#Caribbean heritage and traditions

[organicbeing]

Discovering the Enchantment of Trinidad and Tobago: A Fairy Tale Island Getaway

Nestled in the southern Caribbean, Trinidad and Tobago is a mesmerizing dual-island nation that feels like it has sprung straight from the pages of a fairy tale. With lush landscapes, vibrant culture, and endless activities, it’s no wonder that this island paradise has become one of the top destinations for vacationers seeking both adventure and relaxation. Whether you’re drawn by the natural…

[preethecaribbean]

Jounen Kwéyòl (Creole Day) is celebrated annually in Dominica on the last Friday of October and in Saint Lucia on the Sunday nearest to the observance of International Creole Day, October 28.

Learn about Dominica’s national wear and Saint Lucia’s traditional wear.

[image descriptions in alt text]

[iloveethnicities]

Afro-Bahamians are a vibrant and integral part of the Bahamas' cultural and historical landscape. They are the descendants of Africans who were brought to the islands during the transatlantic slave trade, as well as free Africans who migrated to the region. Today, Afro-Bahamians make up the majority of the population of the Bahamas and are a driving force behind the nation’s cultural, social, and economic life. This demographic group has played a central role in shaping the Bahamas’ distinctive identity, from its traditional music, dance, cuisine, and crafts to its religious practices and social customs.

Afro-Bahamians trace their origins primarily to West Africa, where millions of Africans were forcibly transported to the Caribbean and Americas between the 16th and 19th centuries. The Bahamas became a British colony in 1718, which brought with it an increase in the importation of enslaved Africans. While the islands’ initial European settlers were small in number and primarily pirates and traders, by the late 18th century, the British began to establish plantations, and the islands became a site of intense slave labor. However, compared to other Caribbean nations, the Bahamas had fewer plantations and less intensive agricultural development, which somewhat affected the social dynamics of the enslaved population.

The abolition of the slave trade in 1807 and the emancipation of enslaved people across the British Empire in 1834 marked significant turning points for Afro-Bahamians. After emancipation, many formerly enslaved Afro-Bahamians established free communities, creating a distinctive Afro-Bahamian society and culture. Over time, Afro-Bahamians became skilled fishermen, farmers, artisans, and, later, professionals in various sectors as the country transitioned into a more diversified economy.

A significant wave of Black immigrants arrived in the Bahamas during the 19th century as well, when freed Africans from the United States and other Caribbean nations, particularly Haitians, Cubans, and Jamaicans, settled in the Bahamas. These immigrants helped to diversify and enrich the Afro-Bahamian culture by adding their own languages, customs, and cultural practices.

English is the official language of the Bahamas, but Afro-Bahamians have developed their own distinct dialect known as Bahamian Creole or Bahamian English. Bahamian Creole is marked by African influences, mixed with English vocabulary and syntax, and carries unique idioms and expressions that reflect Afro-Bahamian life. This Creole reflects both the resilience and adaptability of Afro-Bahamians, who have maintained elements of African linguistic heritage while adapting to European languages.

The Afro-Bahamian identity is also shaped by a strong sense of community and an emphasis on kinship. Family structures are often extended, and intergenerational bonds are highly valued. Afro-Bahamians frequently emphasize family reputation, community support, and respect for elders, with these values reinforced in cultural practices, festivals, and everyday interactions.

Religion is a central aspect of Afro-Bahamian culture, and the majority of Afro-Bahamians identify as Christians, particularly in denominations like Baptist, Anglican, and Pentecostal churches. Afro-Bahamian churches have their unique worship styles that incorporate vibrant music, call-and-response singing, and emotional expression during services, reflecting African religious traditions and practices. Many Afro-Bahamians engage in all-night prayer meetings, often called “watch nights,” as well as revival and testimonial services that highlight community solidarity and spiritual resilience.

Beyond Christianity, some Afro-Bahamians also retain African-derived spiritual practices and beliefs. Elements of Obeah, a form of African-rooted spirituality, exist within Bahamian society. Although officially discouraged and often misunderstood, Obeah encompasses healing practices, folk medicine, and a deep understanding of nature. This spiritual heritage is sometimes practiced in secrecy but remains a part of Afro-Bahamian cultural memory.

Afro-Bahamians are the heart of Bahamian culture, with their unique contributions in music, dance, cuisine, and festivals. Perhaps the most iconic aspect of Afro-Bahamian culture is Junkanoo, a vibrant and colorful street parade featuring elaborate costumes, rhythmic music, and choreographed dancing. Junkanoo’s origins are deeply rooted in African cultural practices, emerging as a form of expression among enslaved Africans who celebrated their temporary freedom during the Christmas season. Today, Junkanoo is held annually during Christmas and New Year’s, with its music driven by goatskin drums, brass instruments, whistles, and cowbells, creating a highly energetic atmosphere. The costumes, which take months to design and assemble, are typically made from crepe paper and cardboard, with intricate patterns inspired by both African and Caribbean motifs.

Music is also central to Afro-Bahamian culture, with genres such as rake-and-scrape, Goombay, and calypso all playing significant roles in the musical landscape. Rake-and-scrape, in particular, is a Bahamian folk music genre that originated in the Afro-Bahamian community. Played with simple instruments like the saw, drums, and accordion, it is known for its syncopated rhythms and themes of everyday life, love, and hardship. These music genres have become anthems of Bahamian life and have influenced regional Caribbean music and even international pop and reggae.

Afro-Bahamian cuisine is an equally important cultural marker. Afro-Bahamian dishes are often a fusion of African, Caribbean, and British flavors, featuring ingredients such as conch, fish, peas, and rice. Popular dishes include conch salad, cracked conch, peas and rice, and guava duff, a dessert made from guava fruit wrapped in dough. The use of spices and cooking techniques reflects African culinary traditions adapted to the island’s available resources, creating a distinct flavor profile that is integral to Bahamian identity.

Afro-Bahamians have played a critical role in the Bahamas’ social and political spheres, especially as the country moved toward independence from British colonial rule in 1973. Historically, Afro-Bahamians faced social and economic discrimination, with political and economic power concentrated in the hands of the white minority. However, with the growth of the Black Bahamian middle class and increased education opportunities, Afro-Bahamians began to demand equal rights and political representation.

In 1953, the Progressive Liberal Party (PLP) was founded, becoming the first major political party in the Bahamas and a vehicle for Afro-Bahamian empowerment. The PLP advocated for equal rights, improved working conditions, and economic opportunities for Afro-Bahamians. The party was instrumental in leading the Bahamas to independence, with Sir Lynden Pindling, an Afro-Bahamian, becoming the first Prime Minister of an independent Bahamas. The PLP’s leadership marked a new era in Bahamian politics, with policies aimed at empowering the Afro-Bahamian community and promoting national unity.

