 You would have remembered the history where we came from and it began in Africa, a lot of us came from Africa, and of course lots of us, but the history actually began. I don't know if I should go back to that slave trade, back to the west coast of Africa, but this is like Ghana, Côte d'Ivoire, where again, help me with the countries in Nigeria and a whole lot of them. Mondidon. So, we've come a long, long way. The story is one that is not nice about Beliswa because... I'd like to say it in Creole if you don't mind. It's changed the way we came here. We came here for a good time. All the time we came here for a good time. We came here for a good time. We came here for a good time. As you know, we have changed the way we come here. She's taken us many different directions. Different directions and losing the families altogether and on an arduous journey to the western hemisphere, to places like St. Lucia, the United States, all of the Caribbean.  yo mene nũ pw District Isha, yu remember that song buy, Wick müh awahi po' overturn and that's wut we are doing here today. We are now to put your back to youغ mic wistant em nũ but we are here to remember the experiences that those people our forefathers had before us. Bua avasa sakide gafet. We were celebrating Emancipation Day by the beach. We were doing all kinds of other things and go her party, this party, but we were not reflecting on that journey, on where we are today. It's a sad nu ka feis ya apakwe foeshi to remember that journey. Now we have performances, we have mamailakai here with us, because of course the music is our music. We have the drums. The drums came from Africa. We have storytelling. All of these are traditions from Africa that we need to remember. And when you hear people talking about history, history not important, sāpā vī. Bob Mali tells us and a lot of some other singers tells us, we must remember, if you do not know where you come from, you will never know where you are going. Sē pūsā nuk hōdīya, nuka wē fleshi is part of the independent celebration that the government has instituted. Of course, Emancipation Day was on Monday in most of the islands, it's the first day of August 1833. The papers were done in the House of Commons, but it took effect one year later in 1834. And so ever since that time, illegally, illegally we are free, but in our minds, I can tell you that a lot of systems have to be put in place. Let me take, for example, pūkī sā nuk hōdīya nā lōd kōsāpīya. I mean the violence, killing each other for what? If we were free, I don't believe we would be doing that. So all of these things, we have a lot of things we have to do to make ourselves truly liberated. There's one thing I didn't do is to apologize for our late start. We were scheduled for a three o'clock start. But like we do in St Lucia, nuka e spē mūn vini āvan. Anyway, so I've been talking too much. Let me let the music roll. I think we can just say we have our mamae lakai been doing very well, very well renowned. They played all the way in, they've been all around the world I might say. Europe in Spain 2x2 and they also have a few album student names. So let's hear it for mamae lakai. We will continue. We will continue to say what sound is that. Oh my God! Sontambua, so let me bring on mister Boizi. Boizi di me si pāte mwen hi havi e be boizi we wo ukai bāstabu pūsa. Boizi an che che an rabbit coming to entertain us with some real great drums all the way from Africa. Anali. Mwen hi havi e be boizi we wo ukai bāstabu pūsa. Anali. Boizi an che che an rabbit coming to entertain us with some real great drums all the way from Africa. Adon no nom hi siya, nunhi fi. Hirishia. Mwen hi siya, nunhi fi. Mwen hi siya, nunhi fi. Me shēi no, se nom lė noux fe fiu, nu pa fe fiu pūko nom, unitoua fi. Unitoua fi. Ibā ma ebi nom lă, ibā ma ebi nom lā, ibā ma mo. Ibā ma ebi nom lă, ibā ma mo. Ibā ma ebi nom lā, ibā ma mo. Ebi tur fi aalei be pāpa aga fi. Agisten pāpa poin pa siy bi, agi po lamm e. Me ten satifi akadi dady, re pāpa ii gmacei kapisabu. шего npa  Rignha  dazhi ʰai dazhi ʰe my ʰih ʰai dzhi ʰai ʰai dzhi ʰe my ʰey bak ʰay ʰazhi ʰau ka ʰa phaime ʰai dazhi ʰa di ʰa di ʰa di ʰa di ʰa di ʰa di ʰa di ʰa di ʰoye ʰan di ʰa me ʰa di ʰa di ʰa di ʰinga de kume ʰai dazhi ʰa di ʰo ye ʰan tu nme ʰai dazhihihihiheh ʰu ye ʰu mme నినంనిి. అనీనేదికిజాతినిల్తివాడిరాంచెివా. కానిచేకికిదిలేనీచికినంపినికికికివాతూది నినికిటెతూచి all.  