Trinidad Carnival history and contemporary practice

Trinidad Carnival: The Greatest Show on Earth

The Trinidad and Tobago Carnival, celebrated the week before Ashe Wednesday every year, is among the largest and most popular in the world. According to the Trinidad and Tobago official website, this annual event is unrivaled in the world. "There is no experience on earth to compare with Trinidad Carnival, the oldest and greatest of them all, the mother of all Carnivals, often imitated, never equaled" (Trinidad & Tobago Official Website). It would be hard to argue with that. Out of a population of a little over one million, over 100,000 participants dress up in masquerades, "singing, dancing, and miming" thus keeping the tradition going strong through to the present day (Hill 3). Rich in history and a reflection of its history, the Carnival continues to evolve to the present day with such additions as Peter Minshall's dancing mobiles. A symbol of freedom, and a celebration of freedom from slavery, the Trinidad and Tobago Carnivals are significant to island as a celebration of freedom that is deeply rooted in the culture of the nation, however Carnival is not merely a celebration but also an outlet for commentary on the important issues affecting Trinidad. Trinidad's history has had a great influence on its Carnival, as the influence of history through the years has continuously shaped the Carnival. Trinidad was discovered by Columbus in 1498 and ruled by Spain for 300 years as an extremely "underdeveloped" possession (Cowley 9). In the late 18th century, Charles III decided to "rejuvenate" the colonies and invited Catholics to settle the colony resulting in French planters bringing slaves to work on new estates (Cowley 9). This policy, enacted in 1783, helped to increase the small population of the islands, yet the island remained sparsely populated, but this did help to entrench a French culture in Trinidad (Cowley 1985). The French held "elaborate masked balls" and despite the British takeover in 1797, the French culture remained dominant (Gilkes 2003). This French culture was the result of the slaves being born in French islands and having a combination of an African, French, and Caribbean amalgam of culture was not diluted with the arrival of new slaves from Africa (Cowley 10). These developments beginning in 1783 marked "a development of great consequence in the history of the island and to the institution of carnival" as the historical development set the stage for the creation of Carnival in Trinidad (Hill 7). As Trinidad began to develop as a multicultural island, the social conditions behind the population growth would influence the origins of Carnival. As tight regulations kept social and racial classes separate, those of African descent would create a parallel society that reflected the culture of the white elite class (Cowley 11). Africans would use celebrations to express discontent with social divisions, an example being the Shand Estate Revolt of Christmas 1805 as festivals during holidays would be an opportunity for cultural and political expression. The most significant event, however, was the abolishment of slavery in 1834 that created a class of 22,000 free men and the subsequent immigration of new people from China, the United States, and the African coast (Hill 9). Following the freeing of the slaves, Carnivals erupted in Trinidad and Tobago as, according to a letter written during the time, "but we will say at once that the custom of keeping Carnival, by allowing the lower order of society to run about the Streets in wretched masquerade, belongs to other days and ought to be abolished in our own," which reflects on the growth in street celebrations after the slaves were freed (Gilkes 2003). Coupled with the tradition of masquerade balls, Christmas celebrations, French influence from New Orleans celebrations, and socially motivated reasons to celebrate, the historical atmosphere of Trinidad set the stage for a rich Carnival culture. It was after emancipation that Carnival continued to proliferate and the black presence in Trinidad continued to express its dissatisfaction for the white establishment. Although ritualistic celebrations were prevalent since the days of French immigration to Trinidad, it was after the abolition of slavery that Carnival began to assume "the role of satirical parody and other rituals associated with the masquerade, in both European and African settings" (Cowley 1985). This indicates the influence of both African and European customs on the Trinidad Carnival and military bands became an institution of Carnival (Hill 14). At this point, there was a wide range of influence on the Carnival between competing Creole masquerade bands, mocking of European customs, and stick fighting which was probably of African origin (Hill 25). The use of molasses, for example, to cover the body was one adopted custom that was a freedom symbol used in masquerade (Hill 24). Racial tensions were still prevalent as the Carnival celebrators maintained as sense of their African heritage. A key event in 1881 illustrates the tension as a new commander, Captain Baker, took over the police force to be tougher on the celebrations. During the popular Canboulay celebrations which celebrated the burning of the canes on slave plantations which would unite slaves after they put out the fires, the Carnival celebrators carried torches through the streets against Baker's