Today, Afro-Bahamians continue to shape the political landscape of the Bahamas, holding positions in government, business, and civil society. Issues such as education reform, economic empowerment, and social equality remain central to Afro-Bahamian leaders’ agendas, and they have had considerable success in addressing these issues. Afro-Bahamians remain active in advocating for fair wages, affordable housing, and healthcare access, all crucial to improving the quality of life across Bahamian society.

Despite their progress, Afro-Bahamians continue to face challenges in contemporary society. Economic disparities persist, with a significant portion of the Afro-Bahamian population engaged in low-income or seasonal jobs, often in the tourism sector. Limited access to higher education and disparities in wealth distribution pose challenges for many Afro-Bahamians seeking to improve their economic standing. Furthermore, some communities struggle with crime, lack of infrastructure, and limited resources, which reflect broader social and economic issues impacting Afro-Bahamians.

In recent years, a movement to reconnect with African heritage has emerged within the Afro-Bahamian community, encouraging younger generations to learn about African history and reclaim elements of their cultural identity. Educational programs, cultural festivals, and organizations dedicated to African heritage have become popular, helping foster a sense of pride and identity among Afro-Bahamians.

The future of Afro-Bahamians is closely tied to the overall trajectory of the Bahamas as it navigates globalization, tourism dependency, and social change. As Afro-Bahamians continue to advocate for better opportunities, cultural preservation, and economic stability, they remain a central and resilient part of the Bahamas’ national identity. Their contributions, both past and present, are celebrated as vital to the spirit, strength, and vibrancy of Bahamian culture.

Afro-Bahamians are all involved in tourism

Peas and Rice

Massage With Herbal Oils

Folk Costume

[caribbeanart]

Hey guys, please don't feel discouraged if you can't find an artist you like or art from your country. I encourage you to do your own research too and share if you'd like.

[virgobingo]

more insight on miles’ puerto rican heritage for your fics or fanart

- traditional quinceañeras (or as they are often called by puerto ricans quinceañeros) are really not that common anymore, most girls nowadays have pool parties or go on a cruise. if miles were to go to one of his cousins’ 15 birthday party, chances are it would be casual— no big poofy dress (his mom probably had one like that though)

edit: some people disagree on this. depends on how traditional your family and friend group is I guess, as well as which part of the island you’re from. on average, it seems to be a far bigger deal amongst some other latines. in my class in pr only 3 out of approx 30 girls had a big event like that. not a single one of my cousins had a traditional quince either so you could say I’m partly biased bc of my own experiences. i personally just had a big pool party

- plantains are a big part of our diet. also, pr being an island in the caribbean, coconut is in a lot of our desserts. if miles had to pick a favorite fruit I hc he’d pick either one of the two lol also please google our food, our food isn’t actually spicy so much as savory

- we “celebrate” thanksgiving like other americans. it’s about the only time we eat oven roasted turkey. for winter holidays (christmas eve/day, new years eve/day, three kings day/eve) oven roasted pork. chicken might be offered as a second option for people who don’t consume pork for whatever reason

- you’re pretty much taught how to dance as soon as you can walk. most of us have basic rhythms down. chances of miles dancing with his mom or friends at parties? astronomically high.

- the reason why our flag is everywhere, besides pride, is ‘cause it was illegal to own it. look up the gag law that prohibited us from even displaying it at our homes. so it’s actually an awesome detail in these movies

- this is my opinion/a fun fact but I feel like miles is basically an homage to black and puerto rican (specifically nuyorican) solidarity around the 70s-80s during the creation of hip-hop and rise of graffiti as a form of expression (you can easily read up on this or watch shows like the get down to learn more about this if you’re curious)

- whether you’re “nuyorican” or “from the island” spanglish is common so miles’ mixing english and spanish isn’t odd bc even rio does this as miles points out in the party scene. he isn’t a “no sabo” kid so much as someone with a strong accent. he understands his mom perfectly

- race ≠ ethnicity. there are plenty of black people in and from Puerto Rico, and miles’ pr family in the spiderverse films are designed to be for the most part afro-latine. so I wouldn’t really call him biracial

- the puerto rican day parade wouldn’t be a thing he skips, he’s gifted a special suit for it in a comic run. his puerto rican heritage is important to him!

[yearningforunity]

The Battle of Colors - Barranquilla, Colombia – February 2006

The Carnival of Barranquilla is a unique festivity which takes place every year during February or March on the Caribbean coast of Colombia. Cumbia, both music and dance, is considered to be the main essence of the Carnival. A colourful mixture of the ancient African tribal dances and the Spanish music influence – cumbia, porro, mapale, puya, congo among others – hit for five days nearly all central streets of Barranquilla, the capital of the Atlántico Department. Those traditions kept for centuries by Black African slaves have had the great impact on Colombian culture and Colombian society. In November 2003 the Carnival of Barranquilla was proclaimed as the Masterpiece of the Oral and Intangible Heritage of Humanity by UNESCO.

[blackhistorystoryteller]

AFRICAN VOODOO

The deep truth about AFRICAN VOODOO

African Voodoo: Unraveling the Mysteries of a Rich Spiritual Tradition

African Voodoo, often shrouded in mystery and misconceptions, is a complex and fascinating spiritual tradition with deep-rooted cultural significance. This ancient belief system, practiced in various forms across the African continent and the African diaspora, offers a unique perspective on the relationship between humans, nature, and the divine. In this article, we will delve into the world of African Voodoo, exploring its history, beliefs, rituals, and its enduring impact on the cultures and societies where it thrives.

A Diverse Tradition

Voodoo, also spelled Vodou or Vodun, is not a monolithic belief system; rather, it is a diverse and adaptable spiritual tradition that has evolved differently in various regions of Africa and beyond. Its origins can be traced back to the indigenous religions of West and Central Africa, where it was practiced by different ethnic groups. Over time, African Voodoo underwent syncretism with Catholicism and indigenous beliefs in the Caribbean, particularly in Haiti, giving birth to Haitian Vodou, which is perhaps the most well-known form of Voodoo.

Core Beliefs

At its core, African Voodoo centers around the veneration of spirits, ancestors, and deities. These spirits are believed to have the power to influence human life and the natural world. Each spirit has a specific domain, and practitioners seek their guidance and assistance through various rituals and offerings. Ancestor worship is a fundamental aspect of Voodoo, as it connects the living to their familial lineage and heritage.

