DAWN - jouvert - birth

Photos by Stephen Broadbridge, Trini jungle juice, Tara Keens - Douglas

“The vocabulary of festival is the language of extreme experiences through contrast – The body is made into an object of dressing up, costuming and masking … And of course, singing and dancing and other kinds of play are part and parcel of festive celebrations, again with the idea of overextending the self. All of these motives underscore the sprit of increase, of stretching life to the fullest, that lies at the heart of festive celebrations” (Roger d. Abraham, in Turner (ed) 1982 167-68

First aim is to document human experience within festival. I will do this by documenting my own experience and a collection of quotes and images that best describe that experience.

Trinidad carnival parade takes place over a period of 2 days. These days will be broken down by time. Dawn, Midday and Dusk and discussed by the seasonal cycle of birth - death -renewal.
The narrative will take you through these cycles discussing (where necessary) the body,the crowd, the atmosphere,the city, the stage, the costume, the dance and the music.

DAWN experience - the birth - a baptism in mud!

I could do my research and tell you about the history of carnival and j’ouvert. Where it originated and how it has developed. About the olden days where carnival supposedly was richer in context and held more meaning for its participants. Carnival as culture has been beaten down over the years, with people assuming it will surely die. This is not so and there is a reason it continues to live on defying all those who predict its demise

Reiterating carnivals history from numerous texts, will not aid in grasping the feeling of the human experience within the festival. I cannot draw comparison to carnival before my time, but I can talk about what I experience today. The process may have changed but the feeling of ecstasic joy, I believe has remained the same throughout its existence. The joy I feel now is still the joy felt in past years just the tradition itself has changed. With that said, I don’t want to waste time talking about the supposed degeneration of a festival. Change is evident but the feeling of the experience attached to it can surely be felt by anyone who has participated.

As a Trinidadian, I have participated in Carnival as if my life depended on it. I have managed to go fourteens years straight playing in the ‘pretty’ mas. Everyone likes to look good and putting on that costume made you feel good! I remember picking up my costume a week in advance and trying it on everyday, until I woke up carnival morning and put it on one last time. It was an event within an event of sorts. There is the alteration of the costume, whether to add on or take off. Then taken into consideration are the boots that should be worn and the make up that should be applied. This was no ‘joke’ operation with women (and men included) contemplating how their hair should be worn and what colour shoes matched best with the braiding on the costume. So carnival came and I reveled in all my glory the costume I made my own. In those fourteen years however, I had always contemplated playing J’ouvert – ‘mud mas’ which was immediately followed with cries from my mother “ J’ouvert? Are you crazy? You can’t play both ‘pretty’ mas and ‘mud’ mas, you would not have enough energy. And it’s so dirty? So unsafe, you can’t tell who is who!” The list of reasons went on and on. This year however I said to myself I had to do it, I had to see what all this fuss was about ( not to mention my mother had never played before , so I dragged her along in the process. She could not preach against it, if she never played!)

So 2am Monday morning, I woke up and I must admit I was not excited. The thought of sleep and having to get up to play ‘pretty’ carnival loomed over me. I wanted to look decent; actually I wanted to look good, so I dressed the part. My mother walks in and questions my outfit. Do you plan on wearing that again? Turns out my clothes were too ‘nice’ for j’ouvert, so I changed into an outfit I was willing to part with, an old t-shirt and tights.

A group of us drove into town and in the darkness I can see the littering of people on all corners of the city.Carnival is rarely still, but in the early hours of the morning, the surroundings are eerie and solemn. The number of bodies kept piling up. This stillness will soon be over thrown. Everyone was getting ready for something; I was not quite sure what that something was.

I decided to play with a j’ouvert band, as I figured this would give me the feeling of belonging to a group, it cost about 50 CDN and this included free drinks. I would soon find out that to belong this was not necessary.

I could hear music blasting from random music trucks. The group I belonged too had a steel pan band, which I was happy about as steel pan music was traditionally what accompanied j’ouvert celebrations (I wanted to experience the real deal!). So in my t-shirt and tights I shuffled to the music. I tried to stay close to my group, as the mass of bodies were dizzying, in the darkness it was difficult to register who was who, who was participant and who was spectator.

Then I see this thing walking towards me. A human thing, caked with wet brown mud, carrying a bucket of that same wet brown mud. This was the dirtiness my mother talked about, and I clenched my whole body hoping to dear God that I would not be his next victim to splatter with mud.

The thing is I knew it was mud carnival, I knew I would get dirty but I was not ready, the site of him excited me but also made me uncomfortable. I still felt too clean to get dirty.

