: Dominican Republic - Information related to Intangible Cultural Heritage
- Date of deposit of instrument: 02-10-2006
- UNESCO Regional Officer for Intangible Heritage: De Greef, An-Heleen
Following information is provided for easy reference, but has no official status. For comments or to update information, please contact the regional officer concerned via ich@unesco.org.
Since November 2008, the Representative List contains 90 elements of the Intangible Cultural Heritage of Humanity.
- Proclamation 2001: "The Cultural Space of the Brotherhood of the Holy Spirit of the Congos of Villa Mella"
- Proclamation 2005: "The Cocolo Dance Drama Tradition"
Proclamation 2001: "The Cultural Space of the Brotherhood of the Holy Spirit of the Congos of Villa Mella"
©Museo de Hombre Dominicano
The Brotherhood of the Holy Spirit of the Congos of Villa Mella is distinguished in the fields of music, dance and popular festivities. The Brotherhood musicians play instruments called congos. These congos, the origin of which is attributed to the Holy Spirit, are hand-drums. The Brotherhood, which is nowadays open to all without distinction of sex or origin, was founded in the sixteenth century by African slaves and people of mixed origin. For historical reasons, the Brotherhood is an important part of the cultural identity of its members and of the region as a whole.
The Festival of the Holy Spirit, celebrated at Pentecost, features prayers, dances and singing, accompanied by the music of the congos and a procession carrying the dove representing the Holy Spirit. This occurs at the wake, during the procession to the cemetery and on the ninth day of mourning, when prayers are recited in front of a three-tiered catafalque carrying a doll representing the dead. At the Banko ceremony, three years after the death, the same catafalque is prepared and the living take leave of the deceased, who then becomes an ancestor. On this occasion, all the guests dance to the music of the congos.
The permanence of the Brotherhood has been threatened by the lack of interest shown by the elite in cultures of African and mixed origin. Today, the acceleration of urban growth, migration, unemployment and the standardization of values is reinforcing prejudices and the lack of understanding of the Brotherhood.
Proclamation 2005: "The Cocolo Dance Drama Tradition"
© Juan Rodriguez Acosta
The Cocolo dancing drama tradition developed among descendants of British Caribbean slaves who had come to the Dominican Republic in the mid-nineteenth century to work in the sugar fields. This linguistically and culturally distinct community set up their own churches, schools, benevolent societies and mutual assistance lodges. Their most distinctive expressions, however, were annual dancing drama performances. Originally pejorative, the term “Cocolo”, which refers to the migrants working on the British sugar plantation of the island, is now used proudly.
Various Cocolo drama troupes used to perform at Christmas, on St Peter’s day and at carnival festivities. In their performances, themes from various worlds are creatively united. Music and dance genres of African origin blend with dramatic plots, legends and figures derived from biblical and medieval European literature. These include Christmas carolling, performances of string and scratch bands, the so-called Niega business, involving masquerades and the staging of theatrical scenes such as ’David and Goliath’, ’Moko- Yombi’ and ’Cowboys and Indians’. Only one ageing troupe now remains.
This fusion of African and British cultural themes, and their adaptation to a Spanish Catholic milieu, is a salient expression of creativity. But although older members of the Cocolo community still speak Caribbean English at home, most have lost their ancient mother tongue and are monolingual in Spanish. Today, the Cocolo community is scattered in different regions of the Dominican Republic, and most have assimilated into broader Dominican society. This development has made it more difficult for the older Cocolo to transmit their knowledge to younger generations, to retain their specific institutions and to keep the dancing drama tradition alive.
