Maypole on Corn Island in the Twentieth Century: Roots, Rhythm, and Community
During the last decades of the twentieth century, the Maypole celebration on Corn Island was far more than a seasonal festivity. It was a living expression of Afro-Caribbean identity, community cohesion, and the deep relationship between people, land, and time. Rooted in tradition and renewed each year, Maypole marked the arrival of May with music, dance, food, and shared joy.
At the heart of the celebration stood the Maypole itself, traditionally made from the Bribri tree. Unlike later versions adorned with colourful ribbons, the early Maypole was decorated with fruits of the season such as mangoes, kenèp (quenepas), star apples, plums, and other fruits that ripened with the May rains. The tree was planted firmly in the earth, symbolizing fertility, renewal, and abundance.
Celebrations took place across the island, especially in the neighbourhoods of South End, Quinn Hill, and North End. Activities began on May 1st and continued throughout the month. Some islanders, particularly elders, believed May had the best moon of the year, from the first quarter to the full moon, making it an ideal time for celebration, music, and gathering.
Music was central to Maypole. Local songs and musicians gave the celebration its distinctive sound and spirit. Names remembered with pride include Vertic Hodgson, Becca, White Boor, Shubor Moses, Renald White, Lenny Downs, Peter Lampson, Rashfer Hamilton, and Wilford Downs (known as Toto). Music was not static; it was creative and competitive. Musicians composed new songs each year, and gatherings often culminated in a final celebration around the Maypole, where the best song was recognized, as recalled by Mr. Charles Hodgson in interview.
A highlight of the festivities was the combination of dance, poetry, and musical competition, which entertained and united the community. Events unfolded in different neighbourhoods and sectors, and local musicians moved from place to place, playing, singing, and sharing newly created rhythms.
Churches were also part of the celebration. The North End Ebenezer Baptist Church, the Anglican Church, and the Catholic Church all played roles at different times. The Catholic celebrations were often organized at Mosquito Point, known to many locals as Padre Point, under the leadership of the Capuchin priest Father Camilo Doerfler.
The rules of the Maypole celebration were simple. Adults took part in music and dancing, and children were never left out. However, children were only allowed to participate from 3:00 to 4:00 p.m., when afternoons were dedicated to games such as Brown Girl in the Ring, London Bridge, Down on the Carpet, cacho, skipping games, libre, and landa. Later in the evening, adults continued with their own celebrations.
Dress and dance during Maypole reflected Afro-Caribbean and English heritage and elegance. Women often wore long dresses, and the dances blended multiple traditions, including polka, calypso, mento, soca, and schottische. Elders frequently noted that Black communities gave the celebration its strongest essence, shaping its rhythm, style, and soul.
Food and drink were essential elements of Maypole. Seasonal rains brought abundant fruit, and households prepared traditional delicacies. Popular drinks included tualbi (or twualbi), a semi-alcoholic beverage similar to chicha, and ginger beer. Sweets and baked goods were shared generously, such as drops cake, coconut cake, soda cake, and sailor cake, known for its dense, hearty texture. Often, there was one large communal cooking that brought families and neighbours together.
In the twentieth century, Maypole on Corn Island was not just a festival; it was a declaration of belonging. Through music, dance, food, faith, and play, the community celebrated life, the changing seasons, and its Afro-Caribbean and English heritage.
This account is based on an interview conducted with cultural promoter Charles Hodgson in 2020.
