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Over the years, certain specific types of costumes have developed into Carnival Characters. Below is recorded information on those carnival characters.
Fancy Indians
Fancy Indian is the most popular form of Indian mas which also features a call and response in improvised 'Indian" language. In addition to Fancy Indians there are Wild Indians, Red (Warahoons), Blue and Black Indians. The Indians moved with a quick shuffle, stopping, when they spied a good audience, to enter their act. This act consisted of stamping, hopping, turning, brandishing their weapons, and uttering blood-curdling war whoops. They performed a long drama, highlighted by the dance of the Witch Doctor. Each group would write special songs, and collect coins from the bystanders at teh conclusion of the performance. Fancy Indians are still seen on the Savannah stage, and the Fancy Indian influence can be seen in many of the "King" and "Queen" costumes. Information courtesy of TIDCO
Midnight Robber
One of the most colourful old time mas figures, the Midnight Robber, is immediately identifiable by his extravagant costumes and blood-curdling speech. Originally inspired by cowboy costumes, the Robber sports an oversize hat with fringed brim, the crown assuming different shapes (graveyard, The Red House); a flowing cape decorated with symbols of death and destruction; satin shirt and pantaloons generally in black and shoes or boots resembling an animal with moving eyes. He summons and dismisses his audience with the blow of his whistle while threatening them with a gun or dagger. Robber Talk, characterised by its boastful, mocking style was derived from a variety of sources: the Bible, literary texts and school readers and speaks of the Robber's invincible ancestry as well as his terrifying exploits. The striking similarity to the extemporaneous delivery of today's calypsonians is immediately evident. Information courtesy of TIDCO
Moko Jumbie
The Moko Jumbie (sometimes accompanied by a dwarf in similar costume) would dance through the streets all day, collecting money from spectators gathered at second floor windows or on balconies. He danced a jig to the accompaniment of drum, triangle and flute or to the music of passing bands. They had begun to die out, but in recent years there has been a resurgence, with "Dragon" leading a school for youngsters who are interested in learning this art. The Callaloo Company's mas' presentations in 1995, 1996 and this year, 1997, have included more and more young moko jumbies, often costumed in the traditional African garb Children's Carnival has also showcased more and more of them in recent times. Information courtesy of TIDCO
THE SAILOR MAS - A HISTORY By Carlton Francis Dancer/Choreographer and former Cultural Officer Ministry of Culture and Gender Affairs Trinidad Guardian August 13, 1999 Page 15
This character was introduced during the 1880s when American, French and English naval ships came to Trinidad. Today it is one of the most dominant Carnival characters in Carnival and it has been modified into many different styles, such as: Sailors Ashore, Fancy Sailor, Flour Bag Sailor, Fancy Sea Bees, Suck Me Nose, Fireman, Red Head Sailors, Head Mask Sailor, King Sailor, Free French. COSTUME American Sailors Ashore: These wear a white sailor cap, white long sleeve jumper with an insignia on the right sleeve and a very large collar bearing the name of the band or the ship crew of what they are portraying (e.g. USS Saratoga etc). a long flared bottom, tight-fitting white pants, black shoes and black tie. This costume is made out of white drill. This character may use either a walking stick or an umbrella, and would typically hold a pair of dice or a chamber pot in his hand. He would also have a garland around his neck, as is worn in Hawaii. Suck Me Nose: This Sailor wears jumper-pants and a hood over his head with a very long nose. This costume is made out of flour bag. Flour Bag Sailor: This costume is being made out of flour bag with a sailor cap and tie. Redhead Sailor: this costume is made out f flour bag and the Sailor has on a hood with red hair on his head made out of rope and red dye. Free French Sailor: this character is a French Sailor, his costume is a black beret with the name of the ship on the rim of the beret. A tight-fitting short sleeve bow neck jersey, with horizontal blue and white stripes, long, flared bottom black melton pants, and black shoes complete the ensemble. King Sailor: The King Sailor's costume is made out of white drill or corduroy. He has epaulettes on each shoulder, a red sash across his chest, a crown on his head, cords, medals and war ribbons on the left side of this chest with a walking stick in his hand. The Fancy Sailor: This costume is made out of lame, white drill or it is decorated with swansdown, sequins, foil and tinsels, with either a decorated officer's cap or a sailor cap. Headmas Sailor: This costume is made out of white drill or any hard, coloured