The Bahamas culture is a very unique and diverse one. Since the arrival of the first slave ship in the Bahamas, African culture has been a ubiquitous and dominant social feature. The same can also be said of European cultural influences, which have merged with African customs over centuries to help form the Bahamas national and cultural identity (Glinton- Meicholas, 2000). The idea that “knowing oneself” helps foster national pride is only one among many compelling reasons The Bahamas should actively work to preserve its cultural identity. Nowadays, in this vulnerable society affected by tourism, immigration, and other global activities, a well-defined culture is crucial for identity and development of the Bahamas. Many may argue that the Bahamian culture has largely been preserved over the years. On the other hand, Bahamian culture hardly seems to be an expression of African and European descendants, emerging instead is a mingling of foreign ideas and attitudes which are prostituted in marketing schemes and called culture (Bethel, 2007). The Bahamas is in grave danger of losing its cultural identity because it continues to be influenced by foreign cultures such as America and Jamaica which have impacted the Bahamas music, its language and crafts.
The Bahamas two main types of music, rake n scrape and Junkanoo are shifting from their original cultural identity. Many Bahamians have displayed a diminished desire to listen to Bahamian music (rake n scrape) because of the medium of television and their exposure to the music of foreign cultures such as Jamaican and American cultures. In an interview with the Director at Educulture Bahamas Ltd, Mrs. Arlene Ferguson stated:
What disturbs me is that Bahamians glorify American and Jamaican music. Jamaican music seems to be the default music among young Bahamians. We must do a better job in helping these youngsters to understand the richness of our musical heritage, as we have the same talent pool and abilities as Jamaicans (Personal Communication, February 3, 2012).”
The sound of rake n scrape music is one of the Bahamas shared cultural traits, developing on the heels of such great artists as Chippie and The Boys and Ed Moxey. Significantly, throughout the years Bahamians have lost their way in appreciating their own music. Many may argue that rake n music is changing and growing, but is remaining true to its traditional roots. Of course rake n scrap music is changing, but it is clearly not growing. As a matter of fact over 40 years ago, musicians used washboards and tin tub bass as instruments to play their music. Nowadays, these instruments have been replaced by electric guitars and saws (Justilien, 2004). In light of rake n scrape music growing, musicians are finding it hard to find venues to play at because Bahamians rather just hire disc jockeys instead (Hartnell, 2012). In reality, authentic rake and scrape music is hard to find, even when going to places like hotels or restaurants in the Bahamas one would usually be greeted by Jazz, Pop, R&B or Rock n Roll music and unfortunately not rake n scrape music. Authentic rake n scrape music seems to be more popular in the Family Islands especially in Cat Island. Christian Justilien (2004), a music lecturer at The College of The Bahamas agreed with this statement and added this may be due in part to the lack of more expensive instruments, but is also attributed to a desire to preserve traditions that begun in yesteryear.
Another clear indication that the Bahamas is losing its culture is Junkanoo, which is very much a part of Bahamian cultural identity since it dates back to slavery days. According to Nicolette Bethel (2003), Head of Department, Psychology, Sociology and Social Work at College of The Bahamas and former Director of Culture, “Junkanoo, for Bahamians is the ultimate national symbol.” Even though Junkanoo is an expression of Bahamian heritage, it is being marketed primarily as a tourist attraction and then observed as a cultural expression. “The music is commercialized, destined for the untutored tourist ear; the dances are consciously tailored to giving the visitors what they expect (Bethel, 2007). Years ago, Junkanoo was a grand dance that was prearranged by the slaves during Christmas. This gave them an opportunity to come together with relatives and remember their African heritage (Bethel, 2007). Nowadays, Junkanoo is so popular that is now a profitable method that is losing its cultural flare. In slavery days, Junkanoo was a parade where everyone participated and enjoyed themselves; there was no competition or money prizes involved. Bethel (2007), agreed that in this day and age six A category groups compete fiercely for cash prizes while small groups participate for fun. Junkanoo is merely a celebration of Bahamian culture, it is seen a competition of six groups coming to claim the big prize. Ferguson (2012) argued, that “Junkanoo is much more than competition, claiming that it represents a Bahamian spirit that “will not be quenched.” Although Ferguson statement may be true to an extent, the very for the existence of Junkanoo has been forgotten and this change due to the exposure of other foreign countries such as Trinidad and Tobago. Ivoine Ingraham, a C.E.O of Public Relation and a social activist hold the same view when she stated the Junkanoo has been assassinated by greed as Bahamian artists and artisans that now mimic other places rather than build on what they have. He further explained Bahamians have imported carnival from Trinidad and Tobago and mixed it with their own thing. (Personal Communication, February 9, 2012).