wishes. Rioters then clashed with police and despite the violence the Carnival continued (Gilkes 2003). They then mocked the police in future celebrations as tensions between the authorities and those celebrating would continue throughout the 19th century. Ultimately, the Trinidad Carnival was influenced by its history as a slave plantation island and the social and racial tensions would contribute to the practice of Carnival. Even after emancipation, the issues of slavery and racism were still being expressed and celebrated and maintained a presence in Carnival parades and masquerades. An important addition to Trinidad Carnival around this time was the calypso. Originating from West African slaves who were forced to use song to communicate and mock their slave masters, Calypso developed over the years and became an integral part of Carnival. Present in masquerade since 1838, it came to be a term to define a Trinidad carnival song (Hill 61). These songs often took on political meanings, as one such song "Majouba Hill" referred to the Boer War as marchers dressed as an attacking army "led by their calypsonian" (Hill 61). Although the marchers remained loyal the crown, there were increased restrictions over the years placed on celebrations. It is in this context that in the late 19th century and turn of the 20th that calypso became more significant as it assumed its name and adopted the English language. Calypsonians began to compose lyrics in advance as the carnival developed. Competitions began as Calypsonians became to be recognized for their costumes. An example is Richard Coer de Leon who represented English history in his song and was noted for his elaborate costume as he sang his version of history backed by a choir (Hill 64). These satiric songs became a feature of Trinidad Carnival, although not necessarily unique to Trinidad. Important to the Carnival in tradition and ceremony, often rivalries would exist between bands of masqueraders and this tradition continues to this day (Cowley 1985). Calypso took on an increased political meaning over the years, and often singers would be forced to be enigmatic in their lyrics. In the 1930s, for example, there was a "return of police censorship of the calypso (Hill 67). However, the Calypso remained an important aspect of the Carnival, not only for its entertainment value which was very high, but for its storytelling, political influence, and the individual "point of view of the life experience" expressed in its lyrics (Hill 68). Steel bands are another important characteristic of Trinidad Carnival as they are a famous aspect of the Carnival. Steel bands began using "an odd assortment of discarded metal" and evolved over the years to play musical notes in a scale (Hill 48-50). Very early in its inception, steel bands were used for political celebrations, such as the 1945 celebration of victory in World War II (Hill 49). However, because there were restrictions on street celebrations during the war, these celebrations immediately returned the previous problems of struggles between police and masqueraders. As the authorities tried to shut down the steel drummers, and as it was looked down as a form of music because of its use of nontraditional instruments, there was a movement to stop the processions. This created a small and rabid group to support the panmen and measures against them began to ease (Hill 51). In 1949 panmen were further legitimized as a national steel band selected the best panmen to perform in Great Britain (Hill 51). Developed from the bamboo drums used by Africans, the steelpan became an influential aspect of Carnival and it is presently celebrated today. Steelbands had to overcome obstacles in more recent times, as there was a stigma attached to them. An original steel panman, Norman Darway maintains that it took political statement to help legitimize the steel drum music as Silver Stars went to jail before winning court approval to continue playing as a steelband (2005). Like other aspects of Trinidad Carnival, the political and social circumstances of the times played a role in influencing the Carnival. In more recent times in the 20th century, the Carnival has continued to play its role as a social and political commentator. In World War I and Ward War II Carnival was suspended, yet it did not stop the calypsonians from singing against whites or the upper classes (Gilkes 2003). Even today, "ol mas" played during Jour Ouvert morning, allows the writer to "to parody negroes who have this sickening obsession with aping everything White" (Gilkes 2003). This means that despite the entertainment value and international acclaim of Carnival, there still remains social and political commentary that has been a tradition of Carnival since its inception. In the 1960s and 1970s, for example, there was great pride in Africa expressed through images of Black Power and African Glory, by George Bailey, which connects Trinidad and Tobago to its historic roots in Africa as slaves were a large portion of its population historically (Gilkes 2003). The purpose of Carnival has not changed over the years, and because of this, Carnival can be seen as deep rooted cultural institution that indicates the current of political, social, and economic sentiment of its day. A recent development of Carnival in Trinidad can be seen in Peter Minshall's development of "dancing mobiles." Minshall considers these to be "living art that we make