#Bermuda Gombeys


The Warwick Gombey Troupe have been performing for locals and visitors for decades. Gombeys (pronounced GOM-bays) have been dancing around Bermuda for almost two centuries. A mix of West African, Caribbean and Native North American dances have combined to influence their rhythmic moves.




The Gombey is an iconic symbol of Bermuda, this folklife tradition reflecting the island’s blend of AfricanNative AmericanCaribbean and British cultures, incorporating them over time into a unique performance art full of colorful and intricate masquerade, dance and drumming.

Dancers are usually male, and perform in groups of 10-30[1] though in modern times female groups have emerged. The traditions have been passed down orally from one generation to the next within families and the Captains of each troupe determine the direction of the troupe and style that is taught. Thus within troupes there can be found subtle but distinct differences in beats, dances, costumes, headdresses, by which they can each be recognized.


Historically, the Gombeys were not viewed as a respectable art form by the island’s ruling class and were banned by the slave masters. Slaves were allowed to dance only once a year and did so in masks in order to protest, without fear of retribution, the injustices done them by their slave masters.

In an article from The Royal Gazette newspaper posted on January 10, 1831, a reward is being offered for the return of two slaves by the names of Ajax and Mentor who: “[w]ent off without a cause at Christmas, following that Idolatrous procession the Gumba. It is hoped that this late nuisance, the Gumba and other clamourous puppet shows of the Negroes, will meet the attention of all men of reflection that they be suppressed – as none but the worst or most ignorant Negroes follow such ridiculous shows.”[2]

Henceforth Gombey tradition is at its liveliest during the Christmas season, traditionally performed during Boxing Day, where the troupes would march the whole day around the island with crowds of followers. Also performances could be seen onEasterNew Year’s DayBermuda Day and in modern times at soccer and cricket matches and other festivals and celebrations.[3]

The word “Gombey” is related to the Bahamian “Goombay“, a similar dance tradition. It also refers to a specific drum of African origin (see List of Caribbean drums). In addition to the Bahamian Goombay tradition, Gombey is similar to some other Afro-Caribbean styles and celebrations (such as the Mummers). Afro-Caribbeans brought to Bermuda as slaves or convicts during colonial times introduced other Caribbean traditions. In addition to the bass, or “Mother” drum, typically home-made[4]the modern Bermudian Gombey is distinguished by the use of the snare drum (generally in pairs), derived from the British use of the instrument.[3] In addition, a kettle drum, a fife are integral parts of Gombey accompaniment[1] d whistles are used by leaders to issue commands. 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[4], with the snare drum patterns driving the body of the movement and the rimshots communicating with the dancer’s feet.[5]

Gombey’s costumes cover their bodies from head to toe and are decorated with tassels, mirrors, bells, and other small items and symbols. The peacock feather headdresses, the painted masks, and the capes are distinguishing features of Gombey costumes. The Captains can be identified by their long capes and often carry a whip to control the troupe or an unruly crowd; The Bowman or Lead Indian carries a bow and arrow often going slightly ahead of the troupe to scout the way on long marches; and the Warriors carry a tomahawk (axe) which they place on their shoulder and use during cockfights when they face off against each other to display their expression of the dance. Freedom dance, junkanoo, cockfights, biblical stories, slow dance, fast dance, snake dance, and rushing back are all elements to watch for when observing a Gombey performance.

Although the Gombeys have enjoyed a remarkable shift in social status, going from a marginalized group to now appearing on postage stamps and performing overseas, there are still today old laws in place that prevent Gombeys from performing in the streets of Hamilton without permits.[6]

Research and education

In February 2000, the Smithsonian Institution conducted training in folklife fieldwork for Bermuda-based researchers to prepare them to survey the cultural traditions of the island. Their fieldwork, conducted from April 2000 through March 2001, became the research basis for both the Folklife Festival, the development of the Bermuda Connections Cultural Resource Guide for Classrooms, and the development of a Bermuda Folklife Officer.

Dr. Richard Kurin writes in the foreword that “[t]his education kit grows out of Bermuda’s participation in the 2001 Smithsonian Folklife Festival. It is based on the important research that went into the Festival and the documentation that resulted from it.” Included in this document is a chapter on Gombeys, Bands and Troubadours. Since 2010 the entire Bermuda Connections Resource Guide has been made available for download in the Folklife section of Bermuda’s Department of Community and Cultural Affairs website.