The Loa, or spirits, are a central focus of Voodoo ceremonies. These spirits are intermediaries between humans and the ultimate divine force. Practitioners often enter trance-like states to communicate with the Loa, who possess them temporarily during rituals. The Loa are known for their distinct personalities and preferences, and offerings such as food, drinks, and dance are made to appease and honor them.

Rituals and Practices

Voodoo rituals are colorful and lively events filled with drumming, dancing, singing, and the use of symbolic objects. Rituals are often held in temples or outdoor spaces, and they vary widely depending on the specific tradition and purpose. Some rituals are celebratory, while others are intended to seek protection, healing, or guidance.

One of the most famous Voodoo rituals is the "Voodoo Doll," which is often misunderstood. These dolls are not meant for causing harm but are used as tools for healing or connecting with a specific person's spirit. Pins may be used symbolically to focus intention.

Voodoo in the African Diaspora

The transatlantic slave trade played a significant role in spreading African Voodoo to the Americas, particularly in regions like Haiti, New Orleans, and Brazil. In these places, Voodoo underwent further syncretism with local beliefs and Catholicism, resulting in unique variations of the tradition.

Haitian Vodou, for instance, is a vibrant blend of African Voodoo, Catholicism, and indigenous Taino beliefs. It has had a profound impact on Haitian culture and played a central role in the struggle for independence from colonial rule.

Misconceptions and Stereotypes

African Voodoo has been the subject of many misconceptions and stereotypes, often portrayed negatively in popular culture. These portrayals frequently focus on the more sensational aspects of Voodoo, such as curses and zombies, rather than its rich cultural and spiritual dimensions. It's important to recognize that Voodoo is a legitimate religious practice for millions of people, and like any belief system, it encompasses a wide range of beliefs and practices.

African Voodoo is a complex, multifaceted spiritual tradition with a deep and enduring cultural significance. It is a testament to the resilience of African heritage and the ability of beliefs to adapt and evolve over time. Beyond the stereotypes and misconceptions, Voodoo represents a profound connection between humans, nature, and the divine—a connection that continues to shape the lives and cultures of those who practice it.

Communication with the spirits, often referred to as Loa or Lwa in Voodoo, is a central aspect of Voodoo rituals and practices. Here's an overview of how practitioners communicate with these entities:

1. **Rituals and Offerings**: Voodoo rituals are the primary means of communication with the spirits. Practitioners gather in a designated sacred space, such as a temple or outdoor altar. They often create an elaborate ritual environment with symbols, candles, and ceremonial objects. Offerings, including food, drinks, tobacco, and other items, are presented to specific spirits to gain their favor and attention.

2. **Dance and Music**: Music and dance are essential elements of Voodoo ceremonies. Drumming and chanting create a rhythmic and trance-inducing atmosphere. Through dance and music, practitioners enter altered states of consciousness, allowing them to connect with the spirits more profoundly. It is believed that the spirits may possess individuals during these ceremonies, providing a direct channel for communication.

3. **Possession and Trance**: One of the most distinctive aspects of Voodoo rituals is the concept of spirit possession. Practitioners, often referred to as "servants of the spirits," may enter a trance-like state during which a particular Loa or spirit is believed to take control of their body. In this state, the possessed individual may speak in the voice of the spirit, offering guidance, advice, or requests on behalf of the spirit.

4. **Divination**: Divination is another way to communicate with the spirits in Voodoo. Practitioners may use various divination tools such as tarot cards, cowrie shells, or casting of objects to seek guidance from the spirits. These divination practices help practitioners understand the desires and intentions of the spirits and may provide insights into their own lives.

5. **Prayer and Invocation**: Voodoo practitioners often use prayer and invocation to establish a connection with the spirits. Specific prayers or invocations are recited to call upon a particular spirit's presence and assistance. These prayers are typically passed down through generations and may be spoken in a specific language or dialect.

6. **Voodoo Dolls**: Contrary to popular misconceptions, Voodoo dolls are not used for causing harm but are symbolic tools for communication. They can represent a specific person or spirit and are employed in rituals to convey intentions, requests, or healing energy to the spirits associated with them.

It's important to note that communication with the spirits in Voodoo is a deeply spiritual and cultural practice, and the methods may vary among different Voodoo traditions and communities. Voodoo practitioners believe that these rituals and practices maintain a reciprocal relationship with the spirits, offering offerings and devotion in exchange for protection, guidance, and assistance in various aspects of life.

Masquerades and Voodoo in Africa: A Cultural Tapestry of Spiritual Expression

Africa is a continent rich in cultural diversity, and its spiritual practices are as varied as its landscapes. Among the many vibrant traditions that permeate African culture, masquerades and Voodoo (often spelled Vodun or Vodou) hold significant places in the hearts and lives of its people. This article explores the fascinating intersection of masquerades and Voodoo, shedding light on how these practices are intertwined with African spirituality.

**Masquerades: The Embodiment of Spirits**

Masquerades are a prominent cultural phenomenon across Africa, characterized by elaborate costumes, masks, and dances. These performances serve multifaceted purposes, including entertainment, social commentary, and spiritual expression. However, it's the latter aspect, the spiritual dimension, that ties masquerades to Voodoo and other indigenous African belief systems.

1. **Role of Ancestors**: In many African cultures, masquerades are a means of connecting with ancestors and spirits of the deceased. The masks and costumes worn by performers often represent these spirits. During masquerade ceremonies, participants believe that the spirits inhabit the masks and interact with the living. This interaction serves as a way to honor and seek guidance from the ancestors.

2. **Protection and Cleansing**: Some masquerades have protective roles in communities. They are believed to ward off evil spirits, illnesses, or other malevolent forces. These masquerades often perform purification rituals, symbolically cleansing the community and its members.

3. **Harvest and Fertility Celebrations**: Masquerades are frequently associated with agricultural and fertility rites. They may perform dances and rituals to ensure a bountiful harvest or to promote fertility among the community members.

4. **Social Order and Governance**: Masquerades also play a role in enforcing social norms and maintaining order within communities. They may act as judges, mediators, or enforcers of communal rules during their performances.

**Voodoo: The Spiritual Heartbeat**

Voodoo, a widely practiced religion across West Africa and its diaspora, is deeply entwined with masquerades and the spiritual fabric of the continent.

1. **Ancestor Worship**: Voodoo places a significant emphasis on ancestor worship, much like masquerades. Practitioners believe that the spirits of ancestors are ever-present and can influence the living. Offerings, rituals, and masquerade performances are ways to honor and seek the guidance of these spirits.

