Mas in May

A slice of what Legacy intends to unleash on Point Fortin tomorrow.

Exactly 38 years ago, history was created when T&T Carnival was celebrated in May, on May 1-2 to be exact. Well, history is about to repeat itself with more mas in May—a double dose actually—with the snap General Elections scheduled for May 24, and Point Fortin Borough Day mas taking place tomorrow. All roads lead to Point Fortin from as early as tonight for the start of Borough Day mas, beginning with J’Ouvert celebrations at 5 am. With the festivities already at fever pitch from this past week’s daily activities, today’s events include a birthday party at Coronation Park and a Fireworks Display tonight, at the same venue.

Hopefully tomorrow’s steelband and costume parade will not be like the 1972 Carnival, when torrential rain played havoc with the people’s mas. Following tomorrow’s J’Ouvert through the streets of the Borough, after lunch will see the parade of traditional and pretty mas. There have been rumours of some stakeholders baulking at the idea at having the latter, preferring to keep the street parade exclusively for traditional costumes

Models Soowan Bramble, Candice Worrell and Karlon Richards display Chinese and African costumes for Royalty’s J’Ouvert presentation titled Real Unity.

Pretty mas on parade
Nonetheless, expected to create a sensation through the streets of Point Fortin, from 3 pm, are 2010 Band of the Year (Medium) Ronnie & Caro, and perennial favourite Legacy, led by “Big Mike” Antoine and Juliet de la Bastide. Said Legacy bandleader, Big Mike, this week, “this is a wonderful opportunity to again promote our culture and keep Carnival alive outside of the regular season. “At the same time, we also give back to our masqueraders who look forward to a day of culture, fun and another ‘jump’ in their Carnival 2010 costumes.”

Mike assured that Legacy’s celebration, like that of Ronnie & Caro, on the streets of Point Fortin, will be an all-inclusive experience, as free drinks and snacks will be provided, as well as round trip transport by bus from Port-of-Spain. Music will be provided by MK Promotions, featuring top radio DJs and personalities, and Legacy’s security will be in full effect. Carib leads a slew of sponsors, including Blue Waters, Coca Cola, Angostura and Digicel, of whom Big Mike was high in praise. To be a part of Legacy for Point Fortin Borough Day, further information can be obtained by calling 362-5959; or, Legacy Mas Camp (622-7466), between 10am-6.30 pm.

READ THE REST HERE

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Jewels de Carnaval - Section Launch - OCEANIA: NOTTING HILL CARNIVAL 2011

Jewels de Carnaval - Section Launch - OCEANIA

Monday 3rd May 2010 (BANK HOLIDAY)

4:00pm - 11:00pm (live models in costume presentation)

ACE Fusion Restaurant, 110 St. John's Hill, Battersea, London, SW11 1SJ
 
£5.00 entry only / £10.00 entry and light refreshment & non alcoholic drink

Entertainment:  Soca Prince-Martin Jay of Choice FM, Jazzie D, Dj Bliss & Remi D

 Check the site for more info.... http://www.jewelsdecarnaval.com/  (costume photos will be up after the launch)

And then there was Salsa

I just love the effects on this one...


Welcome to the world of Tostitos Restaurant Style Salsa


A land of luscious tomato trees, spicy jalapeño cacti and canopies
of fresh cilantro where anything is possible.

Youths encouraged to embrace art of mas

Junior masqueraders continue to be true creative ambassadors of T&T, judging from the spirit they displayed during the national Carnival festival, with a standard of behaviour that is nothing short of commendable. That’s the view of Hermia Tyson-Cuffie, deputy permanent secretary, Ministry of Community Development, Culture and Gender Affairs. Speaking at the National Carnival Band’s Association (NCBA) distribution of prizes held at Queen’s Hall in St Ann’s, on April 12, she cited the energy the young revellers displayed during the 2010 Junior Parade of Bands.

In her view, the applause and positive reviews they received from both local and foreign onlookers was testimony of their quality pageantry. “Junior Carnival has the potential to become a major stimulus for engaging our youth in productive activities and to erode negative stereotypes in youth development,” said Tyson-Cuffie. She added: “But this can only become a reality if more of our youth appreciate the value of the Carnival arts to national development. Our Carnival emerged out of the skills, creativity and artistry of simple people in our communities. The pioneers of our Carnival have done an excellent job and it is now up to our youth to sustain our world-class status.”