One of the first major literary publications on the Gombeys was a book published in 1987 by Louise A. Jackson entitled The Bermuda Gombey: Bermuda’s Unique Dance Heritage. It contains pictures and sketches of Gombeys, and outlines details of history, group roles, performance and costumes. Jackson subsequently also published another book, entitled Gombey Boy, and a short narrative film on VHS. More recently a children’s book called Gombey Baby was written and illustrated by Bermudian J. K. Aspinall.


In 2008 a feature-length documentary on the Gombeys was created by the Department of Community and Cultural Affairs, Bermuda. Entitled Behind the Mask: Bermuda Gombeys Past, Present, and Future, this film captures and documents the ongoing history of the Bermuda Gombeys, highlighting their importance as one of Bermuda’s oldest Folklife traditions. It premiered at the Bermuda International Film Festival in March 2008.

Directed by Bermudian filmmaker Adrian Kawaley-Lathan, and co-produced with Bermudian filmmaker Kalilah Robinson, the film was created to supplement Bermuda’s education system, providing much needed cultural education for adults and children alike, as well as an entertaining narrative that could be enjoyed by tourists as well as locals. Its narrative chapters were split into detailed sections covering every aspect of the Gombey culture and traditions. The DVD chapters are listed in the following order:

  • History
  • Modern Groups
  • Essence of Gombey
  • Growing up Gombey
  • Performance – Drums
  • Costumes
  • Performance – Roles
  • Training
  • Performance – Dance
  • Crowds
  • Community Support
  • Keeping the Tradition Alive
  • What has Changed
  • Unity
  • Future

The documentary process consisted of over 30 hours of interviews and performance footage which have been preserved as digital cultural archives, in addition all the preexisting data available on the Gombeys was amalgamated from private collections, the Bermuda Archives and Libraries into a singular resource. Primary interviews were conducted with:

  • Gombey historian and writer Louise A. Jackson
  • Tradition bearer Gary Phillips
  • Master Drummers Henry “Growther” Wilson and Jose “Boots” Herbert
  • Carnival Gombey founder John “Pickles” Spence
  • Costume Maker Janice Warner Tucker

And the captains of each of the Gombey Troupes operating in 2008 (alphabetically):

  • Shaun Caisey (H&H Gombeys)
  • Kevin Fubler (K&K Gombeys)
  • Andre Parsons (Roots Gombeys)
  • Dennis Parsons & Andre Place (Place’s Gombeys)
  • George Richardson (Richardson Gombeys)
  • Irwin Trott (Warwick Gombeys)
  • Algina Warner (Alisa Kani Girl Gombeys)
  • Allan Warner (Warner Gombeys).

While the historical data remains accurate, changes have occurred in the modern troupes since the documentary was created. It is expected that in the future additional documentaries will be made to supersede this one, maintaining historical records of the shifting culture in Bermuda over the years. The Department of Community and Cultural Affairs remains the best source for current contacts and information on the Gombeys. A Gombey Festival is held annually to provide continued exposure to the folk art traditions of this important cultural heritage.

See Also

External links

Department of Community and Cultural Affairs, Bermuda – Official Website Department of Community and Cultural Affairs

Bermuda Connections: Online Resource Guide – Free Cultural Resources on the community culture and history of Bermuda


  1. a b Roots of an African American Christmas
  2. ^ Documentary, Film (2008). Behind the Mask: Bermuda Gombeys Past, Present and Future. Bermuda: Department of Community and Cultural Affairs.
  3. a b Frommers
  4. a b Bermuda, Connections (2001). Bermuda Connections Cultural Resource Guide for Classrooms. Washington DC: Smithsonian Institute. pp. 230.
  5. ^ Documentary, Film (2008). Behind the Mask: Bermuda Gombeys Past, Present and Future. Bermuda: Department of Community and Cultural Affairs.
  6. ^ Documentary, Film (2008). Behind the Mask: Bermuda Gombeys Past, Present and Future. Bermuda: Department of Community and Cultural Affairs.

 source: http://en.wikipedia.org/wiki/Gombey


Behind the Mask: Bermuda Gombeys Past, Present and FutureDirected by: Adrian Kawaley-Lathan

  • Date Published: 2009
  • Produced by: The Department of Community and Cultural Affairs

Documentary on the history of the Bermuda Gombeys from the oldest recorded archives to the realities of being and performing Gombeys in the modern day. 88mins. Subtitles and Special Features included.


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