뒤-ine-omealam  бар—  transl Nacional Öde-nu-pu-dtssig ğis't Enough ğeichattas ğeichattas ğigya yameis ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi ndi  nū sōti ā dāntān eskravāj. Āpi ān sētān sālā, āpwēzān, nū kī vin juen āndikāsion, nū vin āpwēn kīrtino, āpwēzān, nū sā ekwī sā, ālāng nū mēm. Āpwēzān, āpwēzān, nū tēkā, āpwēzān, nū sōti ātān sētān, āpwēzān, āpwēzān, nū kīrtino, āpwēzān, nū sālā, āpwēzān. Āpwēzān, nū sālā, āpwēzān, nū mēm. ʻi ʻan ʻi ʻloth moun ʻe kan ʻfoā mʻe te cali ʻan ʻwishers ki te fete ʻpāpāʻa mō siniyō Patrick Antony. Resistance We also füh housed the mothers of their children they took a life in the depot They made a workub they were computational and they weeded them TheyUnn顾w pays We took one water personal 이거 we sent one man to see five For improved of sustainable Yopa de esclavaj yaha eة fen hajter cm ă behar la e ai No slapped he said that he would not understand English so I came here to ask sklavaj ek yo vin ashte te ambala ek nomun nasete aso ek se sa lani apil lisoa ma vinisia po pali otame gaspa ba mu re maikla. So lao ba mu re maikla, kaipun yasa gaspa. But, mo kado lani anshai lisoa, anshai kiltino ek noni po kontinue fe se ba gaisa la ek ek ka fe mo e bonku plizi po otame mon ka vinisia po nu sa fe se kalte we fleshma sa laa. Adan lot sezon, lot generasion ka vinis ek yo kaya apisie saan numen te ka fe. Mwe bye kontinue se madame laa. Mwe kwayo noyo se wuletete. E po amme, po amye fo amme tanyo, se ti ambala banan kote vinis po kilte iti mene grub sa laa soti hod basan josef po vini amizeno epi za fe kilte yo. So mwe bye kontinue tut se mon laa, me mwe vledi gaspa kon saa. Sa ek ka ini po fe po te we te sa laa, ek ka ini po fe aplikasyon po isa fe sa apak national si basa no ka ini po mwe de guverdma po chote we sa laa po kominu apis nupan nia plas po kominu po, po fe sa fe po. Ok, meseo pil tutmun, amizeko, wana po emidi. Wao, a jizhe we, simete by pli avetis maa. Suple, suple, suple, mesee. Very good, very much appreciated, komran. I also want to, I recognize the ambassador for the diaspora, is it? Is it Latin America? Ok, I know there is ambassador for the diaspora, but I know there is also one for Venezuela and the Latin American countries, and I like to recognize, komran, Peter E. Lansiko, ek ka Pel, so give Pel a round of applause for us, thank you for coming. I also, I also want to recognize Mr. Jason Joseph, ek a bachelor, former Calypso Monarch of St. Lucia, and doing a lot of work in the Creole movement, and he's there very early, ka poa poa tui, ka fe asi we, Registry, Activity Salad. Jason, thank you very much, and of course our GIS crew, our, not crew, gentlemen. But here is what, before we bring on Wuletete, we have a special celebration besides the emancipation. Lani a go bof de jodia. Where is your twin brother sir? Where is the bof de man calling Mr. Augustine Gaspar? My brother is Augustine Gaspar, celebrate the 73rd birthday today. So we're going to give them a very special, what do we call it? We're going to sing for them, we're going to sing for them. I want tabu, I want everything. Go de, yes. Happy birthday, happy birthday again. Happy birthday, happy birthday. Now it's time for the lord, may the good lord, may the good lord, bless you, may the good lord, bless you, may the good lord, thank you. Let me hear if they have something to say first, how you all feel, talk to me. Meme ko en jodia, māi galsam kasi pui mūn apui me diya, but it is nice to be living today because God has really spared me many times, many times and I'm very grateful to God and grateful to my family. Today I'm celebrating my 73rd birthday and I'm very happy for this. In fact, only Wednesday I was trying to do some gardening near my house and I realized I could not even do one tenth of what I used to do before and that's why I told myself, go you know you're really getting older and I had to stop and to reflect and to thank God for having have me lived that long, thank God for his most seasonous graces and to thank my family for being there with me. Thank you everyone for wishing