Tyson-Cuffie said more and more young people should become involved in junior Carnival, which is now emerging as a reliable training ground for future adult mas producers and masquerders. She’s convinced that training programmes in the schools and the communities will nurture the new masquerader—one who can make his or her own mas. “In light of the global economic crisis and the increasing cost of production, the self-sufficient masquerader will be an asset. Further, a new wave of Carnival craft producers will emerge to take advantage of the opportunities in the emerging cultural industries. “Our junior masqueraders should not only play mas for enjoyment or to impress others. They must play mas with a purpose. Participating in junior Carnival must be seen as an opportunity for self-development and the development of our national culture.”

SEAN NERO

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David Rudder and Charlie’s Roots Confirmed for Skullduggery Carnival 2011

I just got some news 

It’s been confirmed that SKULLDUGGERY will have Charlie’s Roots and David Rudder on the Road come Trinidad and Tobago Carnival 2011.

Talk is too that Rudder will have his own section in the band; I wonder what section that could be?

The London School of Samba: "Gods, Myths and Monsters" : Notting Hill Carnival 2010

I see London School of Samba have put the name of their presentation and theme for Notting hill Carnival 2010 'Gods,Myths and Monsters, I like the detailed information they have put out already, one can only imagine what the costumes look like.

If you seek more information take a look at their London School of Samba web site.

Myths are a part of who we are. They explore our darkest fears and desires, and the very best and noble in all of us. The world of Greek mythology is a rich source of symbols, colours, captivating tales, and extraordinary characters that strike a chord with anybody who was ever told a story, or who was ever young and dreamed. Imagine the delight of a small child as he sees in our parade the unmistakable figure of the bull-headed Minotaur, or snake-haired Medusa... Icarus with his great wings, who flew too close to the sun, Dionysus god of wine, theatre and madness, the Titan Atlas, who holds up the world, or Kharon who ferries the dead across the river Styx into Hades... imagine Aphrodite, the beautiful goddess of love, the nymphs Circe and Calypso, mythical beasts like Pegasus, and Cerberus, the 3-headed dog who guards the gates to the Underworld, wreaking samba through the streets of Notting Hill. Imagine the overwhelming power and awe of the gods as commanded by almighty Zeus, each beat of the surdo echoing in our hearts like thunder...

Presenting, The London School of Samba: "Gods, Myths and Monsters"
London will be captivated by an astonishing display of might and imagination. From the comissão de frente presenting the Gods of Mount Olympus: Zeus, Hera, Poseidon, Athena, Apollo et al... to the bravest, boldest, most disciplined fighting force in all the ancient world, our ritmistas, warriors of Sparta, whose reputation strikes fear into the hearts of their opponents, challenging them to the battle of the batucada... on to the passistas: the Amazons, daughters of the goddess Artemis, fearless warrior princesses led by their queen... and there, rising into the sky from a distance, delivering our coup–de–grâce: that ominous and portentous symbol of Homer’s Iliad, of love and honour, of pride and determination, The Trojan Horse; the London School of Samba will intrigue and amaze the masses — is this an offering to the Gods, or something more sinister? Only our music will tell...
Notes
Often with a samba parade the meaning of the costumes and props are lost on the audience. The beauty of this theme is that people are already familiar with it. It wouldn’t involve complex designs - many costumes would rely on a single detail for their impact i.e. Icarus’ wings, Cyclops’ single eye, Zeus’ thunderbolts, etc. Also, traditional samba costumes lend themselves very well to the ancient world — lots of straps and skin, ornate breastplates, gladiator passista shoes, etc. — so our female destaques would fit in very well. An ethereal Aphrodite could provide a challenge for an aspiring body-painter. And in the alas there is plenty of scope for some sexy Medusas, scary Harpies, or fiery Centaurs.
Float: The Trojan Horse — comprised of a very basic structure made to look like wood, with the head being the only complex ornamentation. Who will ever forget a giant wooden horse trundling along Westbourne Park Road? Or it could be the second float, pulled along on ropes by slaves.
Bateria: King Leonidas and the brave 300 of Sparta — imagine the visual impact of 300 (ok, 70) Ancient Greek warriors marching through Notting Hill, a great sea of plumed helmets. Simple costume: cape, helmet and moulded breastplate. And don’t forget that Spartan women were just as formidable as the men — so let’s have a separate design for female bateria costumes. "LSS! Put down your drums!" ... "Paraíso! Come and Get Them!!"

