Where Do Vincentian Spirits Still Walk?
Saint Vincent and the Grenadines has a folklore culture shaped less by a single national “mythology” than by overlapping forms of memory: Garifuna ancestral history, African-Caribbean spirit belief, Christian ritual time, village performance, volcanic landscape, sea routes, and family storytelling.
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Introduction
The evidence is uneven. Some practices are well documented by government, local newspapers and heritage bodies; other supernatural figures survive mainly in oral memory or in wider Caribbean comparison. That matters because Vincentian folklore is easily flattened into generic Caribbean folklore. A careful reading shows a more distinctive pattern: Saint Vincent is both a home of local village custom and a symbolic homeland for a dispersed Afro-Indigenous people whose songs, language, ancestral sites and historical trauma still shape how the islands are imagined today.[unesco.org]whc.unesco.orgOpen source on unesco.org.
What makes Vincentian folklore distinctive?
The folklore of Saint Vincent and the Grenadines is rooted in mixture, but “mixture” should not be used as a vague shortcut. Local cultural writing describes Vincentian heritage as the product of African, Carib, East Indian, Portuguese and European influences, with oral tradition carrying lessons, songs and histories across generations. That blend appears in everyday speech, food, medicine, wakes, grave customs, dance, masquerade and seasonal celebration.[searchlight.vc]searchlight.vcThe Cultural Heritage of St. Vincent and the GrenadinesThe Cultural Heritage of St. Vincent and the Grenadines
Three features make the country’s folklore especially distinctive.
First, Saint Vincent is central to Garifuna memory. The Garifuna are an Afro-Indigenous people whose origin story is tied to Saint Vincent, known in Garifuna memory as Yurumein. Modern Garifuna communities are now spread across Central America, the United States and the Caribbean, but Saint Vincent remains a symbolic homeland, and Baliceaux has become a sacred place of mourning, return and political heritage activism.[culturalsurvival.org]culturalsurvival.orgyurumein our homeland film about garifuna cultural renaissance st vincentyurumein our homeland film about garifuna cultural renaissance st vincent
Second, Vincentian folk custom is strongly calendar-based. The dead are remembered around All Saints and All Souls through grave-lighting and candle customs; Christmas is marked by the nationally promoted Nine Mornings festival; National Heroes Day on 14 March is linked to Joseph Chatoyer and Garifuna memory; and local island ceremonies such as Union Island’s Big Drum preserve performance traditions that do not map neatly onto mainland Saint Vincent.[stvincenttimes.com]stvincenttimes.comjumbie leggo on november 1st and 2ndjumbie leggo on november 1st and 2nd
Third, the landscape itself is part of cultural memory. La Soufrière is not just a volcano in the scientific record; it is a repeated historical disruption that shapes settlement, fear, resilience and national imagination. Rock art sites such as Layou and Yambou preserve older ritual and symbolic landscapes, while cemeteries, villages, beaches and hills continue to carry story, warning and remembrance.[uwiseismic.com]uwiseismic.comla soufriѐre eruption 2020 2021 factsheetla soufriѐre eruption 2020 2021 factsheet
Garifuna memory: homeland, exile and sacred return
The deepest mythic-historical layer in Saint Vincent and the Grenadines is Garifuna memory. This is not “myth” in the sense of fantasy. It is a body of origin narrative, ancestral history, song, language, pilgrimage and sacred geography through which a displaced people remember who they are and where they come from. UNESCO describes Garifuna songs as repositories of history and traditional knowledge, and notes that Garifuna language belongs to the Arawakan language family and has survived centuries of discrimination and linguistic domination.[UNESCO]unesco.orgdocument 1733document 1733
Saint Vincent’s place in that memory is unusually powerful. The Yurumein Project describes Garifuna oral history as tracing the Garinagu people to the intermingling of African, Carib and Arawak ancestry on Saint Vincent, while Cultural Survival’s account of the documentary Yurumein frames the island as the homeland of an Indigenous Carib/Garifuna people seeking cultural renewal after a painful colonial past.[theyurumeinproject.org]theyurumeinproject.orgOpen source on theyurumeinproject.org.
Joseph Chatoyer is the central heroic figure in this national and diasporic memory. Official tourism material presents Chatoyer as the paramount chief and first National Hero of Saint Vincent and the Grenadines, killed on 14 March 1795 while leading resistance to European colonisation. National Heroes Day is observed on 14 March, and local reporting connects the day with wreath-laying at the Chatoyer obelisk on Dorsetshire Hill, the reputed site of his death.[tourism.gov.vc]tourism.gov.vcOpen source on tourism.gov.vc.
