The Origins and Evolution of Kalinda also known as “Calinda” or “Kalenda: A Martial Art and Dance Tradition

Kalinda, also known as “Calinda” or “Kalenda,” is a captivating stick-fighting warrior dance deeply intertwined with the history and culture of Trinidad and Tobago. With its origins tracing back to the Kongo Kingdom, encompassing regions of present-day Democratic Republic of the Congo, Republic of the Congo, as well as parts of Angola and Gabon, this traditional artform holds a special place in the heart of the Trinidad and Tobago Carnival.

During the era of slavery in the Caribbean, Kalinda served as a form of entertainment and cultural expression for the enslaved population. Rooted in the Kongo martial arts tradition, the practice found its way to Trinidad and Tobago via the forced migration of African slaves and their descendants. The French influence from neighboring islands further enriched the art, leading to a melding of diverse cultural elements over time.

Not confined solely to Trinidad and Tobago, similar stick or machete fight-dance rituals were practiced in various other regions, including Barbados (Stick Licking), Brazil (Maculelê), Colombia (Grima), Dominica, Grenada, Guadalupe (Bénolé), Haiti, Jamaica, the United States, and Venezuela (Juego del Garrote or Garrote Game). Each iteration carried its own unique historical and cultural significance, reflecting the resilience and creativity of the communities that nurtured them.

It’s fascinating to note that Kalinda is not merely a relic of the past; instead, it endures as a living tradition. Even today, the art of stick-fighting retains its presence in Trinidad and Tobago, occasionally manifesting in the form of formalized annual Carnival competitions. Although it has evolved into a more dance-centric expression, the martial roots and traditions of the Kingdom of Kongo remain an integral part of Kalinda’s essence.

The narrative of Kalinda is inseparable from the rich tapestry of Trinidad and Tobago’s history. With the arrival of Carnival festivities accompanying French settlers, the enslaved individuals who could not partake in the celebrations established a parallel event, eventually evolving into the Canboulay celebration between 1858 and 1884. Post-emancipation, a lead vocalist, known as a “chantwell” or “chantuelle,” would sing call-and-response chants – “lavways” – to uplift and support the stickfighters. These chants became the precursor to the vibrant genre of calypso music, serving as a testament to the enduring legacy of Kalinda in the island nation’s cultural evolution.

Prior to emancipation, Kalinda provided a form of entertainment for the enslaved population, offering a respite from the harsh realities of their daily lives. The arrival of the French colonizers reshaped the dynamics of the practice, as the stick fighters came to be known as “boismen,” derived from the French word “bois,” meaning stick. Distinct elements such as ceremonial songs and the intricate rituals performed in the fighting arenas, known as “gayelles,” added depth and ceremony to the tradition, further enriching its cultural significance.

The resilience of Kalinda as a multifaceted art form is truly remarkable. Despite its evolution into a more dance-oriented expression, the legacy of the martial art from the Kingdom of Kongo remains integral to the spirit of the Trinidad and Tobago Carnival. As the vibrant rhythms of calypso music continue to resonate throughout the festivities, they serve as a living testament to the enduring influence of Kalinda in shaping the cultural identity of Trinidad and Tobago.

In essence, Kalinda embodies the spirit of a resilient and vibrant community, preserving its cultural heritage through the ages. The legacy of this martial art and dance form stands as a testament to the strength and creativity of the human spirit, perpetuating the traditions of the past while embracing the rhythm of the present.