material. The head mask depicts the concept of his band e.g. the Crab, Flower, Mermaid etc. The English Sailor: A white Coast Guard hat, white short sleeved jumper with a pair of blue stripes in a box shape around the neck, long white flare bottom pants, black shoes. Fireman: This sailor belongs to the Engine Room; his costume is made out of black melton, black vest, waist cloth in his back pocket, an officer's cap, a pair of goggles, a large pair of leather gloves, an iron stoker decorated with prints, swansdown, metallic dust, braids and tinsels. Some firemen also wear blue melton cloth. The Sea Bees: These are dressed in blue dungarees and blue chambre shirts with a white sailor cap. There are also fancy sea bees, made popular by the Dem Fortunates Steelband of Belmont. DANCE MOVEMENTS OF THE SAILOR Bote: The dancer moves along sideways on one leg, using the heel and toe movement to propel himself along. He then places both feet on the ground and continues the movement with both feet. This dance was originally done in dace halls but implemented later on the street. Crab: The dancer squats in second position (sitting) and rhythmically moves his feet from the heel to the instep achieving an effect akin to a scuttling crab. At the same time he rotates his shoulders showing off his epaulettes. Marrico: The dancer gyrates his hips in a circular movement and then pushes out his buttocks to the back. Pachanga: The dancer uses a walking stick, a pair of large dice, or an umbrella and has a pipe in his mouth. In this dace he would make dramatic antics. Rock De Boat: The dancers hold each other on their shoulders forming two or three lines moving across the stage in opposite positions. Skip Jack: The dancers form themselves in threes moving in a hop and drop position going forward and backward. The Camel Walk: The dancer stands erect with a walking stick in his hand, facing the ground, walking straight heel and toe with one of his knees slightly bent, rotating his shoulders, moving forward and backward to the Calypso rhythm.
OLDEST TYPE OF COSTUME ON
THE ROAD By Caldeo Sookram Sunday Express Section 2 March 5, 2000 Page 24
While
people in town are more familiar with the "dutty" mud and grease-covered
jab-jabs with long tails and whips, in the country districts they were a more familiar
sight dressed as "pretty devils". Theirs is
one of the oldest types of costumes to be seen at Carnival, the satin knickers, satin
shirt with points of cloth around the waist from which are suspended bells, the
heart-shaped cloth panel on the chest, stockings and alpagatas. On their heads they wear a hood with stuffed cloth
horns, while their costumes are decorated with glass and rhinestones. These were all part of the jester's costume in
medieval Europe. And it is still the way
jokers are depicted in the packs of playing cards. Today,
their numbers have dwindled to a mere handful with the most prominent band, 'The Original
Jab-Jab', based at Cemetery Street, Perseverance Village, Couva. Winston
Alfred no longer plays jab-jab. He had to
stop because of a stroke he suffered in 1998. But
his sons Rodney 25, and Ronald 23, continue the tradition and are in charge of the band. Rodney
explained: "Players don't pay for costumes here, since we use the same costumes every
year. You see, the prize money we get, helps
to keep the band going. The
cost of a costume is about $500 for the ordinary jab-jab, according to Rodney. But the king, in all his regal splendour, which
Rodney plays, costs about $1,500. Then there
is the whip with which all jab-jabs are armed. That
"lethal' piece of weaponry once commanded respect and instilled fear among members of
the jab-jab fraternity. The jab-jab's whip is
akin to the "bullpistle" that tamed many "bad-johns' of long ago. We went to town Jab-Jab We meet Mr. Brown Jab-Jab We knock him down Jab-Jab We turn around Jab-Jab… Although
the Alfred family carries Christian names, they are very much Hindus, performing pujas and
other rituals in accordance with the traditions of Hinduism. More than 90 percent of the players are of Indian
descent. In fact, Indians have dominated the
mas more than any other ethnic group in this country. Rodney's
mother Dulin is an active worker in the band. She
is not a masquerader but she helps in sewing and decorating costumes and putting things in
place for the big days. She recalls that her
husband took to playing jab-jab in 1967, the year after they were married. Now that he can't play because of his ailment, she
helps her sons with the mas preparations. During the
weeks preceding Carnival, band members gather at the home of Winston Alfred to practise
whip cracking. This is an art that players
get some difficulty in mastering, says Rodney. "We
only use the cracking whip for friendly fights to ensure there are no injuries. The fighting whip was used long ago with
devastating results. But those days are
over," says Rodney. And
on stage, Rodney has choreographed a special jab-jab dance, one that the members continue
to perform.
