come an wi can go home
Theme 6: Unity, Solidarity and Pride
Day come an wi can go home. Daylight come an wi can go home
Come mek mi tell yu how wi a tek back wi culture. Daylight come an wi can go home
Bogle say “member wi colour”, an fi wi culture
‘im say “Cleave to the Black”, in respect fi wi culture
Garvey say wi should Unite an Reclaim, fi wi culture
‘im say Rise up you mighty people, an tek back wi culture
Know who wi are, an be proud a wi culture
An Know whey wi come from, fine wi roots culture
Support wi wan-a -nada, an Trade wid wi culture
An liberate wi- self – from colonial culture
Rasta Howell say we need “harmony” in wi black culture
Wi shouldn’t feel like “outcast” in a fi wi culture
‘im say “tek a radical stance” – in a fi dem culture
Protest against oppression”, in dis ya Babylon culture
‘im say go back to Africa, fi search fi wi culture
wi Kingdom – wi Kinship an wi Tribal culture
wi must confirm allegiance, wid wi African culture
An emancipate wi self, from colonial culture
Day come an wi can go home. Daylight come an wi can go home
Theme 7: The Cultural Challenge
Day come an wi can go home. Daylight come an wi can go home
Come mek mi tell yu how wi a tek back wi culture. Daylight come an wi can go home
Wi come a long way, fi reclaim fi wi culture
After 400 years, of Colonial culture
Tank God fi di wisdom and guidance fi wi culture
An tank him fi di leaders, dat elevate wi culture
Democracy gi wi freedom, fi choose wi culture
Wi African, OR wi Jamaican culture
Whichever path wi choose, wi fi proud a wi culture
Accept an celebrate, every part a wi culture
Day come an wi can go home. Daylight come an wi can go home
If wi rich or wi poor, wi hav fi live wid wi culture
Wi African or wi Jamaican culture?
Wi Black an wi Pretty, wi fi love fi wi culture
Wi African or wi Jamaican culture?
Wi now Independent, wi can choose fi wi culture
Wi African or wi Jamaican culture?
But Manley say “unite” in dis multi-racial culture
“Out of many we are one” we fi accept dis yah culture
So mek wi sing an dance, celebrate wi “mix-up” culture
Wi African, Syrian, and Indian culture
An wi Chinese, European and British culture
Yes!! Wi mix up – dat is fi true
But we a go celebrate wi Jamaican culture.
Day come an wi can go home. Daylight come an wi can go home
Day come an wi can go home. Daylight come an wi can go home
Other Highlights of the Programme
This energetic and awe-inspiring performance also included:
- Dancing: The Chains are broken – We are no longer chattel slaves;
Traditional cultural dances including Bruckins, Tambo, Dinki Mini, Kumina, Revival and Quadrille;
Dancing Dis lang time gal. A Jamaican folk song;
Dancing the Ska. Jamaican Independence dance - Children and Adult Games, Dance and story-telling:
Johnny was a Miller;
River bank Coverly;
A Manuel Road stone breaking;
Telling Anancy stories. - Proverbs interpretations with audience – words of wisdom.
- Singing Jamaican folk songs with audience participation
Mango Time; Banana song; Coconut woman; Dip and Fall-back; Linstead Market; Sly Mongoose; Nobody’s Business; Colon Man; Mattie Wallah Lef; and Singing a Revival song (A little more oil in my Lamp). - Renditions
Names of Towns in Jamaica by Caspar James;
Dub Rap “Wi shouda neva go hungry”, about the food we ate post-emancipation, by Beverley Bogle - A Taste of Jamaican food, pudding, cake and drinks.
Example of pictures taken during the performance
Dancing The Chains are Broken – We are no longer chattel slaves
Dancing other traditional dances
Singing and dancing Jamaican folk songs
Dancing the quadrille
Children participating
Renditions
Everyone dancing the SKA – The Independence Dance
Everyone singing the Jamaican National Anthem
Audience
Conclusion
This performance conformed with our cultural tradition in which our history and culture are shared from one generation to the next, through storytelling, proverbs, riddles, games, images, art, folksongs, music, dance, rituals and work ethics.
This innovative, interactive, entertaining and educational presentation was very well received. We thoroughly enjoyed the planning, and the delivery of this programme.
The support we had from the local and wider community was overwhelming. The healthy buzz, joy and laughter radiating from the audience as they listened to our story, watched us dance, sang along with us and reflected on their own life experiences whilst growing up in Jamaica was fascinating. Their appreciation of our efforts was echoed in the sentiments we received.
Feedback on Our September 15th Event.
Acknowledgements
We would like to thank all the insightful organisers of events, well-wishers and friends of JANUKA who opened doors for us, enabling us to share our passion for dancing and telling our ancestors’ story with grace and dignity. Thank You.