Baliceaux gives this history its most charged sacred landscape. After British victory, thousands of Garifuna people were forced from mainland Saint Vincent and confined on Baliceaux before survivors were deported to Roatán, off Honduras. Recent reporting describes Baliceaux as a place where Garifuna descendants make annual pilgrimages, honour ancestors, and speak of the island as holy ground. In March 2025, Saint Vincent and the Grenadines announced the acquisition of Baliceaux because of its historical importance, a move celebrated by Garifuna activists who had long campaigned for protection and memorialisation.[The Guardian]theguardian.comOpen source on theguardian.com.
For folklore readers, the key point is that Garifuna tradition in Saint Vincent is not merely a set of old stories. It is a living memory system linking homeland, ancestors, song, language, mourning, return journeys and political heritage claims. The spiritual language around Baliceaux should be presented carefully: people report powerful ancestral feelings and experiences there, but the public importance of the site does not depend on proving supernatural events. Its cultural force lies in memory, grief, survival and return.[The Guardian]theguardian.comOpen source on theguardian.com.
Jumbies, the dead and Jumbie Leggo
The most recognisable Vincentian spirit term is the jumbie: a ghost, spirit or presence of the dead, part of a much wider Caribbean vocabulary of the supernatural. In Saint Vincent and the Grenadines, the jumbie is most clearly documented through death customs rather than through a single fixed monster story. Local heritage writing describes “Jumbie Le’go” on All Souls Day, when graves are lit with candles in commemoration of the departed. It also records older wake customs: on the third night after a death, candles could be lit, a table set with flowers, grains and a Bible, and family members would sing and pray around midnight as the spirit of the dead was expected to pass by the house.[searchlight.vc]searchlight.vcThe Cultural Heritage of St. Vincent and the GrenadinesThe Cultural Heritage of St. Vincent and the Grenadines
Modern accounts show the custom still recognisable. St Vincent Times describes Jumbie Leggo around 1 and 2 November as a time when people visit cemeteries, decorate graves with many lighted candles, and sometimes light candles at home for departed loved ones. The same report notes associated noisy and fiery customs such as children’s sparklers, poppers and bamboo-joint explosions, while also warning that some street practices, such as dragging burning tyres, are dangerous and discouraged.[stvincenttimes.com]stvincenttimes.comjumbie leggo on november 1st and 2ndjumbie leggo on november 1st and 2nd
The tradition also shows how belief changes. A 2006 Global Voices post quoted a Vincentian blogger who no longer believed that hundreds of jumbies roamed during Jumbie Leggo, but still felt the emotional pull of the old tale because it imagined the dead becoming near again for a short time. A 2018 Searchlight letter pushed back from a Christian perspective against frightening children with claims that spirits leave graves. Together, these sources show Jumbie Leggo as a living cultural debate: for some, a folk belief; for others, a memorial custom; for others, a practice to be corrected by church teaching.[Global Voices]globalvoices.orgGlobal Voices St. Vincent & the Grenadines: Jumbie leggoGlobal Voices St. Vincent & the Grenadines: Jumbie leggo
That is exactly how many durable folk traditions survive. They do not remain frozen as literal belief. They become family memory, seasonal atmosphere, argument, theatre and public ritual. The 2019 Vincentian play Jumbie Leggo used the All Souls tradition as a theatrical device in a story about violence, grief, betrayal and justice, with big drums, singing and dancing connecting modern drama to African heritage.[iWitness News]iwnsvg.comjumbie leggo on april 27jumbie leggo on april 27
Night beings and shared Caribbean folklore
Readers often search for named creatures: soucouyants, duppies, jumbies, moko jumbies, forest spirits and other frightening beings. Saint Vincent and the Grenadines does share in the wider supernatural vocabulary of the English-speaking and Creole Caribbean, but the country-specific record is thinner than it is for larger folklore-publishing centres such as Trinidad, Jamaica or Haiti.