HISTORICAL CARNIVAL Newsday Historical Digest February 25, 2001 Pages 6 and 8 Somebody, I forget now who, once said to me that Jab Molassi (the Molasses Devil) came out of cannes brulées and was played in depiction of the worst thing that could happen on a cane estate: a person meeting his or her death by falling into a vat of boiling molasses. The molasses devil was the ghost of the cane estate. Jab Jab, whip-cracking, mirrored mass decorated with red and green satin skirts, mauve moiré taffeta and orange stockings, is the father of the Dragon Band or Devil Band. This metamorphosis commenced in 1906, when Patrick Jones assisted by Gilbert Scamaroni prompted by a sacred picture, illustrating the exorcising of the devil from a sick person, displayed in a shop at what is now 65 Queen Street, prompted the organising of the first Dragon mas. Khaki and slate were the colours chosen, cow horns and rope tails were used. They wore flexible wings that flapped. The band was comprised of about 70 or 80 men and women, who carried long forks. There were presidents with even more elaborate costumes; covered with brass buttons and gold fringe, diamante spangles and gold cord. Everyone wore small face masks. There was one central character called Lucifer who wore a golden crown and was even more elaborately costume. He was portrayed by Gilbert Scamaroni who used a large head mask imported from Germany by the firm Waterman Brothers of Frederick Street. Between 1906 and 1909, cowtails held upright by wire were added. In 1909, Patrick Jones, along with 'Skeedo' Phillips and the Valere brought out the "Red Devil band". Patrick Jones was a man who loved to read and was ale to put his hands on to an illustrated copy of Dante's Inferno, and as a result was able to add a host of diabolical characters to his already charming retinue from hell. In 1910, Jones brought out a band called "Demonites" and introduced the character of Beelzebub, Lord of the Flies. He was enclosed in an iron cage and bound by nine chains. Beelzebub was made of papier mache. Fearsome in character, the entire contraption was carried aloft on poles. In 1911, Satan was introduced. His costume was similar to Lucifer's and Beelzebub's, but he carried a book and a pen in which to record sins. This was the year in which the Beast appeared for the first time, and it was portrayed by a man called "Georgie". This costume of the Beast was made of large fish scales and so constructed that they could bustle up or be made to lie flat. Professor Gordon Rohlehr tells us a lot about Patrick Jones in his book "Calypso and Society". Jones, he says, was one of the earliest devotees to serious masquerades in the early 20th century. He was a pyrotechnicist and a calypsonian. Known as Chinee Patrick, he was "hakwi", that is, half Chinese and half African. As a calypsonian, he sang under the name Oliver Cromwell, the Lord Protector, and his songs were in the tradition of Atilla the Hun and Lord Executor. He was a powerful calypsonian, so much so that his challenges were often hardly taken up by even the most significant aficionados of the art. His daring to put the devil and his hordes from hell on the streets of Port of Spain created an enormous impact on the city, its institutions and citizens and on the calypsoes of the time, and was to be retained in memory and folklore, still imitated, albeit poorly, to this day. Bruce Procope, from whose paper most of this valuable information has been gleaned, points out that by 1911 the main features of the Dragon Band were already established and were to survive more or less intact for another fifty years. Fresh characters emerged, such as the devil as "Gentleman Jim", who, together with his devil mask, wore a tail coat and carried a stick, behaving in a courtly manner with much bowing and kissing of hands. Various theories have been brought forward concerning the devil band. Procope writes: "The theory is that the dragon band is an ambulatory depiction of Satan and his horde cast from heaven ... he and his followers return to earth on the two days before the Lenten season commences in order to try the virtue of the faithful." The people who played this mas had no reluctance in paying the devil and the forces of evil, although many felt a great excitement, even fear, to be associated with it. By the 1930s, Patrick Jones' band was big, some 200 or 300 people. The devil mas generated mixed feelings. As there as much delving into occult literature, looking for information to enhance the portrayals. Such books as "Hope and the Race" by Frank Patterson and the "Chronicles of Leviathan", an anonymous work, were consulted. This was a time when, not only in Trinidad, there was a great interest in the esoteric. Dealing with the devil in exchange for souls was a minor industry amongst both the unscrupulous and the foolish. The fact that it was frowned upon by the religious was sufficient to make it desirable. Others followed Jones' idea. Devil bands had tents, bamboo and carat affairs, where members met to build their mas and to practice their 'pass' or dance steps, and its 'chantwell' to compose songs. The Dragon's head was built in secrecy, so that when it appeared, it would astound even the band members. The green Beast would have a movable tongue with