Luise Kimme Artiste, dies at 74.

On Friday 19th of April 2013 German born Tobago based Artist Luise Kimme  passed away . Luise was known for her wooden sculptures and her 'Sculpture Museum' in Tobago. However many of you may not
know that Kimme sculptured the heads of the world famous carnival couple of Trinidad carnival 1990 'Tan Tan and Saga Boy.'
May she rest in Peace.

Luise Kimme (Trailer) from Atlantis Film on Vimeo.
LUISE KIMME - "Ich wollte sowieso immer Apollo hauen"
Trailer für einen Dokumentarfilm: Portrait der auf Tobago lebenden deutschen Bildhauerin Luise Kimme.
(in postproduction 55min)

LUISE KIMME - “I always wanted to sculpt Apollo”
A portrait of Luise Kimme, a German sculptor living in Tobago.
Trailer for a documentary 55 minutes
directed by Eike Schmitz

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KING SAILOR : An exhibition of sailor costumes at the National Museum P.O.S.

Exhibition opening: Monday 29th April at 2:00 pm at your National Museumand Art Gallery.*

In a statement about 'Mas Man', Dalton Narine’s recent documentary on hislife and art, mas genius Peter Minshall paid tribute, once again, to thefancy sailor character:
“The mas had made something truly original, like the surreal fancy sailor,like nothing you had ever seen or imagined, so different, this extension orwidening of the accepted terms of human apparel.”
Now, the National Museum and Art Gallery of Trinidad and Tobago is pleasedto re-open our permanent Carnival Gallery with “King Sailor” – anexhibition of sailor costumes, drawings and photographs of the many avatarsof this seminal mas character.
In this show we present 'The Mt Hope Connection,' a Carnival archivebelonging to Keith Carrington and Keith Ramirez, whose Fancy Sailor bandhas been in existence for the past 29 years, although Carrington has been aKing Sailor since the 1960s.

According to Carrington, “The Mas camp is in Macoya. We move off from TheCorner of. Duke and Frederick Streets on Carnival Monday and Tuesday, andcontinue to partner with the St Michael Boys’ school. Since 2007 we havebeen participating in St Lucia’s Carnival, providing the only 70-strongSailor band accompanied by a steelband. We have many trophies at theband-house, we won Small Band of the Year three times.”
This exhibition also includes a series of discussions on “Archiving ourCarnival Arts”.  We hope this will encourage discussions and documentationof traditional Mas. The National Museum is committed to both thepreservation of the past carnival arts and the development of their futurein Trinidad and Tobago. 'The Mt Hope Connection' is a collaboration withThe *Carnival Institute of Trinidad and Tobago*, which has documented andconserved part of the collection.

National Museum and Art Gallery

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www.studiolafoncette.com

I received this press release from photographer / blogger Leslie Robertson Toney today about her 2013 carnival series ‘Blogging de Carnaval’, on her website http://studiolafoncette.com.

From what I've seen so far I for one will be following her as this carnival season progresses.

Have a read of the release and then enjoy her work on her website. 

Leslie Robertson Toney

Studio Lafoncette Photography

www.studiolafoncette.com

studiolafoncette@gmail.com

1-868-774-2160

FOR IMMEDIATE RELEASE 

Friday, 4th January, 2013

Carnival blog series launched

On January 1st, Studio Lafoncette Photography launched their third Blogging de
Carnaval series on the Web site: www.studiolafoncette.com. The series focuses on the
rich heritage, history and evolution of Trinidad Carnival. The blog uses original
photography by Washington DC-based Trini photographer Leslie Robertson Toney.
Every day, in the weeks leading up to Carnival Monday and Tuesday, Studio Lafoncette
will post photos and text related to mas, mas construction, Carnival performance art,
music, Carnival trends, and much more providing thorough background information to
readers. Studio Lafoncette will also post original photos and interviews with Carnival
veterans and masters such as the acclaimed fancy sailor Senor Gomez.