The soucouyant is a good example. Across the Caribbean, she is usually described as an old woman who sheds her skin at night, travels as a ball of fire, enters houses through small openings and drinks blood. Regional folklore explainers connect the figure to islands including Grenada and Saint Vincent, but detailed Vincentian versions are harder to document in accessible sources than the general Caribbean pattern.[Caribbean Authors]caribbeanauthors.wordpress.comCaribbean Authors Soucouyant and SaapinCaribbean Authors Soucouyant and Saapin
That does not make the figure irrelevant. It means the right approach is cautious: the soucouyant belongs to the shared night-world of Eastern Caribbean folklore, and Vincentians may recognise the type, but a serious country page should not pretend that every regional creature has a richly documented local Vincentian variant. The same caution applies to figures such as La Diablesse or Papa Bois, which are often mentioned in broad Caribbean lists but need local evidence before being treated as major Vincentian traditions.[SuperstitionsMap]superstitionsmap.comSuperstitions Map Vincentian Superstitions (World #140, ≈100 totalSuperstitions Map Vincentian Superstitions (World #140, ≈100 total
Moko jumbie is better documented as a performance tradition with supernatural language attached to it. A traditional mas source, drawing on scholarship on Trinidad Carnival, describes the moco jumbie as a West African-derived figure who appeared as a Christmas or carnival masker in the West Indies, including companion maskers at Christmas revels in Saint Vincent. Other summaries connect moko jumbies to stilt-walking traditions, guardian spirits and Caribbean masquerade.[Traditional Mas Archive]traditionalmas.comOpen source on traditionalmas.com.
The important distinction is between belief and performance. A jumbie in a graveyard story may be imagined as a spirit of the dead. A moko jumbie in masquerade may carry spirit associations through height, costume and older African-derived symbolism, while functioning in practice as festive performance. Vincentian folklore includes both modes: the feared or remembered unseen dead, and the embodied spirit-like figure who appears in music, dance and public celebration.[Traditional Mas Archive]traditionalmas.comOpen source on traditionalmas.com.
Nine Mornings: Christmas before sunrise
Nine Mornings is Saint Vincent and the Grenadines’ most distinctive national seasonal custom. The Ministry of Tourism describes it as a unique Vincentian Christmas festivity in which, for the nine mornings before Christmas, people wake in the early hours for sea baths, dances or fetes, bicycle riding and street concerts; in rural areas, the final morning may end with a steel-band jump-up.[tourism.gov.vc]tourism.gov.vcNine Mornings Festival Nine Mornings is a unique Vincentian festivity associated with the Christmas season. Nine Mornings before ChristmaNine Mornings Festival Nine Mornings is a unique Vincentian festivity associated with the Christmas season. Nine Mornings before Christma
This is not a supernatural festival in the narrow sense, but it belongs firmly within folklore because it is repeated, communal, place-based and transmitted through practice. It turns Christmas into a public early-morning ritual: streets, beaches, churches, music, lights and village competition all become part of the seasonal story. Local reporting describes Nine Mornings as running from 16 to 24 December, with pre-dawn street activities, sea-bathing, early morning church activities and community entertainment.[The Vincentian]thevincentian.comstubbs looks for seventh best nine mornings community award p14631 1stubbs looks for seventh best nine mornings community award p14631 1
The tradition has also changed over time. A local historical account says it began almost a century ago through early morning Catholic services in the nine days before Christmas. Later reporting shows a formal structure emerging in the late twentieth century, with the National Nine Mornings Committee honouring people and institutions involved in formalising the festival from 1998 and reviving or developing it through music, lighting, devotions, prizes and community organisation.[BajanThings]bajanthings.comBajan Things Nine MorningsBajan Things Nine Mornings
Modern Nine Mornings is therefore a useful case study in how folklore becomes public heritage. It has church roots, street entertainment, village rivalry, local songs, lighting competitions, government support and tourism value. The festival is still treated by local leaders and cultural bodies as a marker of Vincentian identity, not simply as a Christmas programme.[The Vincentian]thevincentian.comulp view the revival of nine mornings p20875 107ulp view the revival of nine mornings p20875 107
Union Island, Big Drum and Grenadine traditions
Saint Vincent and the Grenadines is not only mainland Saint Vincent. The Grenadines have their own cultural textures, and Union Island stands out in the available heritage record. Local heritage writing identifies several Union Island ceremonies not carried out in the same way on Saint Vincent, including the Big Drum or Rain Dance, Dancing the Cake at a wedding, and raising a tombstone. Similar ceremonies are noted on Canouan.[searchlight.vc]searchlight.vcThe Cultural Heritage of St. Vincent and the GrenadinesThe Cultural Heritage of St. Vincent and the Grenadines