an iron band around the waist attached to three or four iron chains, held in different directions to control the progress of the character. The dance of the Beast consists of a lunging movement as it strikes out attempting to bring down the horde of surrounding red imps, who would constantly goad him, sometimes. There would be several Beasts in a band with one being the chief Beast. There would be a king imp in red tights, mask, wings, a tail, attended by other imps who would carry axes, scrolls, horns, bells, dice, face cards and scales with weights. The showing of the face card was vital for the water crossing. One authority affirmed that there would be 42 characters in a devil band, some of these would be a gown man, expensively dressed with a mask imported from Europe, a Queen patroness with her court, Lilith, Eve's mother, a Bookman with a large book and an imp to carry it. The character of Beelzebub would have a host of blue flies, sexy girls, buzzing about. All this produced an amazing sight, with the imps taunting the Beasts and dancing away with highly complicated steps, as other imps would dance, twirl and skip, maintaining a constant activity and providing interesting contrast with the noble mien and stately bowing of the Satanic characters. Long ago, the fight of the Beast was a feature of Carnival. The corner of Duke and Frederick Streets, midday Carnival Tuesday: the great Beast Zatog the Invincible met and destroyed Azoth, Keeper of the Inferno. This challenge to combat occurred automatically when two devil bands met. Bruce Procope recalls: "The combat took the form of the execution by the reigning Beast of various dance steps, which the challenger had to imitate. If he succeeded, he then had to demonstrate his own for the reigning monster to imitate. The one who failed was dishonoured. To be the reigning Beast was considered the highest honour." "Mr. Jones says that the Dragon or Beast was suggested to him by a picture of St. Mark and the Beast which he saw at Laventille church," writes Procope. "Another of our informants, Mr. William La Borde (alias Willie the Beast) also remembers Georgie. Georgie was the reigning Beast from whom Willie captured the crown. The step that brought him victory was one which was shown to him in a dream. One night after practice at the tent of his band, Willie went home to sleep. He dreamt that a man came to him dressed in a top hat and tail coat. The man suddenly turned into a zandolie and started to wriggle on the ground. Willie awoke, told his wife about the dream and immediately began to practice a step in imitation of the movements of he zandolie. He perfected this dance and by it won the crown from Georgie." With regard to the crossing of the water, Procope recounts the "coming out" or the "invocation", which takes place as the band is coming from the place where it has assembled onto the streets to parade. Led by the King Imp and his sexy quick-stepping horde, the music band blasting live music on their feet in the road. They would burst upon the streets, the Beast itself, green-scaled with its clawed dragon's feet straining at the chains held by the musclemen, barely able to contain it. As the Beast approaches the first drain, the King Imp or "tempter" steps forward, confronts him, and rings a big brass bell. He shows him a face card to bring him to a halt. The imps, in blazing red, their wings quivering, sequins sparkling in the noonday sun, show their "pass" and perform their play with cutesy antics and much teasing of the Beast. The Beast, head rearing, claws slashing the air, attempts the crossing, feigning fear lest any part of his person should touch the water flowing in the street's canal. With the Beast "over the water" other characters blaze out, bats temporarily traveling with the band, big with black huge wings; zombies, a section of jumbies in black and red. Two robbers also moving with the band enter Piccadilly Street, glowing, pulsating with human energy. Lucifer last of all, elegant, black satin cape lined in red velvet, dressed in the costume of a grand duke with scarlet sashes and jeweled orders, and ceremonial sword in hand. Before him, mincing and cringing, his court of sycophants. They mime a play that none but they can understand. A coffin carries a man. A live black cat looks out from the Queen's hair piece. They have real dwarves who are old men, seen dragging chains to which are attached souls waiting to be reincarnated. The performance of crossing the water is repeated. The teasing of the Beast continues. Small boys run up with slapsticks to make him jump, and old women throw pails of water before Lucifer to stop him - isn't that a tradition from Catholic Ireland, throwing water before a hearse? But he just laughs hideously and shows them a morocoy and two live frogs he has in a small black and gold box. The Beast makes a bolt for it, catching the musclemen unawares - but don't worry, he's not going far - just for a cold Carib from his nennen in the planning! Some lyrics of the day reflect the Red Devil Bands, but that was long ago. Now we are afraid of a weather vane on top the Red House - the old iron dragon. They should put it back! "I am a monarch from heart and soul Wherever I go I bound to control I am guided by the three stars Jupiter, Mercury and Mars. And if tonight I shall lose my name Blood is going to flow from every vein They call me Beginner the terror, the brutal conqueror Santimanite." (Lord Beginner) "Come into my den and there you shall see Skeletons and bones of your family. Your body shall be placed on a mountain peak And there you shall say your prayers for a week And after that dreadful pain you shall meet a hurricane Santimanite. From the very first day that I was born Men like Houdini started to mourn Monarchs wept and princes cried When they saw this new star up in the sky Astronomers in my horoscope state He'll be proud, grand, illustrious and great And they named me Atilla, the terror, the brutal conqueror Master Mi Minor." (Atilla the Hun)
