The History of Limbo

The History of Limbo

Contributed by Marielle Dos Santos

The word Limbo, derives from the Haitian word “Legba” for Esu, a Yoruba deity. Legba or Esu stands at the crossroads helping souls to make their decision before entering the gates of the spirit world, similar to St. Peter for Catholics.
Local Poet, Eintou Springer, references a Hatian prayer asking Legba to open the way for them, in her poem entitled “Attibon Legba”,
Attibon Legba
Ouvri barye pou mwen.
Attibon Legba
Ouvri barye pou mwen.
Cry Glory, glory to Legba!
Cry praise, praise to Legba!
Spirits, moving in the trees
Spirits, tossing in the seas
Spirits, strong upon the earth
We salute you
When someone dies, the custom is for the family of the deceased to have wakes for nine nights. Mourners would perform the limbo dance where for the first night the limbo bar, the horizontal bar, will be at the lowest point off the ground, supported by two horizontal stands. Each night after that, the bar would be raised and on the ninth night, the bar would be at the highest point symbolizing the completion of the transition into the spirit world from the lowest level on earth to the highest in heaven. The final night would be declared Victory Night signifying the triumph over death where mourners will dance Bongo. 
This ritual would be held in the yard of the home accompanied by drums and chants while the family and friends say prayers inside of the house singing catholic hymns. The body would remain at the house in a metal box filled with ice. The pathway to the house would be lit with flambeau, a beer bottle containing kerosene or “pitch oil” with a lit wick or rag, to signal to the community that someone died. It is also a light for the departed soul. 

The limbo is usually accompanied by drumming and chanting in a call and response style synonymous to calypso and forms of African-influenced music. Call – “I want somebody to limbo like me.” Response – “Limbo, limbo like me.” 

Photo courtesy LoopTT news (as shared by Marielle Dos Santos)

Julia Edwards- Pelletier was a dancer and choreographer who began dancing in 1947 and joined the Boscoe Holder Dance Troupe. When the group performed at a popular nightclub at the time called Miramar, they were recruited to dance in the 1957 American movie called, “Fire Down Below”. Limbo was changed from its traditional direction to highest level to the lowest for entertainment attracting tourists. Edwards-Pelletier was known for introducing fire to limbo in 1959 during her performance at the opening of Queen’s Hall. 

Photo from La Danse Caraibe children’s show entitled “Spooked”. Choreography by Nydia Byron. 

Photos courtesy Marielle Dos Santos

Nydia Byron made history by becoming the first Trinidadian to headline in the UniverSoul Circus and was crowned Limbo Queen of Trinidad and Tobago. She became the Manager and Choreographer of the Caribbean Segment of the Circus for six years. 

Photo courtesy guinessworldrecords.com 

On September 16th 2010, Shemika Campbell broke the record for the Limbo – Lowest Female for a bar set at 21.59 cm (8.5 inches) off the floor. She broke the record on the set of “Live! With Regis and Kelly” in New York. Mrs. Campbell went on to set a record in China, for the Furthest distance to Limbo under 12-inch bars making a distance of 3.1 metres. 

The Significance of the Costumes 

Traditionally, persons wore street clothes or home clothes especially for Bongo Night. As time evolved the clothing changed to tights and spandex tops with a large covering to the front of the chest and not much chest or skin was revealed. There was an African-based look with basic hand bands as well then, the costumes began to take more of a fancy, festive, flashier look. Men wore long and short tights and women wore panties and spandex bra tops but their chest and groin areas were still covered with flaps. Men started wearing bell bottom pants soon afterwards but the women always stood out more to look prettier with their garments. Recently, in modern times for entertainment, these costumes became more elaborate by adding sequins, whole body suits, two-piece outfits with decorated flaps to the front of the groin area, frills, etc., made for attraction and flair.

Photo courtesy La danse Caraibe 

Dance Movements and the Significance 

Limbo, the dance of death, was influenced by early interpretations of the poor, condensed conditions on slave ships. The bending of the body dancer’s body mimics the way Africans were chained closely together and couldn’t move. 

More recently for performances, the dancers would do a choreographed routine to prepare for the dancer to “bend the bar” in order to highten the drama and engage the crowd. This can be done to either drums or to the popular power soca songs at the time or both, with chants being sung . The dancer would bend backwards, knees apart and forward, balancing on feet in akimbo, arms to the side of the body not touching the floor, making their way forward until their head passes the bar. To stand up, the dancer continues to use his/her core strength to raise their body. For entertainment, the dancer may light the bar with fire while under, add multiple horizontal bars and even make human bars with other dancers. 

While professional dancer perform for tourists, they invite spectators to participate and can be used as ice breakers for social events. 

The cramped hold of a slave ship. “Vignettes, Descriptive of the Origin and Progress of the Slave Trade” 

Places in Trinidad and Tobago Limbo is performed 

Limbo is often used in many cultural events such as the launch of Carnival by the National Carnival Commission (NCC), The Prime Minister’s Best Village Competition where different communities showcase their talents to win a trophy and prizes. Limbo is also performed as a feature in performances for Soca /Calypso artistes for calypso competitions and calypso tents such as Dimanche Gras which officially starts Carnival Monday. Limbo can also be seen displayed at the Lidj Yasu Omowale Emancipation Village for Emancipation celebrations and various social events.