These brief references are valuable because they point to a more localised folklore map. A country-level account should not treat all islands as if they share one identical tradition. Union Island’s Big Drum sits within a wider southern Caribbean world of drum, dance, rain, wedding and mortuary custom, but its Vincentian significance lies in the way it marks Grenadine identity within the state.[searchlight.vc]searchlight.vcThe Cultural Heritage of St. Vincent and the GrenadinesThe Cultural Heritage of St. Vincent and the Grenadines
The evidence also comes with a warning: the same heritage article says careful recording is needed to put these folkloric activities accurately on paper. That is an important statement. Some of the most meaningful traditions are precisely the ones least fully documented in easy online sources. For readers, the honest conclusion is that Union Island and Canouan likely preserve distinctive performance and ceremony traditions, but these need local voices, field recording and community-led interpretation rather than quick outside summary.[searchlight.vc]searchlight.vcThe Cultural Heritage of St. Vincent and the GrenadinesThe Cultural Heritage of St. Vincent and the Grenadines
Rock art, sacred landscape and older ritual traces
The rock art of Saint Vincent and the Grenadines gives the country a much older symbolic landscape than the colonial-era and post-emancipation customs usually associated with Caribbean folklore. UNESCO’s World Heritage tentative listing says the islands’ rock art includes representations of ceremonies and rituals that may help reveal social, economic and spiritual dimensions of Amerindian societies in Saint Vincent and the Grenadines.[UNESCO World Heritage Centre]whc.unesco.orgOpen source on unesco.org.
The same UNESCO listing connects the rock art to ancestral migrations across the Caribbean and notes that some sites’ natural surroundings suggest adaptation to environmental threats, including eruptions of La Soufrière. It also names the Layou petroglyphs as a heritage park managed by the National Parks Authority with the SVG National Trust and a local community group.[UNESCO World Heritage Centre]whc.unesco.orgOpen source on unesco.org.
Local reporting adds that the country has a rich legacy of petroglyphs in places including Yambou, Layou, Barrouallie, Petit Bordel, Buccament Cave, Colonarie, Redemption Sharpes Stream, Mount Wynne, Lowmans Bay, Canouan and Petit St Vincent. These are not folklore in the sense of a narrated fairy tale, but they are essential to the mythic landscape: carved signs, ritual places and ancestral marks that later communities encounter, interpret and protect.[searchlight.vc]searchlight.vcsvg national trust saves petroglyphs at argylesvg national trust saves petroglyphs at argyle
For a modern reader, the safest interpretation is that the petroglyphs are evidence of pre-colonial symbolic and ceremonial life, not a code we can casually translate. Their power lies partly in restraint: they show that the islands held ritual meaning long before European records, while reminding us that much of that meaning cannot be recovered without speculation.[UNESCO World Heritage Centre]whc.unesco.orgOpen source on unesco.org.
La Soufrière: volcano, memory and national imagination
La Soufrière is one of the most dramatic presences in Vincentian life. Scientifically, it is an active stratovolcano at the northern end of Saint Vincent. The University of the West Indies Seismic Research Centre lists five explosive eruptions in the historical period: 1718, 1812, 1902/03, 1979 and 2021. The Smithsonian’s Global Volcanism Program likewise records eruptions from 1718 onward and describes the 2020–21 activity as involving dome growth, seismicity, gas-and-steam emissions and explosive activity in 2021.[uwiseismic.com]uwiseismic.comla soufriѐre eruption 2020 2021 factsheetla soufriѐre eruption 2020 2021 factsheet
The volcano matters to folklore because repeated catastrophe becomes story. UNESCO’s tentative listing for La Soufrière National Park records deaths in the 1812 and 1902–03 eruptions, with 56 people killed in 1812 and more than 1,500 in 1902–03. The 2021 eruption forced mass evacuation: PAHO reported an evacuation order for more than 20,000 people in the red zone on 8 April 2021, followed by explosive eruptions from 9 April.[UNESCO World Heritage Centre]whc.unesco.orgOpen source on unesco.org.
Modern disaster reporting is not folklore by itself, but it becomes part of national memory very quickly. The World Bank later described how the April 2021 explosive eruptions forced more than 22,000 people to evacuate, blanketed communities in ash, damaged infrastructure and severely affected farms and fisheries. Such events reshape family stories: where people fled, what ash looked like, how water was found, which villages were emptied, and how communities returned.[World Bank]worldbank.orgWorld Bank How Saint Vincent is Rebuilding After a Volcanic EruptionWorld Bank How Saint Vincent is Rebuilding After a Volcanic Eruption
The volcano also connects to older sacred geography. The UNESCO rock art listing suggests that some Amerindian rock art settings may reflect adaptation to environmental threats including La Soufrière’s eruptions. That does not mean every volcano story is ancient or sacred, but it does show that the mountain’s danger has long been part of how people live with and imagine the island.[UNESCO World Heritage Centre]whc.unesco.orgOpen source on unesco.org.