We caught up with our band and I began to see more people with smears of mud. In front of me there was a bathtub on wheels. A bathtub filled with the slimiest mud and at its side’s bucket of paints – red, blue, green, yellow and white. I could smell the fresh paint. This was our supply to revel in. Before I could turn to show my mother, I see my friend get a handful of blue paint to the mouth. His whole face is blue and his smile was blue as well. I laugh and like a domino effect, the paint was passed on. I dunked my hand elbow deep in this mud and flung it. I must admit it felt good. An old man covered in red, blessed me with red paint as well, all I could do is laugh and smile. J’ouvert knows no scorn.

So now I’m covered and my clothes are half wet and half dry. People resort to removing articles of soaked clothing as the paint feels better on your skin. I wish I wore less. I can’t tell who is who in the mess. I followed the happy group of people dancing to the beat of the steel pan. The music, the dance, the mud built a unitary momentum. There was a feeling of oneness. I was already dirty, so I didn’t care whose paint covered arm rubbed against mine, we were all in the same thing. A Unified and happy collective.

The darkness quickly dispersed as night meets and greets the rising sun. Reminding me it has only just begun. I had to get up in 2 hours to continue my carnival celebrations. People don’t seem to be concerned … they are dirty, muddy, tired but happy. Skin caked with cracking mud and paint they could not care less. All people were anonymous as all denominators of colour,class and race were erased. One muddy man looked like the other muddy man. There was no distinguishing between stranger and friend, they were both part of the collective experience. They both shared the same space in the streets.

You really can’t tell who belongs to where, it is displacement of sorts. It is the 'other 'world -that knows no boundaries. The existing social hierarchy that created boundaries that determine ‘who can go where, who can approach whom, who is welcome, and who is not’, is broken. The mud washes away these boundaries. The mud is to share, you can’t keep the mud to yourself. You can’t own it like a costume that is meant to fit your body. This substance consumes the body, able to spread over all equally. You cannot commercialize mud no matter how hard you try.

Carnival for the people is a challenge to the authorities, the power houses- the church, the hierarchies and the capitalist .It is appropriating spaces that in their ordinary day to day life do not belong to them. It is also celebrating the body. We live in a society where the body is private and its functions are private. “The body is where the power bearing definitions of social and sexual normality are, literally, embodied, and is consequently the site of discipline and punishment for deviation of those norms.” (Fiske 1987, p.248) people refuse the identity proposed by the dominant ideology and use the body as a material against morality, discipline and control. “

In opposition carnival celebrates the body. Best described by Bakhtin are the notions of the open body in carnival. He speaks of the grotesque body that is concerned with openness to the world. The parts of the body that reach out to the world or allow the world to enter. These include the nose, phallus, breasts, gential organs, buttocks, belly and the mouth. Modernity is concerned with the closed body that is separate from the world. Carnival is concerned with the open body that becomes part of the world. With this openness the body is able to connect with other bodies around in and also with its surroundings. This is exactly what occurs in the early hours of the morning during Trinidad j’ouvert. It provides us with a certain time and space that allows all involved to be part of the collective. The rhythmic songs played at carnival time encourage this openness in the way we are provoked to dance.

"There is no room for individual manoevring in the darkened streets; everyone is forced to follow the collective, steady rhythm coming from the nearest source of music. Whether they like it or not. everyone is borne on the rhythmic wave which runs through the crowd, back to back and belly to belly "1997 243 KONINGSBRUGGEN

The dance draws attention to all the body parts that Bakthin speaks of as belonging to the grotesque body. In costuming, emphasis is placed on these parts of the body. In the nakedness of j’ouvert these parts are even further glorified with mud. Mud does not place a structure upon the body, it does not obstruct it but surfaces its terrains .It settles in the crevices and on the pertrusions of the grotesque body.

" Mountains and abysses, such is the relief of the grotesque body; or speaking in architectural terms, towers and subterranean passages." 317 Mikhail Bakhtin

Blue Devils

Painting in Progress

Updated abstract

“Jumbie , Jumbie dey … outta body back to yuhself! …”

The chant shook the crowd, threatening to uncork the bottled up energy of the masqueraders. This was our stomping ground and nothing could hold us back. We were ready to display ourselves, to play ourselves. The movements of the body could not be controlled as hips,waists, arms and legs pelted rhythmically to the sounds of the music. This ‘Jumbie’ character was ready to come out; every sense had brimmed and was now overflowing in a mess of sweat, feathers, rain and beads. Rushing forward toward the stage, I was hit with the vibrations of voices, music and gyrating bodies that left me speechless, breathless and removed. Floating out of body I could see the chaos of the streets below and the mass of open mouths singing, laughing and smiling. It was in that moment I saw the sweet revelry of an island that I felt more than ever I belonged to. I held this moment, wondering what it was, why it happened and when again I could soak up this joyous experience. It is with this thesis I choose to find the answers to these questions.

