In Saint Lucia, the conclusion of Jounen Kwéyòl signals an immediate cultural pivot to the Christmas season, marked by a palpable shift in social media expressions and daily conversations as citizens seek to embrace the festive spirit. This transition finds its most profound expression through sound and tradition, where music and cultural performances form the essential bedrock of the island’s unique Christmas identity.
A recent inquiry by St. Lucia Times into favorite Christmas songs revealed a diverse musical landscape that blends local creations with regional and international influences. The playlist includes Ras Africa’s ‘Slice of the Pie,’ the Mighty Pelay’s ‘Twadisyon Nwel’ and ‘Merry Christmas, Saint Lucia Style,’ alongside Bindley Benjamin’s ‘Santa Looking for a Wife’ and Ricky T’s ‘My Christmas Pork.’ This musical tapestry extends to Ruff & Ready’s ‘Christmas Medley,’ Papa Vader’s ‘This Christmas,’ and Crazy’s ‘Put Jesus in Your Christmas,’ complemented by regional favorites like Jacob Miller’s ‘Wish You a Irie Christmas’ and Sugar Aloes’ ‘Black Cake Lover.’
Renowned local reggae artist Semi describes Saint Lucia’s Christmas sound as a ‘mixing pot’ of musical influences that collectively define the season. ‘Without the music, there’s no Christmas,’ Semi emphasizes, noting how the music evolves throughout Christmas Day—beginning with mellow morning melodies that gently usher in the celebration, transitioning to vibrant parang and soca rhythms as the day progresses. This year marked a significant milestone for Semi with the release of his first original Christmas track, ‘Merry Christmas, Baby,’ which captures the emotional essence of the season through themes of happiness and family togetherness.
Beyond music, the traditional masquerade—particularly the Papa Jab entourage—remains a cornerstone of Saint Lucian Christmas celebrations. June Frederick, producer at the Youth in Arts Theatre Company, explains that these performances feature two distinct groups: one that dances to masquerade music and another that performs dramatic death and resurrection rituals to chanted rhythms, exclusively during Christmas. Frederick describes the masquerade as generating an ‘unexplainable magic’ that celebrates African heritage and cultural identity.
However, Frederick expresses concern about increasingly aggressive reactions toward performers, citing recent incidents during the Festival of Lights where fear-driven hostility emerged. While acknowledging that fear has historically been part of the masquerade’s mystique, Frederick emphasizes the importance of distinguishing between natural apprehension and physical or verbal aggression, particularly when directed at young tradition-bearers.
Despite these challenges, Frederick detects a promising renewal of the tradition, evidenced by growing involvement from educational institutions, enhanced focus on theater arts, and increasing support from civil society and government sectors. Efforts to commercialize the tradition, including the production of a short film about the masquerade, indicate a vibrant future for this cultural practice.
Together, the musical diversity and cultural traditions create a multifaceted Christmas experience in Saint Lucia—a celebration defined not by单一 rhythm or genre but by the collective voices, movements, and memories that converge at year’s end.
The Youth in Arts Theatre Company has scheduled performances for December 20 at the FarmHers Christmas Market (Rodney Bay Aquatic Centre Grounds, 7:30pm) and Frydays Bar in Gros Islet (8:30pm).