Corrections – Traditional Bahamian Song and ACTIVITIES
“Gal, You Want go Back to Scambo?” was notably played during the August Monday celebrations which celebrates, yearly, the abolition of slavery from Britain (Charters, 1959). The Fresh Creek Dance Band played this song. As a traditional song with African influence, there is a story and purpose behind it (Gale Cengage Leanring (pub.), 2008). The words depict a woman who is living on the streets being advised by a man (or lead vocalist) to a go back to a place that is better for her, anywhere but here. In general, the song’s theme and publication are directly correlated with the economic times of the Bahamas in the 1950′s.
This song has a very traditional island feel, both with the vocals and instruments used. The use of a saw, maracas, goat skin drum, guitar, and sticks (played by the local children) further shows the traditional side as well as the limited economics of Bahamian music (The Fresh Creek Dance Band, 1959). The activity even of using these instruments, shows a sense of an active community in that the sticks are gathered from house to house, and the saw and goat skin drum were probably locally made. Putting this song into a specific category like junkano or calypso is not appropriate. This song is part of a CD entitled Music of the Bahamas which, includes Bahamian music with African Caribbean influence. It can be included in the dance, folksong, quadrille, and world music genres (Charters, 1959).
Some rituals that may accompany the song would be dances and island socialization. Particularly pertaining to this celebration, there would be a feeling of freedom from restriction with an underliying unity and connection within the community. Some island dances that may accompany this song might be the Bahamian Quadrille and the Heel and Toe Polka dances of the time. This song has a strong positive sound to it that could encourage people to keep rhythm with their feet and also clap with their hands. It makes the listener want to move when they hear the smooth pace. Dancing and swaying side to side results almost automatically. This type of song literally requires the audience to participate with dancing.
Since this song was popular on the islands in the late 1950′s, etiquette would be more formal and conservative. The culture of the time had less outside influence since tourism was not heavily promoted until the 1960′s after Cuba’s Castro came into power. After Castro’s Communist regime came about, many tourists discoveredd the Bahamas as a better vacation spot (Williams, 25). Public show of affection would not necessarily be allowed nor would intimate touching during the dances. It would be more hand holding and swaying separately. It was more common of that time for the men to lead the dance, as well as the celebration and activities during the party. In terms of the customs of clothing relevent to the time and music, the women would probably be wearing skirts or dresses which would enhance the beauty of the movement when swaying to the beat of the song.
With a traditional song, go traditional activities. The musical culture of the time is strongly reflected in the songs use of basic, traditional instruments, supportive activities, an active audience all supporting a community based, live celebration.
References
Bahamas Gateway. 2000. McDaniel College Library. 16 Sept. 2009 <http://www.bahamasgateway.co/bahamas_art_dance_and_music.htm>
Boultbee, Paul G. World Bibliographical Series: The Bahamas. Vol. 108. Oxford: Clio Press Ltd., 1989.
Charters, S. B. Music of the Bahamas, Vol. 3: Instrumental Music from the Bahamas Islands. Folkways Records and Service Corp, 1959.
Crowley, Daniel J. “Toward A Definition of Calypso, Part 2″. Ethnomusicology. Vol. 3, no. 3. University Press.
Gale Cengage Leanring (pub.). “Background: The Bahamas.” Countries of the World and Their Leaders Yearbook 2010. Vol. 1. Sept. 2008: 150-153.
Lightbourn, Kent. Tools for Survival: A Review of Bahamian Culture. Diss. Western Maryland College, 1995.
Marshall, Wayne. “Dub Island.” FADER Apr. 2008, Issue 53: 142. Academic Search Complete. EBSCO. McDaniel College. 16 Sept. 2009 <http://search.ebscohost.com/ehostdetail?vid=3&hid=104&sid=e5a01a>.
Music of the Bahamas. 2004. VanderCook College of Music. 16 Sept. 2009 <http://www.bahamasentertainers.com/Paper/jnkno.html>.
Porter, Darwin, and Danforth Prince. Frommer’s Bahamas. 2010 ed. New Jersey: Wiley Publishing, Inc., 2009.
Rommen, Timothy. “Home Sweet Home: Junkanoo as National Discourse in the Bahamas.” Black Music Research Journal. 19.1 (1999): 71. Academic OneFile. EBSCO. McDaniel College. 21 Sept. 2009 http://find.galegroup.com/gtx/printdoc.do?contentSet=IAC-Documents&docType=IAC&is
The Fresh Creek Dance Band. Gal, You Want to go Back to Scambo? Folkways Records, 1959.
Williams, Colleen Madonna Flood. The Bahamas. Philadelphia: Mason Crest Publishers, 2004.