me happy birthday. What else can I add except to uncle, the only thing he said that I don't agree with is that he said he's getting old and I am not feeling old. However, let me say thank you for you guys for having us here to celebrate this occasion plus our birthday. It is very coincidental and we are very very happy to be here. Thank you so much people, thank you. Can I also add it is very unusual that you have to pay to come in to celebrate your birthday, rather unusual. Don't you think so Mr. Gospel? That's what you call emancipation, when you have to pay. Thank you very much and do enjoy the rest of the day. Thanks a lot. Yes, so now I will let me hear you, again, let me hear you, loud, all right. We are lerweile ևakko  funktion ևakko తాలిలెత్టందారిండ్యెరువినిింల్జకిావి. యానె నె నినిలెపోనింట్టందాన్నింస్యియిథంట్రం నిక఺గి. pre-schooler. A wonderful day. One more time for Ole Tete. All right. Thank you very much. I hope you enjoying it. Pa je pa all. But a lot of, let me welcome the mayor of Grosile, who is here with us, Mr. Egbert Lucien. Say sa. Bienvene, misie. Umache Ole Tete yang adusa. All right. So at this point, one of the highlights of this activity is country's book launch. Country has presented, has written a number of books and I'm not sure for poems, but short novels so and a lot of what country has done in writing and literature, especially Creole literature in St. Lucia. So let me hand over to Dela Asmi. That's right. Dela. Good afternoon everybody. I just want to say to country and Gasper, I take on bridge to that you're putting us after Ole Tete. How am I supposed to compete with that? I can't compete with that, you know. But good afternoon everybody. It is lovely to see all of you here today. Country give me a long script so bear with me as we go through it. Welcome and thanks for coming and this is an emancipation event and on first August each year we celebrate the day that the British Empire Slavery Abolition Act came into effect in 1834. Some say that it was the first step towards ending slavery throughout the colonies, but others, including the author of the books being launched today, believe that the focus should be on August 23rd, which marks the beginning of the uprising in Haiti in 1791, which played a critical role in the abolition of the transatlantic slave trade. In fact, it is against this background that the international day for the remembrance of the slave trade and its abolition is commemorated on 23 August each year. Hopefully, we will mark that day with an appropriate event next year. This year however, we present this book launch in remembrance of the enslavement of our African ancestors and the eventual abolition of slavery. Now, obviously Derek Walcott stands out as Saint Lucia's foremost writer of fiction. He is the goat, the greatest of all times, but there are others. His twin brother, Wardrick Walcott, Gav Sainthuma, Ul Young, Kendall Hippolit, Jane King Hippolit, the much underrated Michael Robertine, Robert Lee, McDonnell Dickson, Adrian Oje, Vladimir Lucien, Stanley French, Connell Charles, Anderson Reynolds, Winston Taylor, George Goddard, Hayden Ford, Modest Downes, Stephen Dantes, Sharon Trezell, George Fish Alphos, Gandalf Sinclair, Michael Fontenelle, and I'm sure a lot of us know some of these names and have read some of their books. Incidentally Michael Fontenelle is the writer of the play, A Quiduva Jou written originally in Creole and which I'm told is the only play not written by Walcott to feature as Saint Lucia's official offering at Carrie Fester and I just want to put a plug in here. I was the stage manager for that play and I'm very proud of that. There are other writers, too numerous to mention, according to the presenter of Obitris, some well-known, some unknown. Country Japier is relatively unknown as a writer despite a modest output of work since 1980s. As a matter of fact during the period of the MNC Findouts award he won the prizes for both poetry and prose and in 1988 he won the coveted literary arts prize for a novella entitled, Another Chorus, Another Verse. This novella was subsequently serialized in the voice newspaper of Saint Lucia and published by Ex Libris in 2018 as part of a collection of stories entitled