Ecstasy is defined as an overwhelming feeling of great happiness or joyful excitement, Its origin comes from the Greek word ‘ekstasis’ which means to ‘stand outside of oneself’. Festival is an outlet for ecstatic revelation which is expressed through the people and the architectural domains they occupy. There are many different types of festivals but factors which remains common to all are: Voluntary participation, celebration in excess and its occurrences outside of ordinary life. This is present in the Carnival of Trinidad and Tobago where for two days a city and its people are turned upside down and inside out in the chaos of costumes, music and dance. It acknowledges and embraces the play world as both event and place and uses both the body and the city it occupies as its site. Built on this site are the costumes and the stages through which the epic culmination of ecstatic joy is experienced. The role and nature of these architecture domains and the bodies which occupy them are to be explored through a narrative which studies the transformation that occurs during the excesses of carnival and its donation toward that moment of ‘ecstasy’ and illusions of Utopia.

THE GROTESQUE BODY

Notes /quotes from Rabelais and his World by Mikhail Bakhtin and its relevance to Trinidad's carnival, in particular jouvert and the concept / theory of grotesque imagery and the grotesque body.

The grotesque image reflects a phenonmenon in transformation, an as yet unfinished metamorphosis, of death and birth, growing and becoming. The relation to time is one determining trait of the grotesque image. The other indispensable trait is ambivalence. For in this image we find both poles of transformation, the old and the new, the dying and the procreating, the beginning and the end, the metamorphosis. 24

The grotesque image remians ambivalent and contradictory; they are ugly, monstrous, hideous from the point of view of "classic" aesthetics, that is, the aesthetics of the ready made and the completed.

Main elements in the system of grotesque images are copulation, pregnancy, birth, growth, old ag, disintegration, dismemberment.

“Mountains and abysses, such is the relief of the grotesque body; or speaking in architectural terms, towers and subterranean passages.” 317

The grotesue concept of the body is not a closed completed unit it is unfinished, outgrows itself and trangresses it own limits. It focuses on the parts of the body that are open to the outside world, where the world can both enter and exit and through which the body can also exit. therefore it emphasises on the apertures and convexities of the body, the open mouth, the genitals, the breasts, the phallus, the pot belly and the nose. The bodies disclosed its essense as a principle of growth which exceeds its own limits only in copulation, pregnancy, child birth, the throes of death, eating , drinking or defecation.

Common in the carnival events is an exposure of one’s body, there is blatant sexual behavior that during the two days of festivity is not frowned upon but almost expected, to all it is a time to “get on bad” and where “all o we is one”. 'Wining' a term used in Trinidad to refer to a dance that is the gyrating of ones pelvic region and it is used in a popular song in the carnival of 2010, which states “man wining on anything, woman wining on anything”. It is a motto of sorts for those partaking in the festival. Anywhere you look there are people wining on people, walls, post, pretty much anything … a release of built up energy, an opening of the body and its fusion with other bodies. This is most evident in Trinidad Jouvert which is the opening of the carnival parade , beginning in the early hours of the morning and finishing with the rising of the sun. During these hours ,participants and unexpected spectators are covered and pasted with mud, paint, oil and most recently chocolate. It is here in particular that all hierarchical systems and seperations by race, gender, culture and class are thrown out the window. It is the one equalizer that unites all bodies, there is no longer the individual but a unification of the masses. in the darkness all covered in the same mud with only the sound of the music and the direction of the collective to guide them.

It is here that Bahktins notion of the grotesque body comes into considerations. Bakhtin explains the grotesque as exaggerated and building on the negative and what is deemed inappropriate. The grotesque body is also defined as a body in the act of becoming. It is incomplete as it continually built up creating another body in the process. It is an open body that is connected with its environment and the other bodies within that environment. This is what jouvert encompasses. It is a metamorphosis.

As the body is the site that is built on during carnival , I would like to begin with the grotesque body in its rawest forms and continue to build on that body by studying how the grotesque body is furture communicated through costuming and exaggerations of various kinds, that aid in removing the individualistic private nature of the classical closed body and instead present an open body that is subject to heightened sensory awareness and sense of community and unity with other bodies during the carnival.