2. **Connection to Nature**: Voodoo, like many African belief systems, recognizes the close relationship between humans and nature. It views natural elements, such as rivers, forests, and animals, as inhabited by spirits. Masquerades often incorporate nature-centric symbolism in their performances.

3. **Trance and Possession**: Both Voodoo and certain masquerades involve altered states of consciousness. In Voodoo, devotees may enter trances and become possessed by spirits, similar to the possession experiences during some masquerade ceremonies. These states facilitate direct communication with the divine.

4. **Rituals and Sacrifices**: Offerings and sacrifices are common in both Voodoo and masquerade traditions. These rituals are believed to appease spirits and seek their favor.

**Cultural Resilience and Transformation**

While masquerades and Voodoo have endured the test of time and colonization, they have also adapted and evolved. In the African diaspora, especially in the Americas, they fused with other cultural elements and religions, giving rise to unique traditions such as Haitian Vodou and New Orleans Voodoo.

masquerades and Voodoo in Africa are vibrant expressions of spirituality, culture, and identity. They are living traditions that continue to shape the lives and beliefs of countless individuals and communities, offering insights into the enduring resilience and adaptability of African cultures in the face of change and adversity.

The timing for Voodoo practices, like many spiritual traditions, can vary depending on the specific tradition, the purpose of the practice, and the preferences of the practitioner. There is no universally "best" time for Voodoo practice, but certain times and occasions are commonly observed:

1. **Festival Days**: Many Voodoo traditions have specific festival days or holidays when practitioners gather to perform rituals and ceremonies. For example, in Haitian Vodou, the Festival of the Ancestors (Fèt Gede) is a significant event where people honor and communicate with their ancestors. These festivals often have fixed dates in the Voodoo calendar.

2. **Full Moon and New Moon**: Lunar phases are significant in various spiritual practices, including Voodoo. Some practitioners prefer to conduct rituals during the full moon or new moon, believing that these phases are particularly potent for spiritual work. The full moon is often associated with amplifying energy and intentions, while the new moon is seen as a time for new beginnings.

3. **Nighttime**: Many Voodoo rituals take place during the nighttime. This is believed to be a time when the veil between the spiritual and physical realms is thinner, making it easier to communicate with the spirits. Candlelit ceremonies, drumming, and dancing are common elements of Voodoo rituals conducted at night.

4. **Personal Preference**: Individual practitioners may have their own preferred times for Voodoo practice based on their personal experiences and beliefs. Some may feel a stronger connection to the spirits during specific times of the day or year.

5. **Life Events**: Voodoo is often integrated into various life events such as births, marriages, and funerals. The timing of these rituals is determined by the occurrence of these events.

6. **Consulting a Voodoo Priest/Priestess**: For more specific guidance on the timing of Voodoo practices, consulting a Voodoo priest or priestess is advisable. They can provide insights based on their knowledge and experience within their particular Voodoo tradition.

It's essential to remember that Voodoo is not a monolithic practice; it encompasses various traditions and regional variations, each with its own customs and beliefs. Therefore, the best time for Voodoo practice can differ significantly from one tradition to another. Additionally, Voodoo is deeply rooted in cultural and spiritual contexts, so practitioners often follow the customs passed down through generations within their specific communities.

[domm1etae]

Hoiiiii

I was wondering if you could make a Ot8 reaction where ateez has a Caribbean so/

Being caribbean myself it would be interesting to see how it would play out. You don't have to do it if you don't want to but if you do thank you so much

-🌥 xoxo

ATEEZ REACTIONS: DATING A CARIBBEAN S/O

(aka: how I think ATEEZ would vibe with a Caribbean partner)

pairing ✭ ateez x caribbean!reader

tags under

dating, cultural appreciation, playful teasing, possessiveness, language exchange, endless warmth, respect, food sharing, and more

author's note: sooo, I wasn’t entirely sure what direction you were imagining for this, buuut I gave it my best shot! hope it is something like what you had in mind 😊

✨ Requests OPEN! ✨ Feel free to ask for more or send requests through the “Ask” button—if I can write it, you’ll see it here!

navigation

𓄹 ࣪˖ 🪸 𓏲 ๋࣭ . ⁎⁺˳ 𖥦 ˑ ֗ ִ˓𓄹 ࣪˖ 🪸 𓏲 ๋࣭ . . ⁎⁺˳ 𖥦 ˑ ֗ ִ ˖ 🪸 𓏲 ๋࣭ . . ⁎⁺˳ 𖥦 ˑ ֗ ִ˓𓄹 ࣪˖ 🪸 𓏲 ๋࣭ .

hongjoong:

Hongjoong is captivated by your heritage, always wanting to know more about your culture's music, art, and language. He surprises you with playlists of Caribbean beats he’s discovered, weaving elements into his own music. When you two go out, he’s possessive but in the best way, keeping you close. He’s your shield, always watching to make sure you’re comfortable, especially in new settings. If someone stares a little too long, Hongjoong subtly pulls you closer, a quiet reminder of his unwavering devotion.

seonghwa:

Seonghwa adores your vibrant Caribbean energy and compliments your every expression and movement. He’s the type to hold your hand at festivals, taking in every detail with you and admiring the cultural experiences you share. He’s also got a playful side, always ready to dance with you, whether at home or at a Caribbean festival. His favorite thing? Seeing your face light up with joy, which he does everything in his power to bring out, whether through gifts, surprises, or his signature, heartfelt compliments.

yunho:

Yunho’s fascination with your culture goes beyond the surface—he’s genuinely interested in understanding the foods, language, and traditions. Every time you mention a new dish, he’s already texting you asking when you can cook together. He tries his best to replicate the dance moves you teach him, even if he’s hilariously off-rhythm. His enthusiasm is infectious, and he’s always eager to learn more, even though he may need a little help with pronunciation. He loves making you laugh, and every failed attempt only brings you two closer.

yeosang:

Yeosang shows his love quietly but deeply. Though he may not be outwardly expressive, he surprises you with thoughtful gestures that prove he’s always paying attention. He buys you your favorite snacks or researches traditions to understand your culture better. He loves sitting by your side while you talk about your childhood memories, nodding thoughtfully, his gaze warm and supportive. Yeosang values your roots as an extension of who you are, always making sure you know he’s there, sharing in your world.

san:

San is all about making you feel like the only person in the world. His hugs are frequent, tight, and full of affection, grounding you in a way only he can. San loves to show his appreciation physically and emotionally, often pulling you into impromptu dance-offs inspired by Caribbean music. He’s always by your side, hyping you up no matter what you do. He adores seeing you in cultural outfits, showering you with praise and affection. “You’re a goddess, you know that?” he whispers, his eyes lighting up at your every smile.

