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Thursday, April 3, 2025

Legends of stickfighting...

by

Radhica Sookraj
1886 days ago
20200203

rad­hi­ca.sookraj@guardian.co.tt

Its al­most a lost lega­cy, but thanks to the ef­forts of a few, stick fight­ing con­tin­ues to thrive in the sleepy com­mu­ni­ty of Moru­ga.

The dance-like spiri­tis­tic art form which fea­tures mar­tial art moves was brought to the Caribbean by African slaves in the lat­ter part of the 17th cen­tu­ry. Back then, African slaves from the Con­go and An­go­la used the gayelle or stick fight­ing are­na to rid them­selves of the trau­ma of slav­ery.

To­day the spe­cial sticks known as bois are craft­ed from the heart of the poui tree and have been known to cause in­juries.

Dur­ing an in­ter­view with Guardian Me­dia, founder of the St Mary’s gayelle Brent Hamil­ton said while stick fight­ing has con­tin­ued to thrive in the Moru­ga dis­trict, much of the rit­u­als as­so­ci­at­ed with the art form have died.

“Peo­ple used to say stick­fight­ing was as­so­ci­at­ed with obeah. Nowa­days peo­ple don’t do that kind of thing. The old stick­men will know about that,” Hamil­ton said.

How­ev­er, one of Moru­ga’s stick fight­ing Ring Mas­ter El­ton De Leon said the sto­ries of spir­it bois con­tin­ue to be part of Moru­ga’s stick­fight­ing leg­ends.

“I have heard that long ago peo­ple used to put their sticks in the ceme­tery so that it will be loaded with the spir­it of the dead,” De Leon said.

He added that the rit­u­als were many. To­day, be­fore any fight be­gins, the gayelle is sealed with cam­phor and pun­cheon rum to ward off any evil spir­its.

“We light cam­phor on the four cor­ners of the ring and then we throw the rum all around so the ring is sealed,” De Leon ex­plained.

He agreed that the stick­men from yes­ter­year used to give pow­er to their bois by com­mu­ni­cat­ing with the dead.

“Some used to get a liv­ing frog, open its mouth and put the stick in there. Oth­er peo­ple used to put their stick in a run­ning riv­er. They said the run­ning riv­er will give you speed in the ring,” he added.

To have a spir­it stick was the height of wicked­ness and if a vil­lager was seen do­ing this, the fight­er was feared and se­cret­ly shunned.

Stick­fight­ing leg­end Harold Brown, now 86, of St Marys Vil­lage, Moru­ga, in­sist­ed that he nev­er fought with a spir­it stick.

“I nev­er do them thing. They used to do things long time so that you will fear the stick,” he said. He not­ed that in the old­en days, the fights took place out­side the rum shops. Flick­er­ing flam­beaus would cir­cle the ring and un­der the cov­er of dark­ness, the loud crack of the bois could be heard.

The fight­er will get ine­bri­at­ed with shots of pun­cheon and when he en­ters the ring, spec­ta­tors will call for blood.

“Most times the fight­er would spend months train­ing for a fight. Peo­ple back then didn’t do it for the mon­ey. They did it for the love,” Brown said.

If a fight­er was in­jured by a spir­it stick he would be whisked away to a med­i­cine shaman called Drakes who would ad­min­is­ter a dose of spe­cial herbs. It was not un­com­mon for peo­ple to vis­it Moth­er Corn­husk, now de­ceased, to get help from the an­ces­tors or to get pro­tec­tion in a gayelle ring.

“If you fix a stick (us­ing obeah) and play­ing bad in the gayelle and you hit a man, that could change him for life,” Brown added.

He said his days of stick fight­ing start­ed when he was ten. His cousin Botry Brown would cut off poui sticks and to­geth­er they would fight in the road.

Lat­er on, their train­ing skills im­proved and af­ter sev­er­al vic­to­ries, they earned tro­phies and medals from the Oil­field Work­ers Trade Union.

“George Weekes gave me a tro­phy in Palms Club. Re­al men get blows from me. I fight from Moru­ga to To­ba­go. Big leg­ends like In­di­an John, Stoke­ly, Medal and Don­nie. Those are the great fight­ers I re­mem­ber,” he said.

At­tempt­ing to show off his stick­fight­ing moves, Brown said, “I can­not lift up my leg but I have no in­juries from all the years of stick­fight­ing. No head in­juries ex­cept for this one which I did not get in stick­fight­ing,” he chuck­led.

An­oth­er stick­fight­ing leg­end Adar­ill Brown, now 88, of Gun­ness Trace said the days of stick­fight­ing were good.

“We used to find a poui log and cut a slab from it. Then we will take a piece of a bro­ken bot­tle and shave it good. We band it up with some elec­tri­cal tape,” Adar­ill added.

He said even though some of the tra­di­tions of stick fight­ing are no longer prac­tised, he was grate­ful that the art form was well pre­served in the Moru­ga dis­trict. He com­mend­ed Hamil­ton for keep­ing the tra­di­tion alive say­ing the gayelle has been set up for sev­en con­sec­u­tive years.

“I be­lieve the Na­tion­al Car­ni­val Com­mis­sion is com­mit­ted to pre­serv­ing the art form. Nowa­days peo­ple throw mon­ey in the ring. I don’t think the fight­ers are un­der­paid be­cause they agree to fight for the lit­tle mon­ey. If some­one gets hurt, the win­ner will give him a $200 to cool out,” said.

What hap­pens in a gayelle

Be­fore a fight be­gins mon­ey gath­ered from the spec­ta­tors is placed in a cir­cle in­side the gayelle. Hamil­ton said the fight­ers do the pun­cheon rum rit­u­al and then light the cam­phor.

The play­ers and spec­ta­tors start singing the chantwell songs as the bon­go drums be­gin to roll. This is said to bring out the fight­er’s “war­rior spir­it.”

“Fight­ers choose their own op­po­nents. They be­gin a dance in the ring known as ‘car­ray’ and when the jumbie takes them, they be­gin the fight,” Hamil­ton added.

The spec­ta­tors cheer them on and as soon as the first blood is spilt, the win­ner claims the mon­ey.

A fight­er can make be­tween $2,000 to $3,000 once they emerge vic­to­ri­ous­ly. There can be more than a dozen fights on any giv­en night that the gayelle opens.

More on stick­fight­ing

Two types of stick­fight­ing tra­di­tion ex­ist in T&T. These are called the Kalin­da and gat­ka. The Kalin­da is based on mar­tial tra­di­tions that can be found in Cen­tral and West Africa and al­so among the Oro­mo peo­ple of Ethiopia. It is usu­al­ly the style found in the Na­tion­al Stick­fight­ing com­pe­ti­tion.

Gat­ka is a com­bat train­ing style de­vel­oped by Sikhs and brought to Trinidad by in­den­tured labour­ers from South­ern Asia in­clud­ing Afghanistan, In­dia and Pak­istan.

There are many vari­a­tions of Kalin­da and Gat­ka which are passed down from gen­er­a­tion to gen­er­a­tion. The chantwell songs al­so vary based on the com­mu­ni­ty from which it orig­i­nates. There is al­so a gayelle in Ma­yaro and it is not un­com­mon for stick fight­ers to share their tech­niques de­spite be­ing fierce op­po­nents in the ring.


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