Another Chorus, Another Verse and Other Stories. This multi-genre anthology of stories is energized by the wolf of Caribbean voice and Phantasmaogoria, a young Caribbean man bearing witness to a female compatriot confronted by a firearm wielding Israeli soldier on a public bus, a farmer discombobulated by the vision and aura of a she-devil near a river adjoining his farm about the forest, a frustrated man who escapes the turbitude of the city to be confronted by the decadence of the countryside and a young couple grappling with the terror of a political and sexual maniac too demin to continue living. So now I will invite Francisca Mortley to read you an excerpt from this book. The stench from the dirty abattoir made me want to vomit. I spat into the filthy gutter choked in places with animal excreta and garbage. A sudden gust of wind stirred the black dust of the coal market and carried some of it over the road and into the wharf. I turned my head away and shielded my eyes and nose with both hands. Still some particles found their way into my eyes forcing me to blink involuntarily. The dust particles tickled my nostrils as well. I sneezed loudly and blew into my handkerchief. A disheveled drunkard sauntered along towards the nearing body of demonstrators carrying a placard with some crude scriblings on it. I squinted in a futile effort to read it. The party leader, the party chairman and the candidate for the city central constituency walked in front of the Toyota pickup leading the long line of demonstrators. The deputy leader, looking stone, sat behind the wheel. The sun party is ready. He shouted over the loudspeakers on the top of his van. The labor party is ready and we shall overcome. We are declaring war on CDP today. The lines behind the van seemed unending. Most marchers wore t-shirts featuring the various party candidates for the upcoming general elections. Many carried placards. They marched along as orderly as soldiers in a military funeral. They were unsmiling and focused. Some were livid. These were people who had gone through difficult times and had resolved to do something about it. I walked alongside the marchers intending to join the line shortly. I never had a chance to. The march got to library street and the marchers were stoutly challenged by the thick nylon ropes zigzagging the entire 150 yards or so of road along government buildings, the constitution park and the first district court. Raphael Philipp, the party leader, faced the marchers with arms raised. The deputy leader passed him a microphone. This is not Haiti, Philipp announced, speaking slowly and deliberately for emphasis. This is not Iraq. This is not Afghanistan. Correct me if I'm wrong, but if I am right, why have they cordoned the streets to prevent innocent tax-paying citizens from walking along a public road? This is democracy. Democracy CDP style. But, and Philipp sang in a high tender. We go bring down CDP. I never imagined that Philipp was such a good singer. The crowd response was immediate, enthusiastic and energetic. Bring it down to the ground. We go bring down CDP. Bring it down to his knees. The call and answer ministerally went on and on and the demonstration continued slowly down Jeremy Street past the cordoned area. Then suddenly a band of irate cutlass welding men were slashing and cutting the thick ropes across the road. The police, although they initially appeared to have expected something of that sort were confused by the suddenness of the men's actions. They seem stunned that they had not intersected the armed men before they actually got into town. Library streets sucked in demonstrators like a vacuum and people crowded beneath the balcony of the building housing the officers of the prime minister, the minister for national security and the house of assembly. We go bring down CDP bring them down to their knees. They kept chanting the two police officers standing guard at the entrance of the building did well to stop the angry mob from entering the building without resorting to the use of force. They spoke to the people and while that did not quench their anger and the bitterness, they understood the position of the officers. Everybody had a job to do and they were doing the