Blogging de Carnaval celebrates various aspects of Carnival that are sometimes
overlooked or forgotten in mainstream coverage. As Toney said in this year’s first blog
post, “Sankofa, the Adinkra symbol of the Akan people from what is known today as
Ghana, teaches us that we must go back to our roots in order to move forward. That is,
we should reach back and gather the best of what our past has to teach us, so that we
can achieve our full potential as we move forward...And today we also celebrate that in
our respective carnivals we have evolved and created something that is uniquely
Trinidadian (or Tobagonian, Grenadian, Vincentian, Brazilian, (New Orlean) American,
Bahamian, etc.) but that has a connection to The Motherland and other Motherlands.”
She invites followers to “Discover a culture beyond your imagination.” Blogging de
Carnaval can be accessed directly by visiting: http://studiolafoncette.com/blog/ Also
check out Studio Lafoncette on their Facebook page: Studio Lafoncette Photography or
follow them on Twitter @StudioLafoncett.

About Toney: Leslie Robertson Toney is a self-taught photographer with more than a
decade of amateur and professional experience. Her work has been featured in the
international exhibit Roots & Wings, FotoDC’s Cherry Blossom Photo Exhibit, the Art
Society of T&T’s members’ exhibit 2011 and at the New Horizons Gallery of the
Children’s National Medical Centre in Washington DC. Her work has also been
published in Photographer’s Forum Best of Photography 2011 catalogue when she was
a Best of Photography Finalist.

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TIME MACHINE: Trinidad and Tobago Carnival 1962.

1962 was a very eventful year in world history; there was a coup and a counter coup in the Dominican Republic, ‘The Incredible Hulk #1’ by Stan Lee and Jack Kerby made its debut.

 Rwanda, Burundi and Algeria, gained independence, Telstar relayed the first live trains Atlantic television signal, actress Marilyn Monroe died, Nelson Mandela was arrested in Howick, Spider man made his first appearance in Marvel Comics, James Merideth registered at the University of Mississippi, escorted by federal marshals, and the Soviet Union and the United States almost started WW3 and Armageddon during the Cuban missile crises.

1962 was also the year Trinidad and Tobago gained independence from Great Britain, and it is the year 1962 that Massassination will start its exploration of the past 50 years of the Trinidad and Tobago Carnival, in the ‘Time Machine’.

TIME MACHINE DESTINATION :1962

Examining the Carnivals of the past we can tell a lot about the society of the time, listening to the calypso’s of the period, especially social commentary we can form a picture of the society, and the issues that affected it during any given year. Looking at the mas bands at the time and the themes that were mostly historical, it is possible to ascertain that the question of identity racial, social, and global held precedence on the minds of bandleaders, mas men (carnival artist), and the masqueraders, (the wider population).  

Coat of Arms of the Federation.

 The Trinidad and Tobago carnival of 1962 was preceded by a period of great change in the region. The British West Indian colonies saw their first real attempt at political integration in 1958 with the idea of being a single independent state, ‘The West Indies Federation’, however dramatically collapse before their eyes in January1962. This collapse saw Islands like Jamaica and Trinidad then perusing individual independence for their people that was achieved later that year, and signified a new era of nationalism, self determination, and national identity.

Carnival 1962: March, 5^th & 6^th.

Queen of the Bands:

Esther Theodore: Queen of the bands 1962 .
 source:
The Carnivals of Trinidad and Tobago.
M Anthony.

Dimanche Gras on the 4^th of March 1962, and saw the crowning of  Esther Theodore, as the ‘Queen Of The Bands’, Theodore, who won the very first queen of the bands competition  in 1959, won again in 1962 portraying  ‘Cleopatra’ from Mack Copeland’s band ‘Glory of the Pharaohs’. A King of the bands completion did not take place till 1963.