By Chris Bicourt

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African tribe lost in India

African Ceremonies

Thirty years ago American-born Carol Beckwith and Australian Angela Fisher met in Kenya and began a relationship with the African continent that would profoundly alter and shape their lives. Their journeys would take them over 270,000 miles, through remote corners of 40 countries, and to more than 150 African cultures.



During this time the two photographers would produce 14 universally acclaimed books, including Maasai (1980), Nomads of the Niger (1983), Africa Adorned (1984), African Ark (1990), African Ceremonies (1999), Passages (2000), Faces of Africa (2004), Lamu: Kenya’s Enchanted Island (2009), and Dinka (2010). Their defining body of work, the double volume African Ceremonies (1999), a pan-African study of rituals and rites of passage from birth to death covering ninety-three ceremonies from twenty six countries, won the United Nations Award for Excellence for its “vision and understanding of the role of cultural traditions in the pursuit of world peace”. Angela and Carol have also been twice honoured with the Annisfield-Wolf Book Award in race relations for “outstanding contributions to the understanding of cultural diversity and prejudice”, the Royal Geographical Society of London’s Cherry Kearton Medal for their “contribution to the photographic recording of African ethnography and ritual”, and most recently the Lifetime Achievement Award from WINGS WorldQuest honouring the accomplishments of visionary women.

From their body of work in Africa over the last 10 years Carol and Angela have produced a number of limited edition books printed on the fine art presses in Santiago Chile under the directorship of Roberto Edwards. Their special limited edition books are Surma, Karo, Maasai, and Dinka.



These multi-talented photographers have also been involved in the making of four films about traditional Africa including Way of the Wodaabe (1986) The Painter and the Fighter, and Millennium: Tribal Wisdom and the Modern World. Their numerous photographic exhibitions have received acclaim in museums and galleries throughout the world, including the Boston Museum of Fine Arts, Carnegie Museum of Natural History, National Geographic Museum, Smithsonian Museum of African Art, Bowers Museum of Cultural Art, Borges Cultural Center of Buenos Aires, National Museums of Kenya, and venues in Australia, Europe, and Japan. In 2000 their careers were celebrated at the Brooklyn Museum of Art in New York with a major travelling exhibition called Passages featuring 97 mural photographs, 6 video films and a selection of African masks sculpture and jewelry. This exhibition has since travelled throughout the USA, to South America and Europe. The two photographers have lectured at such venues as the Explorers Club in New York, the National Geographic Society in Washington D.C., and the Royal Geographic Society in London.



Presently Angela and Carol are preparing for the 2010 publication of Dinka, their 30 year study of the great pastoralists of Southern Sudan, and completing their pan-African study of the art of body painting for a book entitled Africa: Spirit of Paint scheduled for publication in 2011.



Aware that traditional cultures in Africa are fast disappearing, Carol and Angela are working with an urgency to complete the third volume of their ongoing study of African Ceremonies with the goal of covering the remaining traditional ceremonies in the 13 African cultures in which they have not yet worked. This book entitled African Twilight is scheduled for publication in 2013.

Angela and Carol have recently expressed their intention to place their extensive photographic archive of traditional African cultures and ceremonies with an institution to be selected in the coming months. In addition to more than half a million photographic images the Beckwith Fisher collection includes over 400 hours of video film, 200 illustrated journals and three museum scale exhibitions. This unique archive, created during a thirty-year period of dedicated work, encompasses one hundred and twenty distinct cultures from forty African countries. The institution to be chosen must be a venue for ongoing study and research, committed to making the collection accessible to students, scholars, and the general public, thereby insuring that Africa’s legacy of ancient cultures is preserved, accessible and understood.



“These unique cultures posses a wealth of knowledge that should be celebrated, shared, and honoured. It is our life passion to document and create a powerful visual record of these vanishing ways of life for future generations.”

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Revellers to decide whether or not to compete next year

TOP: Award winning bandleader Brian Mac Farlane, right, chats with designer Fareed Carvalho.

CENTRE: King of Carnival Curtis Eustace receives his award from Hermia Tyson-Cuffie, deputy permanent secretary, Ministry of Community Development, Culture and Gender Affairs.

