Gombeys, Bands and Troudadours By Ronald Lightbourne THREE TRIBUTARIES FLOW into Bermuda’s musical mainstream, giving it a rich and distinct identity: the music and dance drama of the Gombeys, a prolific tradition of marching bands, and a heritage of singer-songwriter troubadours. Over time these tributaries have deposited a fertile soil in which Bernudians have nurtured Ttheir musical expression and the continuance of their creative traditions. Gombeys he oldest of these tributaries is the Gombeys. Research by Mrs Louise Jackson and others have established their uniqueness, and Dr Kenneth E. Robinson in This book Heritage says this of their genesis: The origins of the Gombeys and local bands are lost in eighteenth century obscurity. Mention of the culturally distinctive Gombeys, Gumbies, or Gumba appears unheralded in Bermudian Literature ... [but] not by way of recognizing them as significant art forms... It is the fact that mention was made of them that matters. (K.E. Robinson, Heritage, London: MacMillan, 1979, p.118) We know that amongst the measures taken by Bermuda’s Legislature following the 1761 conspiracy to revolt was the banning of Gombey dancing. One surmises that the government feared the decorative Courtesy Smithsonian Institution. Gombey masks, which obscured the performer’s identity, and allowed him to escape political retribution. In the Gombey we see an archetypal Bermudian entertainer: masked, in a group, perform- ing dances that tell stories of resistance and survival. This is so even today. Musicians, Place’s New Generation Gombeys at the 2001 Smithsonian Folklife Festival in Washington, D.C. 261 Allan Warner, Captain of the Warner’s Gombeys, says that some of his troupe’s dances refer specifically to Bermuda’s connection with Africa. There are freedom dances, wherein dancers celebrate an absence of shackles and chains on the limbs. Other themes he depicts as African stories are “Johnny and His Spear,”“Sampson and Delilah”,and Photograph by Stephen D. Raynor. “Daniel in the Lion’s Den.” Other stories depict the Hunter’s Return and pay homage to the earth and sky. These narratives enacted by masked performers continue a tradition of social commentary. This begins to flourish in the 20th Century, and grows even stronger today, when performers no longer need to hide behind a mask to perform their songs of social and political commen- tary and challenge. Gombey masked dancer The Gombeys are lively, colourful, and rhythmic dancers who move to the beat of drummers. Their costumes cover their bodies from head to toe and are decorated with tassels, mirrors, and other small items. They appear on the streets at Christmas, New Year’s Day, and certain other holidays, often accompanied by a crowd of fol- lowers, who chant in rhythm with the drummers. The appeal of their performance leads to congested streets and slowed traffic, an effect they apparently have had for years. In 1837 an editorial in the Gazette read: We fully agree with our correspondent that the savage and nonsen- sical exhibition of the Gumba, practiced here by the idle, should be done away with, as a thing not suited to a civilized Community, and highly dangerous to Passengers on horses or in carriages. (K.E. Robinson: Heritage, 1979, p. 124) The Gombey drum ensemble consists of a bass, or “Mother” drum, typically home- made; and two or more side drums, sometimes snares. To begin the masquerade the mother drum will strike a series of beats, in four quarter time, initially one beat to the bar, then two, then all four beats, by which time the side drums will have joined in. The snare drummers play complicated riffs over the steady pulse of the mother drum, often employing call and response patterns, and striking the rim of the snare, as well as the skin. The result is an exhilarating, intoxicating, rhythmic mix which provides the impulse (or impetus) for both the dancers as well as the followers. The captain sounds a whistle to punctuate the choreography. For example, the captain blasts his whistle in rhythm with the drums as he points to specific dancers whose turn has come to perform. 262 Bermuda’s entertainers have rarely been concerned solely with entertaining. “ “ They also engage wider social issues in their music. The Gombeys have enjoyed a remarkable shift in social status. Once marginalized by polite society, they now take pride of place as icons of Bermuda’s culture. Their images appear on postage stamps, our poets have praised them, the National Dance Company of Bermuda has performed work based on their dances, and sculptors have depicted them. Recently they performed in Carifesta, a Caribbean cultural festival last held in St Kitts. Since many Gombey crowds acknowledge cultural connections to the Caribbean and specifically to St Kit’s, it was an occasion to compare styles and exchange ideas with that island’s Macajumbies. At the