“The prize included a trip to the Waldorf Astoria in New York, a prize donated by Hilton Hotel as part of its promotion drive for the newly built Trinidad Hilton hotel.

Of that trip, Theodore said, “When I went on the trip I became an ambassador for Trinidad and Tobago in the field of Carnival. It was the first time Carnival was played in New York. I had to visit several places to introduce Carnival as a tourist attraction. One of the finest places I visited was St Nicholas Arena.”

The costume she wore on that occasion was described as a masterpiece. It was designed to fit a regal figure with a train 16 yards long and embroidered with symbols of Egyptian royalty and lotus flowers representing the “sun dance”.

There were also sacred emblems of the hawk, cobras and papyrus writings.” (Louis B Homer)

Calypso King:

The Calypso King competition saw the King of 1961 The Mighty Dougla; face the challenge of an already 2 time winner The Mighty Sparrow, The Mighty fighter, Lord Blakie, Nat Hepburn, Lord Cristo, Young Killer, Young Creole, and Lord Superior. (Michael Anthony pg 328)

When the battle was over The Mighty Sparrow won his third Calypso King title with two highly critical Calypsos, “Robbery with a V” where Sparrow accused the judges of robbing him of the title in 1961, giving it to Dougla, and the immortal classic, “Federation”, where sparrow expressed the frustration and disappointment of not just Trinbagonians but the Caribbean people, and angrily   chastised the Jamaicans for leaving and in effect destroying the Federation.

“If they know they didn’t want Federation,

And they know they didn’t want to unite as one,

Tell the doctor you not in favour,*

Don’t behave like a blasted traitor,

How the devil you could say you ain’t federating no more!”

(*Dr Eric Williams then leader of the PNM)

Road March:

Lord Blakie won his second ‘Road March’ title in 1962 with a witty Calypso that maximised the use of the 'double entendre' called Maria.

“Maria girl I love you so bad.

Maria if you leave me now will be hard

I don’t know what make me love so,

But she get me sweet!

What she give me to rub I eat.”

According to historian Michel Anthony this was the first time the road march was officially recognised in P.O.S, and Blakie won a $50 dollars in prize money. 2^nd place went to Nelson Caton who sang Tattle Tale and 3^rd went to Sparrow who sang Sparrow come back home.

Band of the Year:

George Bailey.

 By 1962 band leader George Bailey already established himself among the pantheon of ‘golden age’ bandleaders. Battling for the B.O.T.Y title in 62, were bandleaders  with presentations, such as, Edmund Hart’s Flag wavers of Siena, Harold Saldenha’s  Julius Caesar and the Conquest of Gaul, Geraldo Vieira’s Myths, Fables, and Legends and Jack Braithwaite’s Valhalla.

But carnival 1962 belonged to Bailey, his band Somewhere in New Guinea, won the band of the year award, the people’s choice award, Edmund Hart’s Flag wavers of Siena and Cito Velasquez’s, Natures Notebook, won second and third places in the competition.

“Although the bands following George Bailey were of great beauty none equalled or surpassed Somewhere in New Guinea...it was this band which won Band of the Year. This meant that George Bailey had won the title four years in a row.” (Michael Anthony pg385)

In San Fernando, it was Mac Copland’s Glory of the Pharaohs that beat the competition of Clemmie George’s Fabulous East, and Irwin Simmons Relics of the Bronze Age, to claim the southlands, B.O.T.Y title.

Pan:

While there was no Panorama in 62, there was a music festival that was won by the 'North Stars' that played "Voices of Spring" by Johann Strauss.

By the 31^st of August 1962 Trinidad and Tobago was an independent nation, Britain’s Union Jack was lowered and the Red White and Black colours of Trinidad and Tobago were raised. Eric Williams was the first Prime Minister and the untold future was ready to reveal itself to an ambitious people.

