The evolution of Tobago's folk culture

Dr Rita Pemberton

Tobago’s folk music culture reflects the impact of the varied historical influences on which the fabric of the island’s society is woven. These songs, which deal with themes that have been of central concern of the population at particular times in the island’s history, are subject to change and can be classified according to their topics. They are spontaneous responses to the real-life encounters of the population,and are usually expressed in the popular lingo of the period and are conveyed and maintained in the oral tradition. Hence the development of the island’s folk culture can be traced back to particular periods of the island’s historical experience.

There is no available evidence of the influence of the First People or of the Courlanders, Dutch or French colonising efforts on the body of folk songs that are presently known, although there are a few with French patois words. However, the periods that are most marked in the folk songs are: the era of the establishment and growth of plantations; Emancipation; the post emancipation years and the changes which occurred during the 20th century.

Tobago’s folk culture reflects strong African influences because, since the era of European colonisation, enslaved Africans constituted the dominant element of the population. In spite of this however, other cultural influences have left their mark on the island’s folk culture at particular points in time but these influences have not eroded the basic African cultural structure.,

During the period of enslavement, songs were among the first strategies that were used by the enslaved Africans to respond to the circumstances which they encountered on the island. They were expressions of hostility to enslavement, anger and resistance to their enslavement and a desire to return to Africa, physically or spiritually aided by African rituals and were usually accompanied by the music of drums, stringed instruments and cow horns. While other forms of resistance had a higher risk factor and were met with brutal repression, the messages that were encrypted in song were usually not recognised by the ruling class, and were allowed to continue without restriction.

The next stage of influence came from the British who ruled the island from 1763. The exposure to the linguistic and musical culture by enslaved cooks, nursery, maids and butlers led to the infusion of aspects of British culture into the folk expressions on the island. During this period the development of European dance genres, such as reels, jigs and polka, from which the heel and toe derived, occurred.

It was generally felt by the ruling class that African culture was inferior and the population should be exposed to a more elevated and civilised culture. This created a role for Christian churches and schools which were the agencies of European “civilising” mission. Church missionaries were actively cultivating local musicians as they taught music, organised choirs at Sunday school and school, where British and Scottish tunes as well as sacred songs were taught. However, despite the intent of the colonisers, these influences did not destroy the folk song culture which was able to accommodate them.

Migration has also had a marked influence of Tobago’s folk culture. Migration from other Caribbean territories facilitated the strengthening old African practices on the island. The introduction of migrants from Grenada to boost the island’s cocoa production resulted in the increased practice of saraka music and other African traditions from Grenada, while migrants from Carriacou brought old kalinda music and the nation dance cult and those from St Lucia brought kele music. The result was a locally-flavoured cross cultural stream of folk songs.

Union with Trinidad permitted the flow of aspects of Trinidad culture such as carnival, kalinda and parang to Tobago which was augmented by the return migration of Tobagonians who worked in Trinidad. In addition, return migrants from Venezuela, Cuba and Panama resulted in the introduction of cultural influences from these countries.

Hence, by the late 19th century, the influences on Tobago’s folk culture shifted from its primarily African base to include British influences which became stronger during the early 20th century with the increased provision for education in the church schools. From the mid 20th century, there occurred a synthesis of African /Caribbean and European influences on the island’s folk culture, particularly folk songs which remains a defining feature of the Tobago’s culture.

The folk songs of Tobago are of various types. There are work songs for all kinds of jobs – labour in the fields, on the roads or in construction; digging, hauling and reaping. Sometimes they express the pain of the job and in other instances they establish a work rhythm to get the job done. This is particularly important in the conduct of the more dangerous operations such as cutting trees, hauling timber and repairing equipment.

There were religious songs for specific occasions which were required for both traditional and the Christian church practices. Religious music is therefore an important feature of Tobago’s folk songs. There are songs of rejoicing, thanksgiving, harvest. There are songs associated songs of pain and mourning; particular songs are required for some rituals or dances, such as bongo, limbo reel and jig.

Recreational songs are used on occasions of pleasure and entertainment There are folk songs which express enjoyment at dances; the boast songs of the speech bands (the preserve of the male); and carnival and drama songs. Banter songs which are songs of derision, rumour and erotica, have been the preserve of females. The last group of folk songs are children’s music which include nursery rhymes, game songs, riddles, story songs and lullabies.

The folk culture of Tobago reflects the island’s historical journey. In the earliest phase of its development it is an indication of creative resistance to enslavement and a commitment to holding on their separate identity rather than succumb 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.