This blog will explore the ideas and relevant media surrounding creolization in English-speaking Caribbean countries.

The Performing Caribbean

Within Tour de Force, there are many examples of creolized cultural components in the English-speaking Caribbean. The main aspect that instantly makes one like myself go "Ooooo that's pretty interesting to know!" is that of the performance nature. Whether still, heard, moving, perceived, or uniquely expressed, the "Performing Caribbean" [as I call it] is clothed in creolization and modern expansion of those ideas. I will be focusing on two aspects of the performing Caribbean represented within the text.

Music

A Look Into Jamaican Music: Reggae, the midpoint of the musical culture

Photo of Bob Marley Performing
(Photo taken from https://jamaicansmusic.com/learn/origins/reggae)

The authors of Tour de Force depict Reggae as a basis for Rastafari dialect and Jamaican patois representations within lyrics alongside more mellow, rhythmic aspects. This genre is normally referred to as a broad label for the popular music out of Jamaica and is very conscious. What elements of Reggae do you think are creolized? Immediately, the sound itself is the guess, but what about the sound? As mentioned, Reggae makes use of patois, which is a creolized language. Patois is more than broken English embraced by the locals, but a unique, energetic language that was influenced by and evolved from Jamaica's heritage (their contact with the Spanish, French, English, and African) as described by another article.

The Beestons Jamaican Mento Band
(Photo taken from https://www.my-island-jamaica.com/jamaican_mento_music.html)

Likewise, the music, which compliments this creolized language, itself is also a mixture of cultures and ideas. Reggae was heavily influenced and evolved from a mixture of Mento, American Jazz, Rhythm and Blues, Ska, and Rocksteady. The authors of Tour de Force describe Mento as most of Jamaica's musical styles' mutual ancestor. Mento, itself, was not political yet pinpointed relevant discussions of that time or era and made use of acoustic music for its style. Birthed in more rural areas, Mento was created with instruments such as banjos, hand drums, guitars, and other instruments that didn't need electricity. Interestingly, Reggae does not have an acoustic sound yet makes use of Mento's influence. Additionally, Ska and Rocksteady (which are also influenced by Mento) can be up-tempo or lower energy, respectively, also don't seem to utilize an acoustic sound but may include the related instruments. What happened as a result of combining these various sounds? We not only got the internationally loved genre of Reggae but the beauty of Afrocentric creolized music which led to other loved genres such as Dancehall which, itself, influenced other genres as well.

I chose this video as an example as it's one of my favorites from Bob Marley and its sound seems like a fit to the description of Reggae. To this day, people assume the song is just another underrated protest song, but the reality lies beyond just any protest. The song follows a more conversational tone as Bob Marley confronts various people with contrasting spiritual beliefs.
The song makes use of Reggae's various aspects and roots while managing to remain mellow, attention-grabbing, and conscious.

Dance

Saint Lucia: Square Flavors on the Floor!

Étienne Brion after Watteau, La Contredanse, engraving
(Photo taken from http://watteau-abecedario.org/Contredanse.html)

Oftentimes, many people question what St. Lucia is known for. Like many other Caribbean countries, St. Lucia has developed their presence over time through its musical performances of different sorts. Within the text, there is mention of the heavy influences left by both the English and French on St. Lucia. An aspect that stood out most to me was the ideas and legacies left behind in local dance traditions especially that of the quadrille. This dance is heavily based upon a French country dance, contredanse, and is known throughout the Caribbean. The authors of Tour de Force explained how the quadrille is executed. The dance itself is described within its name, where we consider "quad" as the idea of a square motion or a squared formation. Four couples position themselves in a four-spot setup or squared formation and dance in such a manner facing the middle of the square. The quadrille eventually became popular in the New World and evolved into square dancing (which is well known in parts of the United States) or "kwadril" (which is well known in Saint Lucia and other islands).

Creolized Arts & Its Influence

From Signal to Recreation: The Arawak Influence

Taino Arawaks Meeting Columbus
(Photo taken from https://yosoyborinquen.com/tainos-arawak/)

Creolization can reach any section of Caribbean culture, and art is no exception. Throughout the earlier history of many Caribbean countries, we noticed the presence of Arawaks and their subgroups such as the Lucayans, Caribs, or Tainos. These native persons encountered many hardships presented by enemies and voyageurs like Christopher Columbus. The culture of the various Arawakan subgroups was heavily influenced by these local, Indian and European encounters and resulted in art styles still referenced in the present time. For example, the idea of painting one's skin was symbolic or precautionary. Many Arawaks painted their faces or bodies as a symbol of spiritual awareness, but this was not the sole purpose of the act. The selection of colors or shapes painted was a signal to the others of their tribe. Those who painted in red, a more violent color, were normally warriors or protectors of their tribe. While the other colors were treated as a visual description of one's life or for the sake of camouflage as enemies approached their lands.

Celine Ferguson with Abstract Facepaint
(Used with permission from Celine Ferguson)

In the present time, many artists still depict these color choices and masks of identity within their works. Whether on the skin or not, the art is an open terrain of unique styles waiting to be created. These paintings have become less about signaling and more about the expression of one's talents, imagination, heritage, and ability to make the art "speak for itself." We no longer hide behind the drying paint to survive but create an overlay that defines the art made by our hands or the creolized culture taught to our people throughout time.

I included this additional example as it explains what I meant by "create an overlay that defines the art made by our hands or the creolized culture." Art in the Caribbean today, especially in countries like The Bahamas, is a conversation between the piece, artist, and those who view from the sidelines.

What art styles were adopted? What historical image was referenced? What sparked this flame of spontaneity and creativity? Whether traditional or innovative, artists incorporate cultural aspects passed down through the ages from cross-cultural contact. It always leaves me in awe, as a fellow artist and lover of art, how many cultures are behind the success of one piece made by other Bahamian artists. I saw it as an overflow of inspiration, but I now realize it is yet another example of creolization within the Caribbean.