Red with a white-edged black diagonal band from the upper hoist side to the lower fly side; the colours represent the elements of earth, water, and fire; black stands for the wealth of the land and the dedication of the people; white symbolizes the sea surrounding the islands, the purity of the country's aspirations, and equality; red symbolizes the warmth and energy of the sun, the vitality of the land, and the courage and friendliness of its people.

(source: C.I.A)

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Sonya Sanchez Arias: The Mark Lyndersay Interview

Image of Mark Lyndersay

Sonya Sanchez-Arias is the designer of the band SKULLDUGGERY. Mark Lyndersay  has done a fantastic interview with her, if you want to know more about this creative force and her background the interview is on the Zeppie page of the SKULLDUGGERY web site.

 Sonya Sanchez-Arias is a photographer and stylist well known and regarded for her work in Trinidad and Tobago when she ran her studio here in the 1990's. Since returning to Florida with her husband, a move spurred by her wish to ride the first wave of the digital revolution, she has become a specialist stylist working with her husband, Fernando.

Skullduggery is her first Carnival band and this interview, transcribed from a Skype interview on May 18, 2010, explains her thoughts, background and inspirations for the work she is doing on the project.

Please note that the photography accompanying this story was created for a very different project. While it reflects the quality of the designer's work and her capabilities, it reflects a different challenge and approach to the work she's doing for the Skullduggery project.

see the rest here

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The other side of TT Carnival

Image via Wikipedia

It has long been hailed as the greatest show on earth, an annual celebration of our creativity and uniqueness as Trinbagonians.

But beneath the bikinis and beads, pulsating soca and wild abandon, citizens are expressing mixed views about Carnival and its relevance to life in Trinidad and Tobago. 


This was the discovery of Los Angeles-based director and producer Charysse Tia Harper and her crew, who visited several towns and villages in the country to capture the key elements of Carnival and how it affected the socio- economic life of citizens. Based on her findings, Harper, 25, compiled a 48-minute documentary, titled The Other Side of Carnival. 


The footage was shown to an audience on Wednesday at the National Library in Port-of-Spain. 


Harper said the production, comprising interviews, glimpses into several elements of the festival and other aspects of life in Trinidad, was an eye-opener.


“I feel that we have 48 minutes of strong information,” Harper told Sunday Newsday in an interview on Wednesday, hours before the viewing. “We present a lot of issues. But, we do not go in depth and the main reason for doing that is because I wanted to appeal to an international audience as well because if I went in depth into every problem in Trinidad and Tobago, only Trinbagonians may care about that. 


“I wanted something to interest the locals as well as the international population. But, I think that the strongest thing that came out of the experience was that everyone has an opinion about Carnival.” 


Born in Trinidad ( her mother and father were from San Juan and New Grant, respectively), Harper migrated to the United States while she was very young. 


The only link she had to Carnival, she said, came by way of discussions and from watching footage from her family. 


With a burning passion to produce documentaries as a career, Harper studied film and journalism at the University of Southern California, before pursuing a master’s degree in management and leadership in the United Kingdom. 


She later established the fledgling Xplore the World production company to bring her dream into a reality. 


“My crew and I, it started with about three people. We started talking about documentaries we want to make in December 2007 and threw out ideas,” she recalled. 


Harper soon realised that the area in which she lived, Oxnard, a town an hour north of Los Angeles, somehow provided the perfect opportunity to explore the festival. 


“There are not many people from the West Indies there. So, whenever they see a black person and you tell them you are from Trinidad, they are like ‘Which part of Africa is that?’ 


“So, I decided to make a documentary that would highlight my culture but not make it like a history lesson. Carnival, I figured, would be the point to draw people in.” 


Harper’s team, she said, comprised first-time film makers from TT, the UK and US who were not affiliated to any studio but were determined to promote the project in any way possible. 


After several successful fundraising ventures, Harper and her small crew finally set foot on local shores on July 7, 2008, to do the ground work for the project. 


