Voodoo

A friend from Trinidad tells of very tall, festively costumed stiltwalkers in the Marde Gras parades there, where over 50,000 masqueraders parade through the streets. In Trinidad and the Virgin Islands, the stiltwalkers are called "Moka Jumbie" (pronounced Moku Jamby), meaning something like, "Giant Spooks" - related to Voodoo's "Mumbo Jumbo". Naughty children are told, "If you don't behave, the Moka Jumbie will get you!"

My experiences as a Moka Jumbie with thousands of children over the years have led me to a tall speculation of my own. Did Giants roam the earth in ancient times, striking terror in the hearts of puny humans who crossed their path? Is there a genetic memory of this lodged in our cells, close to the surface in dreamy little toddlers? The reason for this speculation is the reaction of some one-to-two-year-olds -- They refuse to look at me, even look my way, and when their enthusiastic parent turns their head for them to see me, they refuse to look at all, or become quite distraught. Fortunately, they soon outgrow this stage, and terror is replaced by fascination and wonder!

The Birth

Some trace Carnival to the rites of Bacchus, in ancient Greece. Some to its position in the Christian calendar (for the word ‘Carnival’ means farewell to the flesh’ and marks the approach of Lent and its sober disciplines). Others emphasize the importance of African rhythms in the music so essential to the festivities.

It is further theorized that, early in the last century, the working population took to mimicking and "mamaguying’ the colonial authorities at Carnival time, by means of extravagant costumes and an incomprehensible Patois. Around the occasion, a colorful cast of Carnival characters grew up – devils called Jab Jabs (from the French ‘diable’), human donkeys called burrokeets, bandits called Midnight Robbers, clowns called Pierrot Grenade, giants on stilts called Moko Jumbies. Today, while their origins may be hazy, these figures can still be seen, in all their poetry, during the Carnival season.

Old-Time Carnival Characters

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.

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.

Jab Molassie

From the Patois for "devil" and "molasses" the Jab Molassie is one of several types of devil mas. He strikes fear into the hearts of children and adults alike, as he threatens to smear them with his black oil, carried in a oil tin. The simple costume consists of short pants or pants cut off at the knee, with a wire tail, mask and horns and a pitchfork. The whole body is smeared with grease or mud, red, green or blue paint.
When Jab Molsassies choose to daub themselves with mud this is what is popularly referred to as mud mas. Not all of the traditional elements are transferred to this expression of the character but a good time is had by all. The Jab Molassie wines to the accompaniment of imps beating tins who attempt to restrain him by pulling on the rope or chain around his neck.

Jab Jab

A pretty devil mas resembling a mediaeval jester's costume, with bells suspended from the points of the satin shirt which are divided into panels of alternating colours. The costume is decorated with mirrors, rhinestones and swans down. A hood with stuffed cloth horns is worn and a whip of plaited rope (cracked menacingly and occasionally used to attack other Jab jabs) is wielded.

Dame Lorraine

Dame Lorraine is a character through whom the behaviour of the French planters could be satirised. The character was introduced Carnival to Trinidad at the end of the 18th century. The characterisation or performance of Dame Lorraine was originally held in two parts beginning at midnight on Carnival Sunday and performed in private yards.

The first part featured a parade of people dressed in costumes of the 18th century French aristocrats. A haughty butler introduced arriving couples, after which a stately dance was performed while a slave gaped through a window at the proceedings. In the second part the butler was transformed into a schoolmaster calling the pupil's roll. The pupils dressed in ragged imitations of the aristocratic costumes displayed in first performance, had exaggerated physical characteristics suggested by their names : Misie Gwo Koko, Misie Gwo Lolo, Ma Grand Tete. Male and female players alike were masked and danced to a tune played by cuatro and bandol groups.

Burrokeets

It has been said that the burrokeet of the Trinidad Carnival originated in Greek mythology as the Centaur, and moved on from there to Spain in the 9th Century, and so to Latin America and Trinidad. Otherwise, systemic totemic veneration is one of the most sincere ways available to a people to show their appreciation of a faithful and useful animal such as the burro. In the Trinidad Carnival, the donkey has been symbolically freed from his labours and so is able to join in the festivities. Subscribing to either theory, the burrokeet was an important part of the Trinidad Carnival in the past, from our Spanish mainland influences.

This donkey or horse man was constructed from bamboo in such a way that it gave the illusion the dancer was riding a small "burro" or donkey, when he put his head through the hole in the donkey's neck and the body of the animal fitted around his hips.

The Burrokeet tradition existed both in East Indian Hindu culture and on the South American mainland. The donkey's head was made from coloured paper on a wooden frame, while the body was covered with a satin skirt with a hemp tail. The "rider" wore a satin shirt and a large matador's hat or straw hat and danced making the donkey caper and bow to the accompaniment of guitars, cuatros and shac-shacs.

Cow Bands

Cattle mas (or cow bands) was traditionally played by abattoir employees, usually Venezuelans living on George Street in downtown Port of Spain.

They would dress up as cows on Carnival Monday wearing dry plantain leaves and cow horns, and charge the bystanders as well as the "bullfighter". On Carnival Tuesday the band wore yellow Eton jackets over pink satin knickers. The bullfighter sported a black matador's or admiral's hat. The 'bull' wore tail and horns held in place by a head tie.

This type of mas' has almost totally disappeared in the past seventy-five years.

Midnight Robber

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.

Pierrot Grenade

The supreme scholar / jester proud of his ability to spell any word in his own fashion, the Pierrot Grenade or poor man's Pierrot, is descended from the Pierrot known for his elegant costume and fierce fighting prowess.

This colourful cousin is dressed in a satin gown covered with bells, with a velvet heart shaped breast piece bordered in swansdown and decorated with sequins and mirrors. Under his velvet beret he wore an iron pot to protect him from blows of opposing Pierrots' short steel or lead lined whips. A long train of strips embroidered with gold braids, stockinged feet in light shoes decorated with swans down and bells completed his costume. The Pierrot was eventually driven from the streets after numerous arrests and goal sentences for fighting.

Pierrot Grenade (supposedly from neighbouring Grenada) inherited his predecessor's love of oratory. The Pierrot was known to quote such Shakespearean characters as Julius Caesar, Mark Anthony and Othello at length but the elaborate costume made way for a crocus bag gown. A mask, to hide his identity, usually a coloured head tie or hat completes his costume.

Fancy Indians

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.

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