Get in touch

Get in touch

Get in touch

Get in touch

Get in touch

Get in touch

ABOUT US

ABOUT US

Discover more about Under the Mango Tree, how we got started, our mission and vision for the future.

MANGO TREE?

MANGO TREE?

UNDER THE

UNDER THE

WHAT IS

WHAT IS

Under the Mango Tree offers an interactive music and learning experience for young children, their families, and early years educators.


We create original Caribbean folk songs, poems, and stories. These are complemented by vibrant visuals, animations, books, and learning resources to engage children in fun, creative, and meaningful ways.


It's a space where music and education meet culture.

Rashida Boateng

Executive producer , writer and creator


My name is Rashida and I love to dance, grow and cook food, write short stories and poems, sew, bake, music and art. I have a keen interest in history, cultural anthropology and I love to learn and teach.


As a descendant of the Windrush Generation — and before that, enslaved Africans — I carry within me a deep understanding of the gaps in our education system, and how it impacts identity, confidence, and achievement.


Growing up, I was lucky to attend community centres and youth projects that celebrated Caribbean culture. But many of those spaces no longer exist. Too many young people are now growing up without access to their heritage.


This project is part of preserving that legacy — and planting new seeds for future generations to thrive.


THE JOURNEY
SO FAR

My mum (bottom right in white dress) With her mum and dad and 4 of her 5 siblings.

Grandma Myrtle was a seamstress, auxiliary nurse and a factory worker on a production line and my grandfather (Kenneth Plummer) served in the British army and then was a labourer.

Many Caribbeans responded to the call to come over to Britain to rebuild it after WW2.

My maternal grandparents arrived in England in the late 40s and early 50s as part of the ‘Windrush Generation’.

My paternal Grandad and Grandma  (Eric and Mary Jean Bailey) came to England from St Vincent and the Grenadines.

Mary trained and worked as a SEN (State Enrolled Nurse) 

Upon arrival in Britain, many Caribbeans faced an unpleasant welcome. They often juggled multiple jobs to supplement their income and afford housing. Music and community played a significant role in their mental and economic survival.

As well as working in different factories, my Grandad, a saxophonist, held dances, had a sound system named 'Eric the Great' and a gigging band that was a popular choice for many parties. He also ensured that all of his children learned to play an instrument!

Born and raised in England, my parents were first-generation Afro-Caribbean Black British who met as teenagers in London. Like many young Black British individuals of their generation, they experienced discrimination and the challenge of navigating two distinct cultures, feeling neither fully British nor fully Caribbean.

Reggae music was gaining popularity in Britain in the 70s and introduced many young black youths to Rastafarianism. Rastafarianism was a popular outlet as it promoted a positive black identity, equality and oneness. The lyrics both resonated with their plight, and offered hope. Both of my parents were heavily involved in community activism for a better future; My dad through music and mum through social work and the Arts. 

A young Yvonne reading her poetry, A young Elroy in his band Black Slate.

Both Dad and Uncle John formed parts of popular bands in their youth and were heavily involved in developing the British Reggae scene. My dad was also a popular go to bass player for Artists touring in the UK.

During our childhood, my mum ensured that our education was supplemented with a rich mix of cultural experiences that kept us connected to our Caribbean and African roots. We hugely benefited from learning folk songs, fables, proverbs and history from the African and Caribbean diaspora provided by the many youth clubs and organisations primarily run by Black women. This gave us a huge sense of identity and pride and being surrounded by positive examples contributed to a life long love of learning.

Ras Elroy Bailey was a member of the team behind BRAFA (British Reggae Artist Famine Appeal). In 1985, they released the record ‘Let’s Make Africa Green Again’ as their response to the Ethiopian famine appeal, a version of Live Aid.

This initiative received recognition from Princess Anne. To commemorate their famine appeal efforts, a square in Hackney, East London, was named BRAFA Square in 2021.

Spurred on by the birth of my daughter and fuelled by the Afro- Caribbean giants that have gone before me, I enlisted the help of my dad to help me create some music that would help me both educate my daughter and provide a fun time for us to bond. ‘Under The Mango Tree’ was born from that need, but has developed into so much more.