job. They had to do it whether they liked it or not. They had families to feed like everybody else. So people stood outside enchanted until super intended Elvis Capwell addressed them on a megaphone from inside the police vehicle which had forced its way through the crowd to stop in front of the section of the building housing the national treasury. This is the police. Please clear the streets, clear the pavement and go to your homes. Once at the previous demonstration another officer had ordered the people to do the same and no one had responded until the fumes of the tear gas forced them to comply. That crowd would not comply peacefully. People turned around and started hurling insults at the police officers on the road. One party started rocking the police vehicle so that at one time it looked as if it would capsize. Capwell was not intimidated. He was speaking calmly on his radio. When he was finished, a policeman handed him what looked to me like a gas mask. He took his time fitting it on. Suddenly, suddenly people started running, helter skelter, screaming and shouting. They built in tear gas. Somebody shouted, there were more screams. My nostrils and eyes had already begun to burn when I saw a little girl no more than 10 years desperately trying to keep up with the stampeding adults. Somebody pushed her from behind and she stumbled and fell on the hard concrete. She tried to get back on her feet. Every time she made it to her knees a fleeing demonstrator knocked her down. I fought my way like a salmon swimming upstream through the stampeding fugitives. I grabbed the child by the waist. By then my eyes were watering freely and my nose was running. The police offensive had not ended and tear gas canisters kept coming from all directions. I half carried, half dragged the little girl as I dashed towards the nearby housing scheme. I hoped to find refuge in the apartment of a friend of mine. I knocked frantically on the door. No answer. I heard the sound of gunshots. My eyes and nose burnt terribly. The little girl was crying all the time. She barely kept her eyes open in desperation. I pounded even harder on the door and called out to my friend to open up. The door finally opened a fraction and a frightened almost hysterical pair of eyes paired through the narrow opening. Thank you, Francesca. According to Dr. Travis Weeks, who wrote the introduction, all the stories focus on the terror experience by individuals in society. Even more, the stories give vivid descriptions of how individuals cope with that terror. This is not to suggest, however, that the writer has set out an academic treatise with, sorry, prescriptive pronouncements, not so at all. For these are short stories and they clearly emanate from a sensitive artist who at a particular time was constantly in search of a creative response to the terror in his environment. Furthermore, Weeks asserts that this is quite an important collection of stories. It marks a particular period in Saint Lucia's cultural development when our prose writers will unabashedly claim in our creole heritage and using its vitality and kaleidoscope to energize and illuminate their narratives. Similarly, it also marks that period in our social and political development, when writers of GPS generation embraced fully the responsibility of the artist to consciously use his art to advocate for social and political justice. This publication is available online. I invite you to purchase a copy. The link is available from today's salesperson and she's under the tent up there. As Weeks suggests, Zherpia is also a creole language enthusiast. So much so, he published two booklets in creole. The first is a novellet entitled, Wishes Wishes. It is the story of a young man who was in love with Wishes, a young woman from castries who was in and out of relationships with different men. It is a story which exemplifies modern creole literature, the emergence of which coincided with the development of a standard creole orthography. Modern creole literature mirrors people's realities and presents the opportunity for society to change its if necessary. This piece, according to reviewer George Goddard, is not just entertaining, it is worth reading. It is one more reason to