ABOVE: Garth Peters, chairman, Tobago Festivals Committee, left, presents the husband and wife team of Ronnie and Carol Mc Intosh, from the band Ronnie and Caro, with the Harold Saldehna Medium Band of the Year award.

Revellers with Brian Mac Farlane and Associates will decide whether the band returns to competition during next year’s National Carnival Bands Association (NCBA) Parade of the Bands, to defend the George Bailey Band of the Year (large) title. Celebrated bandleader Brian Mac Farlane revealed this during a Guardian interview on April 14, at the NCBA prize-distribution ceremony, held at Queen’s Hall in St Ann’s, Port-of-Spain. “I will bring the band. It will be fabulous. But I won’t be competing if things remain the same,” said Mac Farlane. “My committee disagrees with me. They now want the masqueraders to go online and vote on whether the band should take part in the competition.”

He expressed frustration about having to wait five hours to cross the “stage” at the Savannah at this year’s edition of the Parade of The Bands to present their portrayal, Resurrection—The Mas. Mac Farlane said he lodged a complaint with Culture Minister Marlene Mc Donald, who promised to meet with him on the issue in hopes of devising a plan to reduce the perennial congestion experienced at major judging points during the national street festival. However, that was before Prime Minister Patrick Manning called a snap general election, scheduled for May 24. Mac Farlane said: “We even suggested that bands draw straws and appear before the judges at different venues on different days. That would certainly address the bottle-neck issues at the Savannah.” More than 300 awards were presented at the NCBA function to bands and individuals. Angela Jack, permanent secretary in the Ministry of Community Development, Culture and Gender Affairs, represented Line Minister Mc Donald.

Her deputy Hermia Tyson-Cuffie was also in attendance, along with members of the diplomatic corps, as well as representatives from Pan Trinbago and the Trinbago Unified Calypsonian Organisation (Tuco). Speaking on behalf of the Culture Minister, Tyson-Cuffie said while Carnival brought out the creative genius of T&T’s artisans, “our attempt to dazzle the world with the colour and artistry of our national festival can easily be (spoiled) by inappropriate behaviour. And acts of indiscretion could tarnish the very positive image of our Carnival in the eyes of the world.” That aside, she said, the protective services and responsible bandleaders ensured that T&T’s Carnival continues to be clean, enjoyable and without any major crime.

SEAN NERO

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THE LION KING

Now a lot of designers and band leaders especially in the Notting Hill Carnival won't tell the world this but the Lion King Musical has had a massive influence on designers and some of the presentations over the years lets take a peep at some of the elements that has made this show such an influential force in mas...

I love the use of African masking traditions in use here...

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Notting Hill Carnival 2010: Masquerade2000 The Gift.

So Notting Hill Carnival is just over four months away, bands taking note from the big bands in Trinidad are too launching earlier and creating hype around their launches, I have yet to attend any but have seen some photos and have had my say here and there.

It’s been a while since I’ve had a good rant or hard core analytical at the Mas Notting Hill Bands are producing these days, but this year by the end of May I should be free.... 

         

I see MASQUERADE 2000 is launching soon with their presentation ‘THE GIFT’ they created some nice hype with another video clip on you tube, and I can’t wait to see the Mas. But if this new image they been pushing these days reflects the mas they gonna be hot...

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SKULLDUGGERY : Carnival 2011: Vai-que-vai: Wara-hoon & Two Face

I was asked when the section teasers were gonna stop and some previews going to start so I contacted Peter Samuel who said very soon people would be getting a peep of what's to come....right after the teasers come to an end but before the launch  so hold on, be strong....meanwhile check out the website and the Zeppie page for updates

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SKULLDUGGERY : Carnival 2011 : SKETELLE-TON

The sections just keep coming ... that's Skullduggery for you.

SKULLDUGGERY : Carnival 2011, Ratchifee & Skullzman

Plenty of this stuff going on in the Carnival fraternity these days  talk about Skull!