WORDS

There are certain terms and words I use that I take for granted. I expect everyone to know them, as they have always been a part of my vocabulary, but I now realize that my vocabulary is saturated with 'Trini' or Trinidadian words that only a Trinidadian can comprehend far less string together in the often used dialect of the island. So with that said I would like to clarify to the words - "mas", "masquearade" and the term " play mas"

mas - Mas is the Trinidadian word for masquerade. Some people prefer "mas" to carnival.

masquerade - To dress in carnival costume, dance and parade in the streets.

play mas, play mas', masquerade, play mask- To put on a costume and participate in a mas band or jump up in the streets. This is the key action of carnival from which everything else comes. The expression "to play mas" is part of Trinidadian vernacular, connected to the idea " to play yourself" or "do your thing"

Definitions taken from the glossary of Carnival - Culture in Action by Milla Cozart Riggio

Now there are also categories of mas such as pretty mas, ole mas, traditional mas, mud mas. These will be expanded on where necessary.


There are another few words I would like to clarify for people, because what is carnival for me is a country fair for others, and often when I speak of the word ecstasy people get ridiculously giddy ( I find this highly annoying) and blush with thoughts of my thesis as some sort of karma sutra or devotion to sexual pleasures. With that said these definitions I have taken from the good old oxford dictionary.

carnival
• noun 1 an annual period of public revelry involving processions, music, and dancing. 2 N. Amer. a travelling funfair or circus.

— DERIVATIVES carnivalesque adjective.
— ORIGIN Italian carnevale, from Latin carnelevamen ‘Shrovetide’, from caro ‘flesh’ + levare ‘put away’.

ecstasy
• noun (pl. ecstasies) 1 an overwhelming feeling of great happiness or joyful excitement. 2 an emotional or religious frenzy or trancelike state. 3 (Ecstasy) an illegal amphetamine-based synthetic drug with euphoric effects.

— ORIGIN from Greek ekstasis ‘standing outside oneself’


stage
• noun 1 a point, period, or step in a process or development. 2 a raised floor or platform on which actors, entertainers, or speakers perform. 3 (the stage) the acting or theatrical profession. 4 a scene of action or forum of debate. 5 a floor of a building. 6 each of two or more sections of a rocket or spacecraft that are jettisoned in turn when their propellant is exhausted. 7 Electronics a part of a circuit containing a single amplifying transistor or valve. 8 Geology a range of strata corresponding to an age in time, forming a subdivision of a series. 9 archaic a stagecoach.
• verb 1 present a performance of (a play or other show). 2 organize and participate in (a public event). 3 cause (something dramatic or unexpected) to happen.

— PHRASES hold the stage dominate a scene of action or forum of debate. set the stage for prepare the conditions for.
— DERIVATIVES stageable adjective.
— ORIGIN Old French estage ‘dwelling’, from Latin stare ‘to stand’.


architecture
• noun 1 the art or practice of designing and constructing buildings. 2 the style in which a building is designed and constructed. 3 the complex structure of something

Carnival - Stations of the road

I have noticed that references and comparisions to religion are often brought up when reading literature on Carnival. I have read about the trance-like state of ecstasy being compared to the feeling as if in prayer at church, isolated and completely involved. I have read of devoted costume designers like priest with all helping hands like devoted acolytes dedicated to the costume and the carnival as if it were their faith. References to pan yards as cathedrals where every year dedicated pan men and women will gather to practice, as if gathering for their daily mass of prayer. Then finally I thought to myself, that the actual carnival event of two days that takes place on the city's streets and is puntuated by stages along the given route bears resemblance to the Catholic tradition of the stations of the cross.The fourteen stations of the cross, marked by pray ,tell the story of the devotion of Christ and his journey to his crucifixion. This may seem an extreme reference but it leaves me wondering of ways to categorize my thesis and its layout ... as if if chapter were stations of the cross... or stages along the carnival route with the end result being an ecstatic revelation of the collective.

With that said I am now thinking ... this makes sense! ... because ever since I started researching for this thesis, it has been about the human experience weather it be individual or collective experience it was an experience that was allowed to occur during Trinidad's carnival. I have noted before that this is the people's second life, an other world or rather a world turned upside down where what was deemed strange, illegal, abnormal in the ordinary world is expected in this other world. This other world is temporary and entering into it is voluntary, but for those two days everything is done in excess with the ambition of all to achieve a state of ecstasy. So besides my own experiences, I came across some literature that held characters that spoke out of the experiences along this journey in this other world. These characters are Aldrick from Earl Lovelaces book ' The Dragon can't Dance' and the character in the poem 'Savannah Ghost' by Paul Keens - Douglas.
I wish to illustrate these characters and their journey much like how Christ's journey is documented by each station weather it be represented by paintings or carvings as it is in the catholic church.