It was not until last year, however, that Harper finally got the chance to experience the event in all its glory. 


Her crew, she said, interviewed more than 60 people from all walks of life. 


But while some felt the festival was a good thing, others simply did not. 


“It’s such rubbish, you have people dancing with nothing on. It’s a time for people to go out and have sex. People are ridiculous,” a few respondents complained. 


Some, she said, even got carried away. 


“I remember we interviewed a police man about the crime rate during Carnival and he just went on a tangent about the good and bad sides of Carnival,” she jokingly recalled. 


The visiting film maker confessed that about 90 percent of the material on the footage shocked her “primarily because I was an outsider coming in.” 


Generally, people lamented what appeared to be a decline in traditional mas, she said. 


Harper tended to agree based on the footage the group had captured. 


“The traditional elements started in Trinidad and Tobago, and we have to ask ourselves what would make this Carnival different from Toronto’s Carnival or Rio’s Carnival or Miami’s Carnival. 


“So, by beads, bikinis and feathers we are not differentiating ourselves from the other Carnivals around the world. And that is very important to keep because Trinidad is a small country. 


“And, if we have to be unique we have to maintain the traditional elements and characters. Wherever we went that was the big point — that they want to maintain that.” 


The lack of productivity on Ash Wednesday was also a sore point among many people, Harper said. 


“What we found was that there was no traffic and I did not have to fight anybody to get on a maxi to go home,” she said, bursting into laughter. 


Interviewees estimated that about 30 to 40 percent of people stayed at home on Ash Wednesday, the official start of the Lenten season. 


Harper was flabbergasted. 


“The thing is that Ash Wednesday is not really a public holiday in Trinidad and Tobago,” she said, shrugging her shoulders. 


What was even more alarming, she said, was the fact that some employers expect that there would be a poor turnout at work. 


“I learnt that sometimes bosses are chilling on the beach, too,” she said. “Carnival is great but at what cost. Imagine how many businesses lose income based on not being open for Ash Wednesday?” 


Four university academics also had their say about the celebration. 


“Two were for Carnival and the others were against,” said Harper. 


“They said the Government needed to regulate it because they figure that the Government is just trying to make money.” 


Like the other respondents, Harper said, they also felt that the Government was neglecting traditional mas as well as the people who could not afford to go to fetes and play mas. 


The young film maker observed that a lot of people still needed to be educated about the origins of Carnival. 


“Of about 20 people only seven were able to say how Carnival originated,” she said. 


One lecturer, Harper recalled, suggested that the origins of Carnival was seldom taught in primary and secondary schools. 


“You learn more about the US and European and Caribbean History. So they are putting a lot of blame on the Government.” 


Tourists were not to be left out. 


“They loved the women, the alcohol, they love the entire show. They have a blast,” she said. 


Harper argued, though, that while tourists offered a valuable perspective, they were not always best suited to give a comprehensive opinion on Carnival. 


“Tourists just come here and they leave. They do not know what goes on prior to Carnival or after. So, they are wearing blinders. They have not one bad thing to say,” she said. 


“The locals had the best overview because they experience it every year.” 


Expatriates, on the other hand, said although Carnival was too expensive, they got a lot for the money they were putting out.

By COREY CONNELLY

The Other Side of Carnival Promo from Stephanie James on Vimeo.
The Other Side of Carnival is a soon to be released documentary directed and produced by Charysse Tia Harper and helped along the way with a handful of volunteering crew from around the world.

The Other Side of Carnival project started in 2007 resulting in the filming of the 2009 Trinidad Carnival. We have made many friends along the way and met many talented musicians and craftsmen who were all happy to tell their story of their experience with the Trinidad Carnival. We followed small town Mass Bands, Port-of-Spain's The Blue Devils and the general public through their journey of Carnival and managed to get an overall outlook to the life lived through it and beyond.

The Other Side of Carnival Promo 2 from Stephanie James on Vimeo.