As Ingraham points out, the costumes which are seen are said to represent the cultural identity of the Bahamian people has changed. In slavery days, Junkanoo didnt have any of the glitz and glam which is portrayed today. In yesteryears, people used fringe paper for their costumes, but today the fringe paper is hardly seen because it is covered with so much decorations (mirrors, rhinestones, etc). Ingraham went on to say that “Every year the Bahamas government wastes hundreds of thousands to send Junkanoo experts to Trinidad to learn what they do and then return to alter Junkanoo (Personal Communication, February 9, 2012).” As you see the original intent of Junkanoo has been forgotten and changed by Bahamian because they fail to realize how important is it to preserve what they have.
Another cultural element that is now in danger is the Bahamian dialect, which is one of the most distinct cultural features that set the Bahamas apart from other countries. Bahamian dialect originated from a union between African languages and European elements. This is how the slaves communicated
Ingraham highlights an interesting evolution in the costumes of Junkanoo, a traditional Bahamian festival. In the past, during the era of slavery, Junkanoo costumes were made using fringe paper. However, in recent times, the costumes have undergone significant changes, with the fringe paper being overshadowed by lavish decorations such as mirrors and rhinestones. This shift reflects a departure from the original simplicity and a move towards a more extravagant and glamorous presentation.
It is worth noting that the Bahamian government has invested substantial resources in sending experts to Trinidad to learn from their Junkanoo traditions. This exchange of knowledge and influence has contributed to the alteration of Junkanoo in the Bahamas. This raises questions about the preservation of the festival’s original intent and the impact of external influences on cultural traditions.
Another cultural aspect that is currently at risk is the Bahamian dialect, which is a defining characteristic that sets the Bahamas apart from other countries. The dialect emerged from a fusion of African languages and European elements, representing the unique cultural heritage of the Bahamian people. However, the increasing influence of globalization and the spread of standardized language pose a threat to the preservation of this distinct dialect.
The challenges faced by Junkanoo and the Bahamian dialect highlight the importance of cultural preservation. It is crucial for the Bahamian people to recognize the significance of safeguarding their cultural identity and heritage. By understanding and valuing their traditions, they can ensure the continuity and authenticity of their cultural expressions for future generations.
The Bahamian dialect is an integral part of the cultural fabric of the Bahamas, distinguishing it from other countries. This unique dialect emerged from a fusion of African languages and European elements, reflecting the historical and cultural heritage of the Bahamian people. However, the increasing influence of globalization and the spread of standardized language pose a significant threat to the preservation of this distinctive dialect.
Globalization has brought about the homogenization of language, with English becoming the dominant and standardized form of communication. This standardization often overlooks the rich linguistic diversity that exists within different regions and communities. As a result, local dialects like the Bahamian dialect face the risk of being marginalized or even lost entirely.
The Bahamian dialect not only serves as a means of communication but also carries the history, traditions, and values of the Bahamian people. It is through this dialect that cultural expressions, oral traditions, and folklore are passed down from one generation to another. The dialect is deeply intertwined with the identity of the Bahamian people, reflecting their resilience, creativity, and unique perspective on life.
Preserving the Bahamian dialect is crucial for maintaining the cultural integrity and diversity of the Bahamas. It is an essential part of the nation’s heritage and contributes to its overall cultural identity. By recognizing the significance of safeguarding their cultural traditions, the Bahamian people can ensure the continuity and authenticity of their cultural expressions for future generations.
Efforts to preserve the Bahamian dialect involve raising awareness about its importance and encouraging its use in everyday life. Education plays a vital role in this process, as schools can incorporate the dialect into their curriculum, teaching students about its origins, vocabulary, and grammar. Additionally, cultural events and festivals, such as Junkanoo, provide platforms for celebrating and promoting the Bahamian dialect, reinforcing its value within the community.
Furthermore, documenting and archiving the Bahamian dialect through literature, recordings, and digital media can also contribute to its preservation. This allows future generations to access and learn from the dialect, ensuring its longevity in the face of evolving language trends.
In conclusion, the challenges faced by Junkanoo and the Bahamian dialect emphasize the importance of cultural preservation. The Bahamian people need to recognize and value their cultural identity and heritage, understanding that their traditions are not only a source of pride but also a significant contribution to the world’s cultural diversity. By safeguarding the Bahamian dialect, they can ensure the continued expression and transmission of their unique cultural heritage for generations to come.