learn the creole orthography if you haven't. Christopher Duncan will now read an excerpt from this book. Ako tuwe, pwantame Wishes, sete pw mache shimen che kase, matenit apu sakh. Apwe mwen hede Wishes epi kabinetla ek kapetla, mwen pas jemen vie lakaili. Mwen tejik obliye vande di oswea, vande si oswea, le mwen epi dani en bon kamarad mwen, te ka fei won kachashe en bon tan. Mwen te ka pashe bo kaili a bon machin te dani te pwetenu. Ite ja apu e wonze. Mwen te nilatasyon pwale lakleri bo andase a vanu desan latok bo ambabikyo. Defam te dubut kapale bo shimen. Dubut machin na mwen kumande. Dani pa gaspieta. Dubut li epi vie, dubut li epi vie, vie dei teon. Sazot ka fei la bo shimen le sala mwen mwade. Nuo vi mage pul woti Wishes wepon. Korpo mwen diyo yobache nupati. Amis mwen soe sala te komplete. Ki fei tanzen tan apu e sa, nuo te ka pashe jwen Wishes epi jain aipomne. Mwen mwen pate ka jemei desapwente. Mwen te tujou ni te konten apu e. Avan mwen te ka mwen de kikalte fom Wishes te ye. Apu eza mwen te ka apun Wishes. Afon an dispositions desagweab kite kouide Alfred. Sete an kawate janti. Dele dispositions Wishes te ka menase mwen. Mwen te ka pese mwen te ja, mwen te ja wekote Wishes te buisun. An su lajman epi kontin nasli. Mwen te ka donte vie dispositions. Mwen te ka oblije Wishes mwen te an bon naturel. Thank you Christopher. In the words of the books reviewer George Gordon, he says, Such everyday language, speaking to us easily and unpretentiously, characterizes the lexicon that is employed by Geopier throughout and particularly in the frank and transparent exchanges between Wishes and Hilary, the narrator of the story, a young man who was inexplicably drawn to her. Yet another in Geopier's over incend Lucian Quayol is the collection of four stories entitled Dam Nicola. A chronicle of a traditional Christmas Eve in a rural community dominated by blood, fear, death, excitement and repentance. An account of how Basil the death bringer fails in an attempt to steal the life of a villager. The story of how a raster man's fear of snakes resulted in his humiliation and suicide and a narration of a farmer's encounter with a larger bless in his garden at the edge of a forest. The following excerpt is from this story. This is a small piece of the story. And next to it is a small piece of the story. The story of how a raster man's fear of snakes resulted in his humiliation and suicide. The story of how a raster man's fear of snakes resulted in his humiliation and suicide. The story relates to the face of life of the behöver. The story of how a raster man's fear of rats died while riding a procession to visit a cross. In Part 2 is this. Listen. This is a good example. We have done it all to force, force the peace we have done. Which means that the country is always built with strong will that enfold the 파ensation in the city. Of the country you like the whatever you want to buy, what you want to buy, what you want to buy, what you wanna get. ʻqɔd ʻam moun ʻla ʻdʻe ʻaswam moso ʻt'e ʻi ʻnetwai ʻi ʻan fɔwéa ʻi t'e kastepa wé s'e dhejadé ʻam ʻkabé ʻelvina ʻe ʻtʻi ʻkabé ʻelvina ʻanté ʻadé ʻyon lans ʻli ʻasw yon kote ʻjadé ʻam ʻtʻu pwé ʻteni ʻa ʻpache ʻplansh ʻkupe ʻtʻu fwé ʻka ʻapie ʻaswam s'o mei ʻanté ʻepie ʻglorisida ʻa ʻteni ʻa tʻi ʻtʻuas ʻka ʻpase ʻan jadé ʻa ʻepi ʻkabé ʻa ʻa ʻa ʻa ʻa ʻa ʻa ʻa ʻa ʻa ʻa ʻa ʻa ʻa ʻa ʻa ʻa ʻa ʻa ʻa ʻa  ʻadé ʻsʱten ʻlan ʰʰi ʻhw e ʻte ʻa ʸsɪwe 垓 lâ ʰ British ʰakok ʻa ʻa ʻa ʣi I fė ʻl demise fe ʻa ʻa pwé ʙ tak l'o ʻi ʻsaisi ʻanqo. ʻi te ʻasi ʻi kūsala ʻan mūn te kūyē noin. ʻi leve t'etli gade ʻan rōlau via. ʻan fom blan te ʻasiz ʻasū go wash ʻtū nī kā su yeʃi vei ʻepi ʻan sōviet ben. ʻbūʃli ʻu vei guan. ʻan fu ʻi sō pas se ʻan di dain. ʻan fu ʻi sō pas se ʻan di dain. ʻan fu ʻi sō pas se ʻan di dain. ʻan fu ʻi sō pas se ʻan di dain. ʻi sā ʻan fu m blan ʻka fe kā la ve ʻʻi vei ʻadʻan lau via guan ba ʻu mins di ʻu mins dis lie villa ʻa ti vang kā wesei fēi ʻtruamble. ʻu mins di ʻu mins dis lie villa ʻa ti vang kā wesei fēi ʻtruamble. ʻu mins di ʻu mins di ʻi ʻi ʻi ʻi ʻo ʻi ʻa ti ʻo ʻo ʻo ʻo ʻo ʻo ʻo ʻo ʻo ʻo ʻu ʻo ʻo �  Siswafia. Thupwe malengha,                                                                                                                                                                                                                   