mingi:

Mingi’s curiosity about your Caribbean culture knows no bounds. He’s constantly cracking jokes and mimicking accents in an endearing, if not always accurate, way. His playful energy brings out the best in you, always inviting you to laugh with him. He’ll try every new dish you mention, no questions asked, and loves teasing you about how spicy your food can be. When you introduce him to music from your culture, he’s quick to memorize the words and sing along, even if his pronunciation makes you both double over in laughter.

wooyoung:

Wooyoung’s energy pairs perfectly with your vibrant Caribbean roots, and he’s often found coordinating dance parties or events that showcase your culture. He’ll surprise you with little things, like learning to cook your favorite dish or organizing a beach day to remind you of home. He’s unapologetically proud to have you by his side, hyping you up to friends, and adoring the way you bring warmth to his world. Wooyoung’s love language is one of celebration, and he ensures every moment you’re together feels like a festive memory.

jongho:

Jongho is endlessly respectful of your culture, quietly taking in every story you tell about your heritage. His admiration shows through his actions, whether it’s patiently learning the phrases you teach him or sitting through dance practices just to see you shine. He might not be the loudest, but he’s got a quiet strength that reassures you he’s always there. Jongho makes you feel safe and seen, his loyalty unwavering, often reminding you just how important your culture is to him as it is to you.

[kemetic-dreams]

Babaaláwo or Babalawo in West Africa (Babalao in Caribbean and South American Spanish and Babalaô in Brazilian Portuguese) literally means "father of secrets" in the Yoruba language. It is a spiritual title that denotes a high priest of the Ifáoracle. Ifá is a divination system that represents the teachings of the ÒrìṣàỌrunmila, the Òrìṣà of Wisdom, who in turn serves as the oracular representative of Olodumare.

Functions in society

The Babalawos are believed to ascertain the future of their clients through communication with Ifá. This is done through the interpretation of either the patterns of the divining chain known as Opele, or the sacred palm nuts called Ikin, on the traditionally wooden divination tray called Opon Ifá.

In addition to this, some of them also perform divination services on behalf of the kings and paramount chiefs of the Yoruba people. These figures, holders of chieftaincy titles like Araba and Oluwo Ifa in their own right, are members of the recognised aristocracies of the various Yoruba traditional states.

People can visit Babalawos for spiritual consultations, which is known as Dafa. The religious system as a whole has been recognized by UNESCO as a “Masterpiece of the Oral and Intangible Heritage of Humanity."

[ptseti]

🇬🇩 🇬🇩 At the core of Jab Jab culture lies a rich history intertwined with the struggles of the African diaspora and the emancipation of enslaved people in the Caribbean. The term “Jab Jab” or “J’Ouvert” is derived from the French patois word “diable,” meaning “devil.” However, its literal meaning is not related to demonic culture but symbolises the spirits of Grenada’s African ancestors.

During the days of slavery, Carnival festivities were primarily reserved for the white ruling class or plantation owners. However, the Enslaved Africans on the sugar plantations found their own way to celebrate their freedom. A masquarder playing Jab Jab is playing the devililish souls of the slave masters. Drawing on African dance traditions the enslaved ridiculed the slave owners through masquerade and song. They emerged as a mass of resistance, celebrating their liberation from hardships. Over time, the Jab Jab tradition evolved and became an integral part of Grenadian culture and heritage.

[reasonsforhope]

"We are thrilled to announce the launch of the Garifuna International Indigenous Film Festival (GIIFF) on November 9th-November 12th, 2023, a groundbreaking initiative dedicated to supporting and preserving the Garifuna nation and all indigenous cultures being held at the Electric Lodge located in Venice, California.

This unique film festival will create a platform for filmmakers, artists, and community leaders/members to showcase their works while emphasizing the importance of cultural diversity and representation. The Garifuna people, originating from the Caribbean Island of St. Vincent, possess a rich tradition and enduring heritage that deserves global recognition. The Garifuna International Indigenous Film Festival aims to bring this vibrant culture to the forefront and shed light on the struggles and triumphs of the Garifuna nation and other indigenous communities worldwide.

The underlying objective of GIIFF is to promote a deeper understanding and appreciation of indigenous traditions, values, and stories. Through the power of film, GIIFF aims to bridge gaps, foster dialogue, and debunk stereotypes surrounding indigenous cultures.

This multidisciplinary approach will not only provide a unique experience for audiences, but it will also contribute to the preservation of cultural heritage for future generations.

GIIFF will feature a diverse selection of thought provoking-international films, documentaries, workshops, cultural presentations, and short films that center around indigenous cultures. The festival strives to create an inclusive space, where filmmakers and artists can engage with industry leaders, intellectuals, and audiences who share a passion for the sense of community and collaboration, encouraging meaningful conversations and connections.

This inclusive space not only allows industry leaders and intellectuals to engage with these powerful stories but also invites audiences from all walks of life to immerse themselves in the beauty and diversity of indigenous cultures. The GIIFF is more than just a film festival; it is a celebration of heritage, resilience, and the power of storytelling."

-via Garifuna Indigenous Film Festival, October 2023

[witch-in-the-dirt]

My Honest Review of ‘Slavic Witchcraft; Old world Conjuring Spells and Folklore’ , By Natasha Helvin

Before I start, I am not here to question Natasha’s heritage or place in the Caribbean African diaspora spirituality’s. If you have comments on that, that’s up to you. I neither have the background or place to discuss that.

My review is also on my Goodreads,

Review

Natasha Helvin, as described in her own words, is an occultist, hereditary witch, and priestess of Voodoo. Born in the Soviet Union and later moving away at 18. She claims to have learned from her mother and grandparents, the traditions of old world Slavic paganism.

All this and yet, she cannot source anything she says, save a very unfounded “Just trust me.”

The book is separated into 10 chapters, the first two and introduction focusing on ‘The traditions,’ and other folklore information as well as history. The later 8 sections are all about Spells and spell work, and superstition.

Introduction; Sorcery as a Living Tradition.

Slavic Witchcraft was published in 2019, deep into the popularization and hype of witchcraft and paganism in the 21st century. And yet, Natasha chooses to open her book with a Cautionary Note, which warns the reader that what is inside is ‘taboo’ and ‘forbidden.’ Which is what initially made me raise an eyebrow at what I was reading.