Journey with us, as we go back to the old traditions of teaching our children under the shelter of the mango tree in a way that promotes love, tolerance and togetherness.

THE JOURNEY
SO FAR

My mum (bottom right in white dress) With her mum and dad and 4 of her 5 siblings.

Grandma Myrtle was a seamstress, auxiliary nurse and a factory worker on a production line and my grandfather (Kenneth Plummer) served in the British army and then was a labourer.

Many Caribbeans responded to the call to come over to Britain to rebuild it after WW2.

My maternal grandparents arrived in England in the late 40s and early 50s as part of the ‘Windrush Generation’.

My paternal Grandad and Grandma  (Eric and Mary Jean Bailey) came to England from St Vincent and the Grenadines.

Mary trained and worked as a SEN (State Enrolled Nurse) 

Upon arrival in Britain, many Caribbeans faced an unpleasant welcome. They often juggled multiple jobs to supplement their income and afford housing. Music and community played a significant role in their mental and economic survival.

As well as working in different factories, my Grandad, a saxophonist, held dances, had a sound system named 'Eric the Great' and a gigging band that was a popular choice for many parties. He also ensured that all of his children learned to play an instrument!

Born and raised in England, my parents were first-generation Afro-Caribbean Black British who met as teenagers in London. Like many young Black British individuals of their generation, they experienced discrimination and the challenge of navigating two distinct cultures, feeling neither fully British nor fully Caribbean.

Reggae music was gaining popularity in Britain in the 70s and introduced many young black youths to Rastafarianism. Rastafarianism was a popular outlet as it promoted a positive black identity, equality and oneness. The lyrics both resonated with their plight, and offered hope. Both of my parents were heavily involved in community activism for a better future; My dad through music and mum through social work and the Arts. 

Both Dad and Uncle John formed parts of popular bands in their youth and were heavily involved in developing the British Reggae scene. My dad was also a popular go to bass player for Artists touring in the UK.

During our childhood, my mum ensured that our education was supplemented with a rich mix of cultural experiences that kept us connected to our Caribbean and African roots. We hugely benefited from learning folk songs, fables, proverbs and history from the African and Caribbean diaspora provided by the many youth clubs and organisations primarily run by Black women. This gave us a huge sense of identity and pride and being surrounded by positive examples contributed to a life long love of learning.

Ras Elroy Bailey was a member of the team behind BRAFA (British Reggae Artist Famine Appeal). In 1985, they released the record ‘Let’s Make Africa Green Again’ as their response to the Ethiopian famine appeal, a version of Live Aid.

This initiative received recognition from Princess Anne. To commemorate their famine appeal efforts, a square in Hackney, East London, was named BRAFA Square in 2021.

Spurred on by the birth of my daughter and fuelled by the Afro- Caribbean giants that have gone before me, I enlisted the help of my dad to help me create some music that would help me both educate my daughter and provide a fun time for us to bond. ‘Under The Mango Tree’ was born from that need, but has developed into so much more.

Journey with us, as we go back to the old traditions of teaching our children under the shelter of the mango tree in a way that promotes love, tolerance and togetherness.

WHY DOES UNDER THE MANGO TREE EXIST?

As a new mother, I struggled to find Caribbean music for my daughter that was both entertaining and educational. I was frustrated by the lack of authentic and meaningful original songs available.

This frustration spurred me on to write my own songs, enlisting the help of my father, an award-winning reggae artist, for the music. With him on guitar and my daughter on my lap, we laid the groundwork for ‘Under the Mango Tree,’ a collection of songs, poems, and stories inspired by my family's British-Caribbean heritage.


Having worked with children and young people for over 20 years, I understand the profound impact of music on learning and its social importance for our well-being. My experience as a teacher highlighted the scarcity of high-quality Caribbean cultural learning resources for early years, and the desperate need for such materials among time-poor teachers. It was then that I realized this project was not just personal, but essential.