Patch An' Go, Fall 1997
he musical culture of St. Kitts is heavily
dominated by Soca and Calypso with touches of reggae, gospel and pop tossed in
for good measure, but the beginning of 1997 saw the re-emergence of traditional
folk music as a significant force.
In a series of performances on January 3, 4 and 18, The Liamuiga Folk Singers dazzled three packed crowds in St. Kitts with a powerful and witty combination of music, theatre and dance. After seeing the show, group founder Dauna Manchester commented, "this production fulfills my vision of the group and is the peak of the organisation."
Kittitian culture critic Lorna Callender wrote, they "evoked the age-old African/Caribbean practice of pouring out all experiences in song... Mundane experiences such as the wandering of livestock onto a neighbour's 'ground' or the sustaining nature of the breadfruit held equal place with the more abstract thoughts of solidarity and freedom." "The set, music, costumes and ambience blended together to convey the theme--'De Village Affair,'" added Novelette Hanley, an early music director of the group.
A simple, yet elegant set provided the backdrop for the multi-themed performance--with a beach, boats, a barshop attached to a house and a river. The 22 performers began the show in colourful African dress and made two costume changes to emphasise the different segments of the performance.
The production provided much more than music, as drama and dance played significant roles. The drowsy stretching and handshaking which began the show in "Good Marnin," the obstinant refusal of Lila to come back to Tommy ("Tommy and Lila") and the proud stance in Freedom Chant were among the acting which added great emotion. The light instrumentation of guitar, keyboard and drums backed up the graceful movements, illuminating their meaning.
"The voices, as finely tuned as those at an opera, blended well; words and meaning of the songs were easily understood because of the near-perfect enunciation," wrote Callender. The fact that most of the singers have no formal musical training, and that they practice only once weekly, makes the skillful singing an even greater achievement.
The "battle of the sexes" played a central role in the production, being addressed in various ways. Men's lack of fidelity was the focus of several songs, as was the pain of a man whose woman has left him. The crowd went wild during several of the exchanges between the male and female performers, climaxing with "Santimanity," a composition by musical director Creighton Pencheon, which involved a traditional Caribbean confrontation in song between men and women. The women, as one would expect in a group in which women significantly outnumber men, had the last word.
Such interchanges must be seen "in an historical framework," according to founding member Vicky Richardson. While they appear to perpetuate sex role stereotyping, Richardson notes that "it shows where we've come from, and points to a new direction." She said that "the group chooses songs with themes common to Caribbean people, themes specific to St. Kitts, to tell events in the lives of Caribbean people."
Origins of the Group
After returning from University in 1984, Dauna Manchester put out a call to form the group. "We were losing our folk songs," she recalls and "we needed to begin the process of preservation." About 20 people responded, and they began researching songs from throughout the region, since they found little material from St. Kitts. The University Singers from Jamaica and the Emerald Community Singers from Montserrat were particular inspirations to the new group.
Vicky Richardson recalls "we were being bombarded with American culture and what was important to West Indian people in our oral tradition was being lost." Many group members point to the importance of singing in their African ancestry. "It helped people survive," asserts Richardson. "Here was a vehicle through which we were able to promote the folk aspects of our music," remembers Pencheon, whose commitment is also expressed via an African drum necklace hung around his neck. He points out that "soca and calypso also have strong African elements."
The group's significant success is demonstrated by the overwhelming number of requests they receive to perform. Whereas in the past "folk music was relegated to providing entertainment for tourists," according to Pencheon, the Liamuiga Folk Singers now perform in churches, schools and community gatherings all over the island.
Hurricane Hugo led to a three year hiatus until the group reunited in 1993 to perform at celebrations of the 10th Anniversary of Independence for St. Kitts and Nevis. Later that year they performed a production of material written almost entirely by musical director Grace LaPlace. The following year they joined other folk groups from the region in a performance in Grenada. The fellowship and sharing they felt with their compatriots from the region was a high point for many group members.
However, as in any group, conflicts have arisen. "That I'm the only remaining original member says a lot about continuity and how we deal with differences," Richardson says. "A diverse range of personalities means that it's difficult to satisfy everyone all the time," notes Kathleen Allen-Ferdinand, whose mother directed the Emerald Community Singers. The unequal commitment of group members emerges as particularly problematic. In an amateur group composed of people with full-time jobs and families this is far from surprising.
A Bright Future
The difficulties seem easier to surmount as the group glows in the universal praise of its recent performances. They have begun to prepare for Independence Day next September and for a new show several months later. Increasing and improving their instrumental accompaniment is high on their agenda, along with raising the funds to purchase a sound system designed for their needs, according to manager Kaye Knight-Hazel. They would also like to produce an album, but copyrights create a significant problem in this regard.
"We want to expose the group to other forms of music, such as jazz and blues," adds musical director Pencheon. Blending folk and modern musical forms to make the folk style "accessible to a wider audience," is another direction he finds promising, though they must hold to "strong Afro-Caribbean beats and rhythms."
The future looks bright for The Liamuiga Folk
Singers as they begin to prepare for their next round of performances. In
the process the people of St. Kitts will be reminded of the history from
which they have come and will be given hints of a future which remains linked
to those origins.