The majority of this section was just discussing her childhood, and experiences to solidify her position as the teacher in this book. Nothing too unusual, and nothing of note. I won’t comment on someone’s life experiences as a point of note. But it’s hard to see the point in bringing it up, when it just loops over itself, as if to philosophize on it rather then make a point. Nostalgia is a valid place to write from, even in Spirituality and Nonfiction, but there are ways to go about it, to make a point. As an example; Braiding Sweetgrass, By Robin Wall K. She makes many points of talking about her life, that ultimately ends with her informing the reader of a life lesson. In Slavic Witchcraft, this just becomes a loop, that is hard to read.

1, Pagan Christianity or Christian Paganism

This Chapter highlights the most glaring issue in the entire book. There are NO SOURCES. Throughout this chapter Natasha Heavily references historical events and real life situations that do have the history to back them up. The Indoctrination into Orthodox Christianity, and the way they amalgamated pagan practices into their religion, are true historical facts. The way paganism out beat Christianity in Russia multiple times, are facts. However, the author refuses to use references and build a bibliography which makes everything she says feel less credible.

Here I will also address the 4 Elements. This isn’t the first and won’t be the last time I bring it up in a Spirituality book review.

Where is your information on the four elements as the building blocks of the universe coming from. It’s not a universal idea? Multiple other cultures have elements ranging from 3-5 or six. I would love genuinely a reference from where Natasha has the Ancient Slavs using these elements as a structure of their beliefs.

2, Slavic Magic Power and Sorcery

There’s a lot of things in this section that just require the reader to trust that Natasha is telling the truth without any resources to reference. Once again a lot of this book would have benefited from sources but because there are none, you just have to trust her.

An example is the Sorcerers Song. She dedicates quite a bit of this chapter to ‘folklore’ and often references this thing called the sorceresses/sorcerers song. The song in question is the dying sorcerers last words, before they transfer magic to someone else. A lot of the stuff in here is very fantastical, and there is a level of difficulty in understanding what is just fun storytelling on the authors part and what is to be believed as fact.

Here she also contradicts herself on the facts of who can and cannot be a witch.

What a witch is according to folklore, where the unfortunate use of a Romani slur is used, in a sentence that is just a repetition of really old racism. How can you write the sentence that describes witches as “ugly iron toothed and (racial stereotypes)” without also clarifying that these are all descriptions from a post orthodox and heavily antagonistic mindset?

These chapters really clarified for me that this book is not about Slavic paganism as a religion but rather, Ms Helvins Experience as a pagan with a post Christian Russian heritage. Everything is still very Christian. Which isn’t bad and not wrong, most folk magics we see today come from a Christian background because that is the most common religion of all our ancestors. This book isn’t a reconstruction of Slavic paganism, or Slavic pagan as a broad term regardless. It’s Natasha’s paganism.

The rest of the book focuses on Spells, which are for the most part fine.

I have personal issues with her opening comments on All people were made by god as man and woman and our true desires are to find our other halves. Okay, no.

I have issues with the amount of times she references everything and everyone around us as “manipulatable” that all things fall under our whims. Which is morally uncomfortable. I don’t think our ancestors who worked alongside animals and plants always saw them as lower, as seen in, still Alive and well, Indigenous American beliefs.

In the end, this book isn’t for beginners, it’s not for Slavic pagans, it’s for Natasha. And that’s fine.

[iloveethnicities]

The use of natural dyes in Afro-Bahamian culture reflects a deep-rooted connection to the land and sea, intertwined with sustainable practices and traditional knowledge passed down through generations. This practice emerged from the need to create colorful, enduring dyes from locally available plants, minerals, and organic materials in the Bahamas. Afro-Bahamians developed a rich repertoire of dyeing methods and techniques, influenced by African traditions, the Caribbean climate, and an intimate knowledge of the local ecosystem. Here’s a closer look at how natural dyes are sourced, prepared, and used in the Afro-Bahamian context.

Afro-Bahamians have traditionally sourced dyes from a variety of plants, trees, seaweed, and minerals found throughout the Bahamian islands. These dyes are created using sustainably harvested materials, respecting natural growth cycles to avoid depletion. Some common sources include:

Indigo - The indigo plant produces a deep blue dye, a highly valued color in many Afro-Caribbean traditions. While indigo is not native to the Bahamas, it has been cultivated in some areas due to its popularity and historical significance.

Mahogany Bark - The bark of the mahogany tree can yield a range of brown and reddish hues, depending on how it’s processed. When boiled, the bark releases tannins, a natural component that binds dye to fabrics.

Logwood - Originally native to Central America, logwood has been cultivated and traded throughout the Caribbean for centuries. When boiled, logwood produces a rich purple or black dye that is both vibrant and lasting.

Cochineal - Although the cochineal insect is not native to the Bahamas, Afro-Bahamians have long known about it as a source of red dye. While the insects are not found locally, knowledge of the process influences how other red pigments are sourced.

Seaweed and Marine Algae - Some types of seaweed and algae found along Bahamian shores can be processed to yield shades of green, brown, and even yellow. These sources are eco-friendly and abundant, making them a preferred choice in some communities.

Cascarilla Bark - The cascarilla bush, indigenous to the Bahamas, is well-known for its aromatic properties. While it is often harvested for medicinal and ceremonial purposes, parts of it can also be used for dyeing.

Flowers and Fruits - Flowers like hibiscus and bougainvillea, as well as fruits like berries, can be boiled to extract red, purple, and pink hues. While not as long-lasting as other dyes, they are easy to produce and popular for short-term applications.

The preparation of natural dyes in Afro-Bahamian culture is a labor-intensive process that requires skill, patience, and respect for nature. Each step, from gathering raw materials to boiling and straining, is an act of craftsmanship. Here are some of the common steps:

Gathering and Harvesting - Materials are collected carefully to ensure minimal impact on the environment. For example, if dye is sourced from bark, only small sections are removed from different trees to avoid harming any single tree. Leaves, flowers, and berries are also collected sparingly to allow for regeneration.

Processing and Extracting Color - Once gathered, raw materials are prepared by cutting, crushing, or boiling them to release their natural pigments. Boiling is the most common extraction method, as it intensifies colors and breaks down plant material for easier absorption by fabrics.

Mixing and Adjusting Shades - Afro-Bahamians adjust the intensity of the dye by controlling the concentration of plant materials and by combining different sources to achieve desired colors. For example, boiling mahogany bark for a longer period results in deeper shades of brown.

Setting the Dye - To make the dye long-lasting, Afro-Bahamians use natural fixatives or mordants, often derived from vinegar, salt, or other mineral-rich substances. These substances help the dye bond with fabric fibers, preventing the colors from washing out.

