By Arley Salimbi Gill
Congratulations to Caribbean Elite Group for their vision and execution of the Caribbean Music Awards (CMA). As we’re aware—the Caribbean is known for producing exciting and creative genres of music including Calypso and Soca, Reggae and Dancehall; Zouk and Compas from the French-speaking Caribbean, and Merengue and Bachata from the Spanish-speaking Caribbean. Our music, just like our food, language and culture, is as diverse as our people. Each island has its own flavour and flair. However, we have looked to the Grammys for years to recognize and celebrate our artistes and their music.
We all know that Americans produce the Grammys to celebrate American artistes and producers; However, in recent times, it has increasingly become more geographically inclusive and musically diverse, but at the end of the day it is their “ting”. We must ask: in 2024, should we still be depending on the Grammys to determine what is quality Caribbean music? This is why we need to give all the love to the CMA awards and do all we can for its continued growth.
This brings me to the myopic and misguided policy position of the Spicemas Corporation (SMC) in Grenada. The SMC implemented a policy that would limit—or, place restrictions on—non-Grenadian artistes performing in events in Grenada during the final weekend of Spicemas. This policy not only flies in the face of Caribbean unity and the provisions of the
CARICOM Single Market Economy (CSME)—at a time when Grenada’s prime minister is the chair of CARICOM—but, it runs counter to the development and direction of Caribbean music.
This issue of “protectionism” is only done with regards to infant industries.
Grenada’s Soca music is no longer in its infant stage. Grenada’s Soca artists have enjoyed massive hits throughout the years. Furthermore, Grenada’s Soca music and artists have had tremendous success throughout the region and globally.
One of our Soca artistes was crowned the International Soca Monarch in the mecca of Soca music—Trinidad and Tobago. Moreover, the rest of the region has welcomed Grenadian Soca artistes with open arms during their carnival seasons. Our Soca artists are doing more collaborations with other regional artistes, and it is not if, but when—Soca will explode on the global music stage and truly take Soca to the next level.
Just a few weeks ago, Soca music had a few sold-out shows at the World Famous Apollo Theater in Harlem, bringing together Soca artistes, including artistes from
Grenada and Soca lovers from across the Caribbean and the African Diaspora to enjoy Soca music. As history and fate would have it— the greatest calypsonian to ever live is a Grenadian. My prayer is that this SMC policy ended with the 2024 Spicemas season and will not reemerge in 2025.
However, the matter that requires urgent and immediate attention from SMC is the non-playing of Grenadian Soca music on the road on carnival Tuesday. This is a nagging concern for many reasons— for one, if the tunes of the season are not being played, it affects the fair and timely judging of the road march competition.
It should be obvious to Dee Jays and mas’ band leaders and masqueraders that in
Grenada—during Grenada’s carnival—the music made by Grenadian Soca artists will be played on the road. I believe that one judging criteria for mas’ bands should be the playing of local, seasonal Soca music—Dee Jays accompanying mas’ bands should be playing 2024 Soca on the road and especially at judging points.
This would force mas’ band leaders and their Dee Jays to pay close attention to their
music selection on, and, for the road on Tuesday. The same should be true for Monday Night Mas. I am not only advocating this practice for Grenada. This should be the case all over the region. For Vincy Mas’, Vincy Soca artistes should be played on the road, so judges can determine their road march winners.
Similarly, the carnival parade on Labour Day in New York would be stripped of the true carnival experience if mas’ bands are not accompanied by Soca music. These cultural truths are not to exclude other genres of music; it is just that these events must retain and maintain their cultural relevance, if they are to survive and last for generations to come.
Speaking of Caribbean music and its growth and development—it was such a joy to see Dominican Bouyon music recognized as a bona fide Caribbean musical genre during the Caribbean Music Awards.
The growth and promotion of Bouyon music over the last five years are nothing short of phenomenal. The role of Soca and the mainstreaming of artistes, such as Machel Montano and Skinny Fabulous, in many ways contributed to Bouyon music penetrating the Caribbean music scene, especially the southern Caribbean. The success of Bouyon music signals well for the Dennery Segment in St. Lucia and Jab Jab music from Grenada to evolve also into a well-developed and recognizable genre too.
Ideally, SMC and the Ministry of Creative Arts must take the lead in developing a
policy and a plan to promote Jab Jab music and culture. Since the major conference
on creative arts was held in Grenada, I cannot say that I have heard or seen a
strategy or policy position from that ministry with regards to our music as a key
component of our creative industry.
Any cultural analysis or assessment would show that our music represents one of the best opportunities for employment and revenue generation in the creative sector of the economy. It is now well-established that Grenada is the Jab Jab capital of the world—and it is clearly our most powerful selling point for Spicemas, and arguably, one of the most appealing attractions of our tourism product. How then, can we maximize and monetize Jab Jab culture? Of Course, Jab Jab culture is much more than playing the masquerade; Jab Jab music is a notable part of the culture.
For example, an interesting element of Bouyon music is that songs are released any time of year. This practice is very much unlike Jab Jab songs that are tied to the carnival season and are released once a year. Considering that we have two carnivals in the state— can we use Kayak Mas as a second focal point for the release of Jab Jab songs? In addition, can we consider a Jab Jab festival outside of carnival? What if we tied a Jab Jab festival to Emancipation Day to highlight Jab Jab culture and music? Doing so will, in some way, delink Jab Jab from its catholic and colonial stronghold and tie it more closely to freedom and liberation. I am just thinking out loud here.
It is worthwhile to note, that the government of St. Lucia has officially embraced the
Dennery Segment and played a critical role in ensuring that a couple of Dennery Segment artistes will be performing at the World Creole Music Festival this year in the Commonwealth of Dominica. This, of course, provides a world stage outside of St. Lucia for that music and for its performers to be showcased outside of St. Lucia. The question is, can we have a similar initiative for Jab Jab music and culture?
These are just some thoughts. The point being—we need to have a serious discussion and strategy session on Jab Jab music, rather than leaving Jab Jab music and culture to grow and develop in an ad hoc fashion.