Bush medicine, warning tales and everyday belief
Not all folklore is dramatic. Some of the most persistent Vincentian traditions are practical: bush medicine, warnings, food customs, sayings and family advice. Local heritage writing records that before modern medicine became widely available and affordable, many Vincentians used plants and herbs for healing, naming examples such as ginger for bellyache, “baby bush” for colds, sarsaparilla and shine bush to “cool the blood”, rock sage tea for relaxation, carilla for high blood pressure, physic nut as a laxative and other remedies.[searchlight.vc]searchlight.vcThe Cultural Heritage of St. Vincent and the GrenadinesThe Cultural Heritage of St. Vincent and the Grenadines
This material should be handled carefully. It is folklore and traditional knowledge, not a substitute for medical advice. Its cultural value lies in showing how households understood the body, the environment and care before clinics and pharmaceuticals were easily accessible. It also shows how folk knowledge can persist even after its original necessity changes: people may still use teas and herbs because they connect them with grandparents, rural memory, Rastafarian herbal practice or a sense of local self-reliance.[searchlight.vc]searchlight.vcThe Cultural Heritage of St. Vincent and the GrenadinesThe Cultural Heritage of St. Vincent and the Grenadines
Warning customs also appear in the heritage record. The same local source mentions old forms of public shaming, such as making and hanging a dummy representing someone suspected of incest, while encouraging people to ask older generations about “almost forgotten” history. This kind of material is uncomfortable, but it belongs in folklore because it shows how communities once used symbolic performance to police behaviour, express outrage and make private wrongs public.[searchlight.vc]searchlight.vcThe Cultural Heritage of St. Vincent and the GrenadinesThe Cultural Heritage of St. Vincent and the Grenadines
Old tradition, revival and modern reinterpretation
Vincentian folklore today is not simply inherited; it is curated, revived, staged and argued over. Nine Mornings has moved from church-linked early services and informal community practice into a national festival with committees, launches, competitions, lighting displays, songs and tourism promotion.[bajanthings.com]bajanthings.comBajan Things Nine MorningsBajan Things Nine Mornings
Jumbie Leggo has moved in several directions at once. It remains a cemetery and candle custom; it is debated by religious voices; it appears in memory writing; and it has been adapted into modern theatre about crime, grief and justice. That makes it one of the clearest examples of a Vincentian tradition that is both old and contemporary.[stvincenttimes.com]stvincenttimes.comjumbie leggo on november 1st and 2ndjumbie leggo on november 1st and 2nd
Garifuna heritage has also entered a new public phase. Cultural Survival’s 2013 account of Yurumein described a culture in transition, with diaspora and local descendants reconnecting to Saint Vincent. By 2025, international reporting on Baliceaux showed a major shift from memory activism to state acquisition and possible heritage protection.[culturalsurvival.org]culturalsurvival.orgyurumein our homeland film about garifuna cultural renaissance st vincentyurumein our homeland film about garifuna cultural renaissance st vincent
This is why Saint Vincent and the Grenadines is best understood as a folklore landscape rather than as a catalogue of monsters. Its strongest traditions are not isolated creatures but relationships: between the living and the dead, homeland and diaspora, church and street, volcano and village, performance and belief, ancestral mark and modern heritage sign. The country’s folklore is still changing, but its central questions remain old ones: how to honour the dead, how to remember displacement, how to live with dangerous land, how to keep community rituals alive, and how to tell inherited stories without turning them into empty tourist decoration.
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Endnotes
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Source: searchlight.vc
Title: The Cultural Heritage of St. Vincent and the Grenadines
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Source: thevincentian.com
Title: nine mornings honours bestowed p4643 1
Link:https://thevincentian.com/nine-mornings-honours-bestowed-p4643-1.htm
45.
Source: thevincentian.com
Title: ulp view the revival of nine mornings p20875 107
Link:https://thevincentian.com/ulp-view-the-revival-of-nine-mornings-p20875-107.htm
46.
Source: thevincentian.com
Title: nine mornings repeat victories for richland park p21113 156
Link:https://thevincentian.com/nine-mornings-repeat-victories-for-richland-park-p21113-156.htm
47.
