Beryl McBurnie
Beryl’s dance
“The history of the West Indian dance tells, so colourfully, the history of the West Indian people,” she once wrote. “Through the medium of the dance, we have been able to learn a little more about people of other races, bringing about greater sympathy and understanding.”
Beryl Eugenia McBurnie was born November 2, She was a teacher, civil servant, and performer. The daughter of Arthur William McBurnie and Whilelmina McBurnie, she was educated at the Government Training College for Teachers, Columbia University; conducted research at Sorbonne, Musee de l’Homme, and the British Museum.
At one stage, she lived at 34 Panka Street, St James. When she died at the age of 84, the last line of the obituary published in the UK’s Guardian, stated, “She did not marry, because she was married to the theatre.”
McBurnie founded the Little Carib in , the country’s first theatre space, located at the corner of White and Roberts Street, Woodbrook. It was the home of, among other things, the Little Carib Company of dancers. Though that troupe has long been disbanded, the space is still the centre of cultural activity today. A new mini-opera, “Jab Mol
Beryl McBurnie
Determined, imperious, flighty, charming, Beryl McBurnie was born in Trinidad and went to New York in the early s to study dance and drama. She also made a name for herself as a dancer and singer, Belle Rosette. But she turned her back on the bright lights to return to Trinidad. There she continued the work she had begun before World War II, researching and performing the dances of the Caribbean, especially those that drew on African traditions. She was part of an anticolonial movement that recognized the unique culture of the country and the region and eventually led Trinidad and Tobago to independence.
Artistically, McBurnie’s work influenced dancers throughout the region and beyond. She also devoted years to building the Little Carib Theatre. Intended as a home for folk dance, it also housed Derek Walcott’s Theatre Workshop and became a crucible for the performing arts.
This book portrays the woman, explores the influences that shaped McBurnie and those whom she influenced in turn, and tells of her struggle to realize a vision she nurtured for decades.
Beryl McBurnie
I N T R O D U C T I O N
Tucked down a quiet side street in Woodbrook, in western port of Spain, Trinidad, stands the only memorial to the woman who single-handedly rescued and revived West Indian folk dance from ignominy and oblivion. a small, angular white building, it opens directly onto the pavement of Roberts Street, a narrow cross-street usually crammed with parked cars. number 95 occupies a lot intended for a small family home, which is exactly what it housed until Beryl McBurnie made other plans for it almost a century ago: one day, she decided, this would be the site of the Little Carib Theatre.
In the opening-night programme of the theatre in , future prime minister Dr Eric Williams wrote: “it is people like Beryl McBurnie who will improve conditions in the West indies and upon whom more than anything else the future of the West indies will depend.” Today, a lifetime later, all that many people know of her is that she founded the Little Carib Theatre – but not the significance of the building or what happened there.
McBurnie herself was modest about what she personally had accomplished, but she knew the work was important. “I’m very interested in t
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