Jape offers these kweol stories to us, because he believes there is a need for those who can read kweol to experience literature written in kweol, and for those who cannot read kweol to want to learn to read it. Presenting these stories in kweol also offers readers, according to Goddard, a pleasurable literary experience while reflecting on how life in our communities unfold, how they might impact everyday people in the day-to-day drama of living, and whether a more enlightened understanding of these relational issues might lead us to adjust how we relate to one another. A final word by Goddard on the work of Jape regarding its place in an emerging kweol canon. It is too presumptuous at this time to speak of a kweol. Is it too presumptuous at this time to speak of a kweol canon? I think not. We should not simply or narrowly understand the writings of those like Kentree Jape or others for that matter, whether in prose or poetry. In the context of solution kweol only. As Kentree Jape himself has noted, this oral now written literature has been nurtured through the larger effort of the banzil kweol in developing a common orthography. In this context, there is a suggestion of a broader and deeper experience of literature in kweol developing, which encompass the works of writers across the Caribbean in Martinique, Dominica, Guadeloupe, Cayenne, Haiti, and even further afield as Mauritius and the Seychelles, and we should surely not overlook the diaspora. So no longer can we see these literatures in kweol as developing isolated from one another, but as a canon in which different cultural experiences and geographic spaces interact to bring a universality to the kweol condition that was once given little thought. These kweols, which for want of a more adequate characterization, may be described as a Francophonic kweol, or in fact developing literatures that must inform a culturally powerful canon that is a potent medium in furthering the decolonization of our peoples. End of quote. It is not worthy that Jepie's kweol stories are published by his well-de-there publications. In case you didn't know, well-de-there refers to a robber, usually an escaped prisoner who would lay in wait for unsuspecting workers in remote areas in the village and pounce upon them stealing anything of value which they had in their possession. It was not uncommon in the village of Labri where the stories in Dam Nikola was set to hear the whispered warnings pokus yaw well-de-there war. This always generated a feeling of excitement, fear and apprehension, no child's trade far from home then. I trust that we have tickled your interest. I know that mine has been enough that you would invest today in the purchase of Wishes Wishes and Dam Nikola. They are both available right here this afternoon under the tent. Each book costs $15 but you could get both for $25. Another chorus, another verse and other stories is also available online. You can obtain the link from the sales lady underneath the tent. Thank you very much for your patience and your listening air. ʻPu mwem mʻem ʻa ʻsama kamado se po g'en de liv mwéa ʻg'en de liv mwéa ʻpis ʻosama ʻshaile mwun ka di e bhe ʻmwanshi ʻstan poe mwim nisla di e bhe ʻyu wwlimete ʻqwi ol ʻen li ʻko lmi ʻsumete ʻqwi ol ʻen li ʻko lpi mwun ʻko letmanya ʻpul li ʻqwi ʻqwi ol mwi ʻkissa yon li ʻpul li ʻqwi ʻkissa yon li ʻpul li ʻko ha ʻmwikai se ʻbai mwun ʻbai ʻpul li ʻlaen li ʻlot msi ʻpa de ʻla ʻsuga de ʻpa yai ʻla ʻan li ʻdi kamorai ʻqat hi ʻpo ʻtwi ʻsi jason josef ʻi ʻsi ʻa ʻlot ʻeqwi ver ʻki kai ʻqwi ʻpil ʻa ʻqwi ol ʻipi ʻwuxa ʻjwen ʻtoa ʻvaili ʻasso ʻinternet la ʻasheliv la ʻaliala ʻinternet la ʻli ʻtoa ʻvaila ʻjason kamete ʻasso ʻinternet la ʻipi ʻdo kai ʻwemani ʻbai ʻkai ʻmashi ʻa ʻtapu ʻvini ʻmsi ʻi ʻpil ʻmwikai ʻbawu ʻan tikadu ʻa ʻva mwikai ʻa ʻvano ʻpati ʻqwa ʻgadi pusa ʻmsi ʻi ʻpil ʻwʰi ʻwʰi ʻpil ʻkentri ʻutan ʻséʃen la ʻbawu ʻjon ʻyokaku ʻi kini ʻfras ʻi ʻavem ʻfraiz ʻwel de de ʻkentri ʻgi wel de de ʻalva ʻrʻi ʻbawu ʻwil zee ʻgadi ʻvibil ʻhi ʻtapu ʻwil ʻe ʻtapu ʻvini ʻmwikai ʻuʻi ʻgadi ʻwil ʻpil ʻpil ʰu ʻbawu ʷi ʻmwikai ʻuʻi ʻwil ʻjon ʻjon ʻgadi ʻvibil ʻbawu ʰi  Exercise Floor Láchei.  