Source: thevincentian.com
Title: dr friday nine mornings identifies us p31768 133
Link:https://thevincentian.com/dr-friday-nine-mornings-identifies-us-p31768-133.htm
48.
Source: worldbank.org
Title: World Bank How Saint Vincent is Rebuilding After a Volcanic Eruption
Link:https://www.worldbank.org/en/news/feature/2026/01/20/rising-from-the-ashes-how-saint-vincent-is-rebuilding-after-a-volcanic-eruption
49.
Source: thevincentian.com
Title: kingstown nine mornings opens despite lull p9639 1
Link:https://thevincentian.com/kingstown-nine-mornings-opens-despite-lull-p9639-1.htm
50.
Source: thevincentian.com
Title: sport and culture p12228 144
Link:https://thevincentian.com/sport-and-culture-p12228-144.htm
51.
Source: thevincentian.com
Title: stubbs gets nine morning boost p16189 125
Link:https://thevincentian.com/stubbs-gets-nine-morning-boost-p16189-125.htm
52.
Source: thevincentian.com
Title: nine mornings launched p6961 133
Link:https://thevincentian.com/nine-mornings-launched-p6961-133.htm
53.
Source: thevincentian.com
Title: nine mornings committee remembers tsargets contribution p22013 154
Link:https://thevincentian.com/nine-mornings-committee-remembers-tsargets-contribution-p22013-154.htm
54.
Source: Wikipedia
Link:https://en.wikipedia.org/wiki/Saint
55.
Source: Wikipedia
Link:https://en.wikipedia.org/wiki/Soucouyant
56.
Source: Wikipedia
Title: Joseph Chatoyer
Link:https://en.wikipedia.org/wiki/Joseph_Chatoyer
57.
Source: caribbeanauthors.wordpress.com
Title: a little about caribbean folklore
Link:https://caribbeanauthors.wordpress.com/2021/10/01/a-little-about-caribbean-folklore/
58.
Source: caribbeanauthors.wordpress.com
Title: moko jumbie and midnight robber
Link:https://caribbeanauthors.wordpress.com/2023/10/08/moko-jumbie-and-midnight-robber/
59.
Source: instagram.com
Title: Moko jumbie
Link:https://www.instagram.com/p/DY3Ag3NASVd/?hl=en
60.
Source: iwnsvg.com
Title: nine mornings festival officially launched in st vincent
Link:https://www.iwnsvg.com/2018/12/04/nine-mornings-festival-officially-launched-in-st-vincent/
61.
Source: icmagazine.org
Link:https://icmagazine.org/indigenous-peoples/garifuna/
Additional References
62.
Source: youtube.com
Title: St. Vincent and the Grenadines folklore
Link:https://www.youtube.com/watch?v=wknpf_GpbuM
Source snippet
Jumbies on Cassan Hill? The Haunted 99 Window House of St. Vincent...
63.
Source: youtube.com
Title: Jumbies on Cassan Hill? The Haunted 99 Window House of St. Vincent
Link:https://www.youtube.com/watch?v=C0Rrg-GOA14
Source snippet
The Story of Big Drum - New film documents drum culture in St. Vincent...
64.
Source: jstor.org
Link:https://www.jstor.org/stable/646692
65.
Source: easterncaribbean.un.org
Link:https://easterncaribbean.un.org/en/136686-unesco%E2%80%99s-heritage-emergency-fund-support-heritage-recovery-saint-vincent-and-grenadines
66.
Source: facebook.com
Link:https://www.facebook.com/groups/176530020440/posts/10172868018405441/
67.
Source: facebook.com
Link:https://www.facebook.com/svgtv/posts/activities-marking-national-heroes-day-and-heritage-month-are-continuing-across-/1481026960419417/
68.
Source: instagram.com
Link:https://www.instagram.com/reel/DFpccPOy7iv/?hl=en
69.
Source: ebay.com
Link:https://www.ebay.com/itm/366282002852?mkevt=1&mkcid=1&mkrid=710-53481-19255-0&campid=5339151051&customid=endnote-source&toolid=10001
70.
Source: facebook.com
Link:https://www.facebook.com/uwiseismic/posts/april-13th-is-quite-a-significant-day-in-vincentian-history-la-soufriere-erupted/1076909511131174/
71.
Source: joshuaproject.net
Link:https://joshuaproject.net/people_groups/print/10891/VC
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