Drying and Finishing - Once dyed, fabrics are rinsed and then dried in the sun. Sun-drying not only helps to set the color but also deepens the intensity of some hues. In some communities, fabrics are beaten or pounded after drying to further lock in color and improve texture.

The colors achieved through natural dyeing carry significant cultural meanings, often associated with different ceremonies, social events, and seasons. These applications are diverse:

Clothing and Textiles - Traditionally, naturally dyed fabrics are used to create garments for special occasions, including weddings, festivals, and rituals. Bright blues, deep reds, and earthy browns are particularly popular in Afro-Bahamian attire.

Ceremonial Cloths - Certain colors are reserved for spiritual ceremonies or rites of passage, with each hue symbolizing specific values like strength, protection, or prosperity. For example, indigo is often seen as a symbol of protection and is used in garments worn by spiritual leaders.

Home Decor and Handicrafts - Afro-Bahamians use naturally dyed fabrics to make items like curtains, tablecloths, and cushion covers. These items, often woven or sewn by hand, represent cultural pride and showcase the artisanal skills involved in traditional dyeing.

Art and Cultural Displays - Natural dyes are sometimes used in visual arts, with pigments applied to canvas or used in handmade paper to create intricate designs. Afro-Bahamian artists draw inspiration from nature, blending traditional techniques with modern art forms.

One of the most significant aspects of using natural dyes in Afro-Bahamian culture is their environmental sustainability. This practice embodies a low-impact approach to color production, avoiding the synthetic chemicals and heavy water consumption associated with industrial dyes. Here’s how natural dyeing contributes to sustainability:

Non-Toxic and Biodegradable - Natural dyes are free of toxic chemicals, making them safer for both artisans and the environment. Waste products from dyeing, such as leftover plant material, can be composted, and any water used in the process can be safely returned to the land.

Local Sourcing - By using plants and resources native to the Bahamas, Afro-Bahamians reduce the need for imported materials. This not only reduces carbon emissions associated with transport but also promotes an appreciation of local biodiversity.

Economic Sustainability - The craft of natural dyeing supports local artisans, providing income for families and communities who sell dyed textiles or finished products at markets. This practice helps to preserve cultural heritage while supporting sustainable livelihoods.

Promoting Conservation - Many Afro-Bahamians engaged in natural dyeing are also committed to conservation, advocating for the protection of plants, trees, and marine resources that provide the raw materials for dyes. Sustainable harvesting practices help ensure that these resources remain available for future generations.

The use of natural dyes in Afro-Bahamian culture reflects a harmonious relationship with the environment and a commitment to preserving traditions that are as ecologically mindful as they are artistically rich. It represents more than just a craft; it’s a connection to the Afro-Bahamian identity, merging history, sustainability, and art. As global interest in sustainable and ethical practices grows, the traditions of natural dyeing in the Bahamas stand as a remarkable example of how cultural heritage can inspire environmentally conscious living today.

[mariacallous]

Guava rugelach are an edible testament to Jews embracing the new ingredients and cooking techniques that they encountered in the Diaspora. They are also a testament to my mom, a culinary magician who wielded guava like a wand, infusing its sweet tones into our meals.

Brought to Latin America by Eastern European Jews in the early 20th century, cities such as Buenos Aires, Mexico City and Caracas have embraced rugelach. While many versions of the pastry still proudly bear the traditional Ashkenazi flavors of cinnamon, raisins and nuts, that’s far from the whole tale. Rugelach in Buenos Aires or Caracas might contain dulce de leche or cabello de ángel (pumpkin jam), while a stroll into a bakery in Mexico City might reveal rugelach filled with luscious chocolate ganache and aromatic Mexican vanilla.

This rugelach dough is enriched with sour cream, and results in a soft, flakey pastry. The pièce de résistance, though, is the guava filling. 

Originating from Central and South America, “guava” translates to “fruit” in Arawak, the language spoken by the native communities of the Caribbean, where this fruit, similar in size to a passion fruit, grows in abundance. The guava’s tender skin encases a creamy white or orange pulp filled with numerous tiny black seeds. 

As guava is a seasonal fruit and isn’t as widespread as mangoes or papaya, I call for guava paste, due to its unique sour-sweet taste profile. Often referred to as “goiabada,” this paste generally has a lower quotient of added sugars and presents a superior texture for baked products. Unlike runny jams and marmalades, guava paste is sculpted into a dense, sticky block yet remains soft enough to be sliced. 

Growing up, my mom used the vibrant, naturally sweet guava as her secret ingredient, a touch of the tropics that hinted at Caribbean culinary tradition in Venezuela. It turned the simplest family recipe into an exotic treat. This recipe draws inspiration from her traditional guava bread, where history, heritage and affection were kneaded into dough and baked to perfection.

Her guava-infused creations echo loudly in my present, shaping the culinary adventurer in me and reminding me of the vital link between taste and memory. Guava rugelach are not merely a pastry but a narrative of the age-old Jewish practice of reinventing ourselves in the face of new environments. The story of my lineage in the Diaspora, one many fellow Jews can relate to, is etched in the buttery dough and sweet, aromatic filling. Each bite is a reminder of who I am: A fusion of cultures, histories and flavors.

[herbs-and-poultices]

A Vaguely Whumptober-Themed Anthology of Folk Songs from the British Isles / Transatlantic Tradition: Part 2

Part 1 Last Year's Part 1 Part 2

(What’s a random American gal with no English/Scottish/Irish heritage doing listening mostly to songs like these? Blame my parents for raising me on murder ballads and ceilidh tunes.)

16) Wound Cleaning: A' Mhic Iain 'ic Sheumais (Son of John Son of James) X

An old traditional Gaelic song.

Dòmhnall mhic Iain 'ic Sheumais was shot with an arrow while leading his clan at the Battle of Carinish in 1601. According to legend, this song was composed and sung by his foster-mother as she removed the arrow and tending his wound. In the tradition it is more commonly sung as a waulking song (women's work song), but this is the first version of it I heard, performed live some 12 years ago, and it has a beautiful aching quality of love and grief.

17) Shipwrecked | "We had a good run": Barrett's Privateers (X)

A Canadian classic from the Folk Revival (20th c)

The ship was a wreck before she even set sail, it's a miracle she held up for the three months it took her to get from Canada to the Caribbean. One encounter with a merchant ship was more than enough to finish the job, leaving the sole survivor to try to make his way back home

18) Revenge: Banks of Sweet Dundee (X)

A broadside (19th c) ballad.