invitation of the Bermuda Government, the Gombeys have even performed at a world financial conference in Davos, Switzerland—quite a change from the days when a government banned them. This change merits attention here and fuller discussion elsewhere. It indicates a shift in social and political thinking about Bermuda’s African and Caribbean con- nections. It also indicates the social significance of the themes that communicate. Bermuda’s entertainers have rarely been concerned solely with entertaining. They also engage wider social issues in their music. Bands ermuda has a long tradition of banding. Military bands were part of the British Garrison at BProspect, and historical records tell of bands being invited to perform at Government House. For example, in the May before Emancipation, an Courtesy Smithsonian Institution. aggregation called the Hamilton Band, a black ensemble, shared the honours with the band of the 71st Regiment at a function at Government House. From the late 19th century until 1965, Bermuda had two militias, one black, one white; each had its own Bermuda Regiment Band band. The militia men were amalgamated into a single Bermuda Regiment, and their bandsmen united into one band. This is the origin of the Bermuda Regiment Band. 263 The Salvation Army, North Village Community, The Hamilton Fire Brigade, and The Somerset Brigade Band all originated in the last century. All but the Fire Brigade Band survive today. Quite often it has been the case that bandsmen have served more than one of these outfits, with Salvationists, members of the NVC band, and the Somerset Brigade Band doing the national service in the Regiment Band. The Somerset Brigade Band traces its origin to events of the Christmas season of 1929. That year Shepherd’s Lodge asked two dance orchestras to come to their aid, as the group that usually led the annual procession was unable to do so. Pot Gilbert’s and Clifton Robinson’s orchestras responded by forming themselves into a single marching band for the occasion. This was so successfully done that it sparked the idea of their coming together permanently. This became a reality in February of the following year. In 1930, then, the Somerset Brigade Band was formed, and it has been in continuous existence ever since. Dance bands, of course, existed before this date. There was a lively social scene even before the rise in Bermuda tourism early last century, and before the American Naval Station was established at Kindley Field. Tourism and the American military, however, changed the lives of Bermudian musicians considerably. The Officer’s Club featured shows with first-class musicians from the United States. Entertainers such as trombonist Bobby Brookmeyer and singer pianist Shirley Horn gave local musi- cians an opportunity to know and work with these people. The work to be had in hotels was an even bigger influence on their development. All the major hotels had Courtesy Smithsonian Institution. Bermuda Regiment Band at the 2001 Smithsonian Folklife Festival. 264 Reggae Music in Bermuda BY VEJAY STEEDE The story of reggae music in Bermuda starts the introduction, a significant amount promulgation and of support within our in the modest hills that stretch north from popularisation of shores, with artists Victoria Street in the City of Hamilton to the what has become like Jamba, Septimus, Bermuda’s dominant a Jamaican born jagged edges of earth that hang off of North musical form. Dee-jay who records Shore Road, Pembroke. and performs through- Reggae music in out the island and TCommonly (and often since a group of Bermuda has become has won awards affectionately) known ghetto youths calling a cultural tour-de- throughout the as ‘Back of Town,’ themselves Ital Foun- force. From the youth- Caribbean for his this area has long dation first started ful angst and religious debut album War been a hotbed of gathering, reasoning fervour of Youth Against The Devil, cultural innovation and playing the music Creation to the politi- and the aforemen- and creation. The fact they loved in the hills cal expositions of Ras tioned Junior C and that this area is the overlooking the Victor Mykkal, local reggae Geneman getting a closest Bermuda gets Scott Primary School has visited every nook lot of attention. to having a ‘ghetto’ on Glebe Road, ‘Back and cranny of our should come as no of Town’. socio-political and The story of reggae surprise when one socio-economic land- music in Bermuda is considers that reggae Ital Foundation thrived scape. Legendary a long and lively one. music has always throughout the ‘70s, artists like Runksie, The future is perhaps exhibited significant gaining acclaim locally Ras Giorgis, Matic not as bright as it themes of hardship, as a crowd favourite Rizzla, Carly Don once was with the struggle and, ultimately, and internationally and Junior C have spectre of the Hip- redemption.