Male ̉ ̅ ̅ ̅ me ba gre piti abwen yi pati ima jyoti bom pe ti ple lanti kwi bel bel nga wé zoka wé mwa faw pa wé kan wé ki sot na klé wé punu aikana wé pu femun wé me yoi wé wé wé en shin ma la wé iwe de shi e pui iwi kou ma sui ki ma hedi wé pui sot fwé kwi ebe lortantipa wé sa wé gadi isa me la wé ebi la wé sano jyoni kou kiti yi apes ke fidi kou pa atantz nga kou apwé zan le wé sot koti wé amon ki mwa shi sveti kwa kwi domino be yu kan yi la wé apwé mwen na twi wé me aton na tan usha mwen di kan yi la wé kou ma kou mwen na mwa ek usha usoka wé te jay ebe pay mil twer naka hwa ebi kw p yani nan nai ebei wé kou wé ebe mwen na wé celebrations. shortcut pa yag yfitsuchipy a dom edus satisfisium land. Amen වනිලිර්රීම ඤබාගර්කිකෙන්මාර්ටකිමේයුක්දික්නීථ්රෝයාවුදක. මලතාපික්යුකක්වනකිලගරකකින්රා. මොසමවෙගල berl기 eh cos e se Nastu L'aw yaw yaw ff yaw yaw ff La b'ya kha poe La ffii, me yiputitut M'ha gwe kia su ke kegla E gley fii ni kha di Sai fe, sai we E kha kwa lu klokide Ykole ttup mounan ta sala hau di Yma yai diете mwagelations Kik Bo apesola wee kumase Boh usa moun kha do ou II III II Say MEMOLIA DEPO THIS WAY. ۴ ۰ ۚ ۚ ۙ Difficult ۘ ۘ ۘ agility ۸ ۬die freeze ۘ ۙ the exercise ۪ ۘ the exercise ۘ ۘ ۤ the exercise ۦ ۙ ۗ Liar ۔ióол � neariam ۔ db ۙ the exercise ۘ ۜ l unterwegs ۜ a npi గ్నెచోఛుపోలక్న్రు. Môjte ka jubo lau yak peripherale mūdokak mawe bondai Angeles, ba'i douss all binda dou, lola mimi ksuwe kakhailya, the the a madonna by by dwe sum Ri  Ł мои  Definitifы  Ł diy  Ł  Ł Å  Ł  Ł Ohivery Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣe Ṣ the I tell Lopital වවවවවවස ඔවවනාදුකය්කු. වසාලාරීශුවනිහා 這කීසාපික. වන්ලාතාවවව ලනල දතාධයිතායික español. වඅනණෙමක්ගයය්ය්‍අිකකඳයකulesj instrument වස්වන්න කණරල්මකබ්න‍යක� tonight වඦ��ස දුෂව වණිබිකාකීි දුකී මේබියකහ1 ژĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒĒ REE o r ʵ o the Kwen kwen  completion three campaign campaign won't be election. They have been a change. ʻjakewar ʻaqʻa dʻakʻu ʻaqʻa dʻakʷe ʻaqʷa dʻakʷe ʻaqʻu ʻaqʷe ʻal-w̱ymi ʻaqʰo Is alright um Charlie pa son pul ka pon dip ni o pul pon totu ja paweze a jabwe pa pa totu gade di totu man itibwe pul la yeh kri man itibwe pul la maka isabwe itibwe zee pumofon babawe zon kakute mamae la zon kakute mamae la no kakuntine sumo pa tan kwak mabakahwe yeh kri bon atumakahwe alo totu pa pa totu di ikon sa ekai isabwe yo duzen zemite la pike mbabaweze de men dima shpibwe totu itibwe totu paweze a pike dip ni o pul pon totu ja paweze a totu itib pa pa metze zee a la ipi pate a yabwe gade pul nizans mbaga e li pike di babaweze i de mego mater alo totu gade zee a la i kachile i buke deseni kachile ha itibwe o plan i ponze penge pike we onton shak seze a i valet pul plan a zee a i kove i bie mbem kute a kri le pa pa totu i ve sroti en bil i gade weze a kove la i di totu pa weze a i di no pa pa mbese a la mbem mania i di soo o te weze a nga ka son man shpibwe a li a teto mbame a kute i fe kke bukla po shod de i metze a di fe le metze shod de a di fe i ponze i kachile pa gade zee a seke i ponze dezi mzee a i kachile pa zee a seke sa o mbansi o mbam e o li go nom la piskke li hawe i kachile toazi dezi i pis zee a seke i ponze i kachile pa zee a seke mbame a la ga soo o kue tibwe a la totu vini si mbame a ja kase toazi e tole toase ki saka li la di we sa o kue totu ka i wepon pa pa i i di pa pa ha kon ha sa oza fe i di zee la kakui a lo se pul la o se koyo i di ki mania sa a lo i shonge i tini o ko ko ka ka loz la e pi a li le ko ko ka loz la ti tchebe i pa kui di sakui ga soo ja la zee tibwe o wo o kakui ve se pul la pa me di kakui thank you thank you very much mzee chale a soo pa wepon mzee me di kakui la po kakui ti o din zee pa la po kakui me di la po muto i o din no me di la po bef i o din no e la po mo goz e la po so we just want to make a contribution to kentri and for emancipation day we have been exposed to a lot of our local and cultural rhythms we're going to do a couple rhythms to african one treated and so just to give you a sense of the variety that we have and also an appreciation to mr kentri and his book so we look about four numbers and then wish you safely go thank you so this one is purely african we now going to move to trindad sorry and we going to do a bit of the shango thank you so