Bacchanal Is Not Carnival

I came across this article and thought it very relevant to on line confrontations that have kicked of recently  on the popular  Trinidad Carnival Diary. While a lot of what had been said has been removed by those who posted for various reasons, there is one thing is sure, There is a massive amount of ignorance and misconceived notions about the history and cultural roots of Trinidad and Tobago's Carnival.
As a result their are individuals calling themselves mas designers attempting to design carnival costumes based on the traditional Carnival characters of Trinidad's Carnival and getting it all very wrong!
And while I identify arrogance and creative laziness as the cause of these tragic attempts to recreate the 'Trinidad experience'and get it so very wrong on so many levels it is even clearer that in this the ultimate age of information IGNORANCE is the root of this designers foolishness.
So im posting this article because it INFORMS those with patience to read on some of the basics of Trinidad and Tobago Carnival its like a light  introduction to was once considered by most to be the  Greatest Show on Earth

Keith Noel, Contributor

Carnival, in many ways encapsulates much of the culture of Trinidad and Tobago. It is a vibrant exposition of a people's culture and, because it has its roots in African traditions brought over to the New World by the slaves, it resonates with black people everywhere.

Carnival is more than 'bacchanal, fêtes and a street parade. It was introduced to Trinidad around 1785 by French settlers.

Slaves were also allowed to celebrate, so they used the opportunity to practise their rituals and maintain their link with their spiritual homeland by parading through villages in traditional costumes and masks. They added humour by caricaturing their masters' behaviour. After slavery, the celebrations became more ornate as they drew upon all of their creativity to depict other things apart from their ancestral figures and caricatures of the whites.

Magnificent 'street theatre'

By the 1960s the East Indian population had begun to participate fully in carnival and their culture began to impact on the nature of carnival. Trinidad carnival blossomed into a magnificent 'street theatre' with elaborate headdresses and costumes and 'artists of the carnival' like Peter Minshall emerged. Minshall became world-famous for his 'dancing mobiles' or 'moving sculptures', a form of performance art that combines the three-dimensional quality of large-scale sculpture with the dramatic and choreographic expressiveness of a live human performer. Minshall was hired to create a number of them for the opening ceremony of the Barcelona Olympic Games.

The steelband had a similar history. After slavery, when the playing of drums was banned, the blacks created the tamboo bamboo, a rhythmic ensemble made up of bamboo joints beaten together and pounded on the ground. Biscuit tins and dustbins were crafted into instruments, becoming the first 'pans.'

With the coming of the oil industry, they discovered that the oil drum, burnt to temper the steel and pounded into a convex shape, made a useful instrument. The simple 'ping-pong' was invented. In time, this rapidly developed into the modern reality of steelbands, with over a hundred players creating some of the most exciting music in the world.

Calypso grew from the exploits of the 'Chantuelles' in the tenement-yards of Trinidad. At carnival time, the chantuelle (or 'chantwell') would compose verses for the yard's entertainment.

Fierceness

These 'kaiso' (later called 'calypsos') were rated for their wit, their incisive social commentary, and their mastery of the double entendre.Singers had 'calypso sobriquets' like Lord Executor, Atilla the Hun, or the Roaring Lion, which indicated fierceness or 'nobility'.

These calypsonians composed on topics ranging from local scandals, world politics and relationships between men and women. They were rated for their perceptiveness, imagination, diction and wit, and their ability to employ irony, innuendo and double entendre.

In the 1960s, to gain 'international' in its appeal, an effort was made to develop a beat which would attract young American audiences. The 'so' from the word 'soul' (which to the Trinidadian symbolised all US music was joined to the 'ca' from the word calypso) and the new, bouncy, 'soca' was born which focused on rhythm and not lyrical content.

In Trinidad, as carnival approaches, the celebrations culminate in the Saturday night 'Dimanche Gras' shows where the steelbands, the King and Queen of the costume 'bands' and the calypsonians all compete for their respective titles.

On Monday, they take to the streets for J' Ouvert (Jour ouvert - the 'opening' of the day) when we sometimes see those traditional costumes that still are extant. On Tuesday the season culminates in a splash of colour and creativity

In recent years, the capitalist urge has led to a number of designers outfitting their groups in pretty but skimpy clothing and although their groups are still colourful, one associates them with this rather than with their artistry. The celebratory, highly sexualised, aspect of the celebrations are also a focus. It is this 'branch' of carnival that was 'transported' to Jamaica and has become very popular.

This is an integral part of carnival, but when it is the only focus and the cultural aspects are removed," it en really canaval yuh have! So dat is why I, a big, big Trini, not in dat!"

Keith Noel is an educator. Feedback may be sent to columns@gleanerjm.com

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