fresh every year" (Minshall Official Website 2007). A trained designer, he was responsible for presenting a 'mas at each Carnival from 1978 to 1990 and again in 1993, 1994, and 1995 as he would costume two thousand people "in anywhere from thirty to one hundred different designs, complemented by monumental individual dancing mobiles" (Minshall Official Website 2007). A spectacular and honored designer, Minshall, from Trinidad and Tobago, has not shied away from the traditional controversial nature of the Carnival. In 1995, for example, church authorities were upset at his "Hallelujah, Part I of the Trilogy" in which he connected the secular Carnival with a spiritual story of an Angel losing its righteousness before being reborn (Minshall Official Website 2007). In this way, Minshall has continued the spirit of Carnival from the past, both for his spectacular entertainment and artistic ability, and his expression through his art. A common theme also found in his art is the "interconnectedness of all things" in which is spiritual in nature, but also can be seen to reflect Trinidad's varied history which saw its people influenced by numerous cultures to create an original culture and a truly spectacular Carnival (Minshall Official Website 2007). The provocative nature of the Carnival continues to this vary day, and although the particular details of the Carnival have evolved over the years, the nature of the Carnival remains unchanged. An example of this is one recent argument that the Carnival has become too vulgar. A BBC reporter, Tony Fraser, comments that the Carnival should be about the "gaining of freedom by the African slave and his desire to make a statement about it" (Fraser 2006). He maintains in his BBC report that women dress inappropriately without enough clothes, thus reflecting the commercialization and evolution of Carnival (Fraser 2006). Religious organizations are working with the Prime Minister to curtail vulgar aspects of the Carnival, however, it is the bandleaders who truly maintain the influence over the aspects of Carnival. This means that the public demands will be satisfied, as will the continuation of sexual exploration among women in the masquerades. Alcohol is a bigger problem bandleaders maintain; self-expression is not something that should be considered a problem. Ultimately, this means that the controversial nature of the Carnival, which has been preserved since its origins, will remain an aspect well into the future. The historical development of Carnival as an integral part of Trinidad and Tobago's history has led to its authenticity and its deserving title as "the greatest show on earth" (Trinidad & Tobago Official Website). Today there are numerous competitions, commercial recordings, artists who dedicate their lives to their expression as the scope and impact of the Carnival has only grown over the years. "It is has given birth to new music and song, to language and dance, to costumes and masks," and thus is an incredible artistic achievement (Hill 119). More important, however, is that the Carnival has developed from the forces that have influenced Trinidad and Tobago such as slavery, emancipation, repression, immigration, among many others. This means that the Carnival, despites its evolution, is a window to the history of the island nation. Very important to all those involved, increased effort is put into the event each year, and although many try to duplicate it, that is not possible. The Trinidad Carnival, because of its rich and varied history truly is "the outstanding folk festival of the Western World" (Crowley 1954). The Carnival in Trinidad and Tobago has a history that culminates in an epic celebration combining the various forces that have influenced the two islands- beginning with its earliest discovery to the present day. The notion that Columbus' discovery has an influence on Carnival, as had years of tension and even positive celebration, indicates the importance of this event. The official Trinidad and Tobago website calls Carnival the time that: ...something extraordinary occurs in this nation. Barriers fall. Rank ceases to matter. Something more fundamental and important suffuses the air. It is a recognition of the human need to recreate. To play. To suspend the superficial world of commerce, gossip and politics for a time, and let deeper values predominate. This however, is not true, as Carnival is a time that, historically, has been influenced greatly by the processes of history. Carnival's development has coincided with Trinidad and Tobago's history. That is why the Carnival is often the subject of duplication, yet the original cannot be matched. Strong and varied influences, such as French and African traditions, as well as colonization, slavery, and political repression have meshed to create a unique annual celebration. It has been noted that, "...the function and structure... varied from year to year depending on the social conditions appertaining," meaning that the Carnival does is in fact a reflection of the conditions effecting Trinidad and Tobago, and it has through its history beginning in the late 18th century (Cowley 1985). Even today, it is a subject of controversy, and that will not change in the future, as by its inception Carnival celebrates freedom, while challenging the norms of its day. It is a celebration of freedom, but it also is an outlet for expression, albeit expression in its highest artistic form.