An orphan girl's uncle and a wealthy suitor conspire to have her low-born sweetheart pressed and sent to sea. The intrepid heroine seizes her suitor's weapons and takes her happily-ever-after by force.

He put his arms around her, “Stand off, stand off,” says she “You’ve sent the only lad I love from the banks of Sweet Dundee” She took the weapons from him and the sword he used so free, She boldly fired and shot the squire on the banks of Sweet Dundee Her uncle overheard, and hastened to the ground “Since you’ve killed the squire I will give you your death wound" “Stand off, then,” young Mary cried, “undaunted I will be” The sword she drew and her uncle slew on the banks of Sweet Dundee

19) "Is there anybody alive out there": Battle of Harlaw (X X)

A rather inaccurate account of the battle, most likely composed a few hundred years after the fact, but a fine old song nonetheless.

O’ fifty thoosan’ Heilan’ men but fifty-three gaed hame, And oot o’ a’ the Lawlan’ men fifty marched wi’ Graeme Gin onybody spier at ye o' them that marched awa’, Ye can tell them plain and very plain they’re sleepin' at Harlaw

** spier = ask

20) Emotional Angst: Lovely On The Water (X)

An old traditional ballad.

For Tower Hill is crowded With mothers weeping sore For their sons are gone to face the foe Where the blundering cannons roar

21) Body Horror: Donald MacGillavry (X)

A Jacobite song. Not precisely period trad (having been written some 60-70 years after the fact), but it's a real good one!

Things done to shoe leather should generally not be done to people.

Come like a cobbler, Donald Macgillavry Beat them, and bore them, and lingel them cleverly Up wi’ King James and Donald Macgillavry!

22) "Oh that's not good": Fire and Flame (X)

A memorial to the Halifax Explosion in 1917, composed by the latest generation of folksters.

'Twas in early December 1917 She was packed to the gills with Grade-A TNT They were bound for the fighting in High Germany When towards them the other ship turned The Norwegian ship Imo, some fault in her gears She struck Mont-Blanc's side like the mightiest of spears And the benzol ignited the captain's worst fears As the fire consumed bow to stern

23) "I'm doing this for you": Loch Lomond (X X)

Period trad (as far as I know) from shortly after the 1745 Jacobite Rising.

After the failure of the final Jacobite rising, the victors made brutal examples of their prisoners through public execution. One chose to die so that his comrades (or in some versions of the story his brother) might go free.

The 'high road' is the way over land back to Scotland. The 'low road' refers to the way traveled by the souls of those who die in foreign lands when, in Scottish tradition, they return home one last time.

24) “I never knew daylight could be so violent”: Bonnie Blue (X)

A Jacobite song. Not precisely period trad (having been written some 60-70 years after the fact, and the final verse added more recently).

Thanks once again to General John Cope for his contributions to the Scottish musical tradition.

Fast, fast their foot and horsemen flew, caps were mixed wi' bonnie blue Dirks were wet - but no wi' dew, upon that fatal morning... Run, run, ye gangling crew, this morning's work ye lang will rue The bonnie blue bonnets are after you tae wish ye's a' guid morning

25) Being Monitored | "It's for your own good": The Deserter (X)

When first I deserted, I thought myself free Until my cruel comrade informed against me. I was quickly followed after and brought back with speed, I was handcuffed and guarded, heavy irons put on me...

The resulting three-hundred three (!!) lashes was not enough to deter this desperate unwilling recruit from trying again. The second time around the sentence was execution, but thanks to the Prince's 'mercy' even that release would not be his:

Then up rode Prince Albert in his carriage-and-six Saying where is that young man whose coffin is fixed Set him free from his irons and let him go free -- For he'll make a good soldier for his Queen and country

26) Nightmares: Famous Flower of Serving Men (X)

An old ballad composed in the 17th century, of the gory family strife / star-crossed lovers variety.

After her husband and infant child are brutally murdered in front of her, a young woman takes her fate into her own hands. Cross-dressing, supernatural intervention, and fiery revenge ensue.

But all alone in my bed at e'en It's there I dream a dreadful dream I see my bed swim with blood I see the thieves stand 'round my head

27) Voiceless: One Hundred Feet (X)

A haunting memorial to the wreck of HMS Iolaire bringing soldiers home to the Hebrides at the end of WWI, composed by the latest generation of folksters.

One hundred feet from shore, We will hear their voice no more, Though I’d swear I heard them calling on the wind...

28) Denial | "They caught me red handed": Clark Sanders (X)

An old traditional ballad, another of the gory family strife / star-crossed lovers variety.

A lesson in how to talk your way out of anything... provided you aren't caught with the evidence and are actually awake at the time, that is.

"But you take a kerchief in your hands and tie up both your eyes, you may So you may say your oath to save, you ne’er saw me since yesterday And take the sword from out my scabbard, you can use it to lift the pin So you may say your oath to save, you never let your Sandy in And take me up all in your arms, you can carry me to the bed. So you may say your oath to save, on your bower floor I never tread" But in and come her five brothers, and all their torches in their hands They said "We have but one sister and see her lying with a man"

29) "Who said you could rest": Twa Recruiting Sergeants (X)

One of a family of old recruiting songs, this version aimed to lure poor farm laborers in rural Scotland.

It is intae the barn an' oot o' the byre This auld fairmer thinks ye'll never tire For it's a slavery job of low degree So list, bonnie laddie, an' come awa' wi me

How much their lives were actually improved by this change in career... well...

30) Recovery | "What have I done": Johnny I hardly knew ya (X) / Poor Johnny (X X)

Joining up was not Johnny's brightest idea.

They said he was a hero and not to grieve Over two wooden pegs and empty sleeves They carried him home and they set him down With a military pension and a medal from the crown You haven’t an arm, you haven’t a leg The enemy nearly slew you You’ll have to go out on the streets to beg Oh poor Johnny what have they done to you

31) "I'm alive, I'm just not well": Braes of Killicrankie (X)

I'll leave you with another Jacobite song. A period trad tune from the 1689 Rising, with lyrics added later.

A traumatized Government soldier recounts the horrors he experienced in a stunning defeat at the hands of the Jacobite forces.

The bauld Pitcur fell in a furr And Clavers got a clankie o Or I had fed an Athol gled On the braes o' Killicrankie o

** As best I can figure out: 'Thank goodness the Jacobite leaders were finally killed, otherwise I would have been supper for the local vultures.'

An ye had been whaur I hae beenYe wadna been sae cantie o An ye had seen what I hae seen On the braes o' Killiecrankie o

** an = if, cantie = cheerful