CARNIVAL STORY
By Terry Joseph Episode 16 The final article in Terry Joseph's 'The Carnival Story' series. Express March 7, 2000 Page 15 February 23, Carnival Tuesday of 1955, saw truly spectacular mas presentations. Bands like Sign of the Pagan, Royal Dancers of Siam, Richard II and The Festival of Bacchus painted the streets; but all stood in awe when a sailor band, USS Skipjacks, hit town. A consortium of four steelbands from the East Dry River area, Tokyo, Crusaders, Fascinators and City Symphony had teamed up to produce USS Skipjacks, the collaboration boasting upwards of 4,000 members, at a time when 300 masqueraders would have been considered a 'big' band. Such was the spread of the band that most of the enlisted men of the USS Skipjacks probably never heard any of the music for which they had paid a fee. Groups formed their own rhythms, but the underlying tempo was provided by the chipping of leather shoes against the asphalt roadway, as the band snaked along Piccadilly Street, then west into Duke Street, before turning north on Charlotte Street to head for the Savannah competition. From my vantage position in the upstairs gallery of the Loyal Order of Ancient Shepherds Lodge Hall, just west of the corner of Charlotte and Duke streets (above Roosevelt Barber Saloon) the band looked like a sea of white, the 4,000 bobbing sailor caps forming a moving froth. Today, a similar steelband group effort at the same type of mas barely musters one tenth of that number. And part of the beauty of USS Skipjacks was that its presentation came at a time when sailors "rocked the boat" by forming lines across the width of the band, each putting his arms around the shoulders of men on either side. Starting at the front of the band, each succeeding line chipped in a sideways movement, alternating direction, to give the overall view of men on the deck of a destroyer that was being tossed around by particularly choppy waters. The coming together of those four steelbands also scored a mark for the continuing attempt at peaceful celebrations. Curiously enough, it was a bunch of sailors from USS Skipjacks who inadvertently created one of that day's greatest scares, when one member attempted to cheat his cohorts and make off with a pail of ice cream that had been stolen as a group effort. As he scampered across Duke Street, members of the Silver Stars band, going south on Frederick Street, misconstrued the action and though it to be the actions of a group bent on violence. Fearful of the reputation of bands from "behind the bridge", the softer Silver Stars members scattered. George Ng Wai, who played pan that year for the Newtown band, remembers fellow pannists hiding even in the Woodford Square fountain, oblivious to the danger of drowning. For it was also a time when steelbands, driven by a sense of competition of which they had not yet deduced proper outlets, took to violence for the slightest of cause. In addition, the popular movies of the day were largely those that featured violent gang wars. In much the same way as the bands had taken their names from the movies (Destination Tokyo, The Gay Desperadoes, et al), pannists and their followers were taking their behavioural cues from the cheap entertainment of the big screen. Movies like Slaughter on Tenth Avenue and Rumble on the Docks were big favourites and the scenes portrayed in them were soon to be played out on the streets, with devastating consequences. |
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Mascots2000 Limited Carnival
Among the
most spectacular mas costumes, Fancy Indians are based on the indigenous peoples of North
America. The headpiece has grown over the years in splendour and size and now has to be
built onto a wire frame and supported by the masquerader's body. This 'wigwam' is worked
with ostrich plumes, mirrors, beads, feathers, papier mache masks, totem poles, canoes and
ribbons. 
The stilt
dancer is a traditional folk character that was originally brought from West
Africa. They recall images of tall robed figures moving through the dark African night, to
strike terror into the hearts of those who did wrong. The word "Moko" is derived
from the name of a West African God and "jumbie" or "ghost" was added
by liberated slaves after Emancipation. On stilts that ranged between 10 to 15 feet high
(often brightly painted in stripes) the Moko wore long full skirts or pants, a brightly
coloured satin or velvet jacket and an elaborate admiral's hat topped by plumes. This
costume was a reaction to the Western influence.