Sandra DesVignes-Millington, Singing Sandra — Salimbi Gill

Sandra DesVignes-Millington, Singing Sandra, died on Thursday, 28 January 2021. 

Whenever Singing Sandra visited Grenada, she always made a lime before heading back to Trinidad and Tobago. She was proud of her Grenadian heritage and specifically her family roots grounded in the town of Gouyave.

At that time, there was only one radio station in Grenada and, every Saturday morning, classic calypsoes from across the Caribbean region would take over the airways. It was on one of those Saturday mornings that I first heard, “The War Goes On” — a standout song from Singing Sandra’s discography. Singing Sandra reminded us that, “nobody really wins a war.” As a young boy growing up in revolutionary Grenada, I always thought that the victors always win wars. “The War Goes On” was one of my first lessons in critical thinking.

However, “Sexy Employees” more popularly known as “Die with My Dignity” catapulted Singing Sandra into the stratosphere of calypso music. “Die with My Dignity” was a watershed moment in Singing Sandra’s long and prolific career. The song amplified Singing Sandra’s role as a political and social commentator and signalled a transformative moment for Caribbean women.

“Die with My Dignity” cemented Singing Sandra’s place as a strong supporter and defender of women’s rights — and a feminist without ever laying claim to that role. “Die with My Dignity” exposed the chronic problem of sexual harassment and exploitation in our society. A problem that is oftentimes ignored, covered up, and even accepted.

Singing Sandra’s social commentary on sexual harassment was a forerunner to the Anita Hill and Clarence Thomas sexual harassment hearing in the United States. She was a woman ahead of her time and very much in tune with the social and political conditions she was witnessing at the time. Through her songs, Singing Sandra elevated and amplified a Caribbean taboo and admonished our women and girls to stand up, speak up and never compromise their self-worth — to die with their dignity. The song’s lyrics carefully described the plight of Caribbean women:

“They want to see your whole anatomy;
They want to see wey you doctor never see;
They want to do wey you husband never do;
Still you ent know if the scamps will hire you…!”

As a boy, I wondered what type of man would want to do more than the woman’s doctor or husband? Singing Sandra raised my consciousness in my childhood innocence. “Die with My Dignity” is classic kaiso music.

However, it is a fair argument, that if Singing Sandra was already a star, “Voices from the Ghetto” propelled her to the pinnacle of calypso music. “Voices from the Ghetto” must have been written by a calypso god through Christophe Grant’s pen and anointed by the voice of Singing Sandra. “Voices from the Ghetto” transcends race and colour and beautifully reflects Singing Sandra’s reality. This song hits you at the core of your being and I am sure brought a tear to the eyes of calypso acolytes and others.

The lyrics:

How many Grammy-winning songs create such imagery? Written with such beauty? I would argue that only Singing Sandra could sing that song! If you’ve ever seen Singing Sandra perform that song, you would understand what I am talking about here.

Singing Sandra — a clear and powerful voice in calypso music! She is the finest exemplar of rendition and performance. Her voice intonation, the way she used her eyes, hands and body made me wonder, did she really need a voice to sing? Her body told the story. Singing Sandra mastered the art of singing and performing calypsoes.

Another of Singing Sandra’s classics is, “For Whom the Bell Tolls”. This song amplified the violence and other social ills plaguing her community. She always called a spade a spade and in “Ghetto of the Mind”, Singing Sandra addresses issues affecting poor people living in the “ghetto”. She also used that song to speak directly and forcefully to her own people. She gave them a good “piece of she mind.”

Similarly, in “Women is Their Own Worst Enemy”, she admonished her fellow sisters to be mindful of their treatment of each other. She encouraged them to support and uplift each other; and, more importantly, to look out for other women who may have lost their way. And, in “Caribbean Man Part 2”, she addresses Caribbean men — the “worthless” ones, that is. It was their turn to check themselves and do the right thing.

It is no wonder Singing Sandra was called “mother”. She was a mother to young and aspiring calypsonians — to that I can attest. She was also a cultural mother to the Calypso sorority and fraternity, as well as the broader Caribbean society. The late Singing Sandra championed strong family values and responsibilities.

Hers was a caring and loving voice — a voice of conscience and conscientiousness. Through her music, she has contributed to Ministries of Gender and Women Affairs by affirming and defending the rights of women and girls. Her legacy is in the power of her social and political message in her music.

I am not sure of her vision on the “mourning ground” but, I reasonably suspect that her vision may have revealed something at least close to motherhood. The loving, caring and maternal characteristics she displayed may have been her spiritual calling.