I will also use quotes from both pieces of literature to further document the characters experience.



"Ah could hardly see dese damn people.
Is like everybody look alike, like dey
Join together.
Is like dis place is a jungle,
De people like ah wall round me,
Dey hot, sticky, sweaty, like they want to
stifle me,
Like dey have every smell in dis band,
In me nose, in me eye, in me mouth.
Is like ah jungle with vine, an’ color,
An’ snake, an’ bush,
Touchin’ me, roughin’ me, pullin’ me.
Is de rum, no de music, no is de people man.
Move foot move, jump, yu hear me, jump.
“Ah diggin’ horrors, because, all ah
Readin’ bout
Is guerillas, more laws, and wars”
Take me up foot, up, up over dis stinkin’ band’
Past all dese winding backsides, sweaty backs,
Bouncin’ bubbies, multinational bad – breath.
Up, up slowly, out de jungle,
Up, up slowly, out de jungle,
Up, up, up towards de clean sky.
O’ god ah could see the whole world now,
Trinidad is really ah island, ah didn’t believe dem,
But from coast to coast is water,
Black with oil, black with pitch, black with history
Not one hero in sight, is only mas!"

Excerpt from Savannah Ghost by Paul Keens - Douglas




"He wanted them to know that he will always be threatening there, a breath away from them. Some could'nt understand it, this refusal of the coins. They thought that they were not offering enough; and as he danced before them they made another journey into their pockets and showed him more coins. He didn't take the money - ' No, this couldn't happen! This dragon was crazy! This fellar wanted trouble!' But it was Carnival. Whoever heard someone calling the police for a Dragon.Aldrick growled and he spat and he moved to press against them, watched them grow more afraid, more confused "

Excerpt from 'The Dragon can't Dance' by Earl Lovelace

Rambling

The dreaded question I face when asked about my thesis is what does carnival have to do with architecture? I often begin by defining architecture as any space and giving my point of view; that both city streets and costume are the spaces that the body occupies during festive celebrations. The follow up question is then asked, “Don’t you have to design a building?” and I respond with the concept of the stage as possibly a planned built entity, an appropriated space selected by the masses or the body itself that acts as a stage to express oneself. With these proposed stages there are structures or perhaps a lack of structure that are then paraded upon it. Both the stage and the structures are the architecture I wish to talk about.

With that out of the way, I researched parallels between fashion or costuming and architecture. They both share similar methods and strategies towards their respected end product. They are both expressive of the designers and the people who occupy them. Both disciplines use and experiment with an array of materials that with technological advancements are able to contribute to designs within both fields. Costuming often takes on an architectonic nature with much attention paid to structure and movement as all costumes must be carried by the masquerader and compliment not hinder his movements. On the surface architecture can take on a costuming effect, with the facades or building skins acting as clothing or mask to the interiors. These skins may reflect or hide the buildings interior or and may be structural or purely aesthetic.

What is extremely important to carnival in particular is the fluidity and movement of the costumes that are paraded. Carnival was and still is an outlet for expression of emotions that are repressed during the rest of the year. Hence these costume structures act as extensions to the human body, with every limb and movement appearing larger and grander as it is echoed through the structures.

Another aspect of the costuming of Trinidad carnival is that it is ephemeral. Costumes are only used for the two parade days then neglected never to be paraded again. If lucky they are salvaged for odds and ends of braiding to be used in a newly designed costume. Fashion is also seen as fragile, superficial temporal or trendy where as architecture is regarded as solid permanent durable and strong.

The scale is also different. As mentioned before costuming and carnival uses the body as a stage, as a foundation for its designs where as architecture wishes to house the body or many bodies. However like carnival both architecture and fashion not only protect and shelter the body but are outlets for expressions of identity.

Both architecture and fashion adopt similar terminology, language and vocabulary in its execution and production of its end product. Both are influenced and inspired by similar innovations and by each other as well. They both carry with them a creative process that often begins as ideas on paper, only to materialize later as three dimensional objects.

So here it is established the similarities that lie between costume design and architecture structure. But festival of carnival is not about the static, the costume comes alive due to the individual that inhabits it the same way some architecture is designed and programmed to accommodate the individual who inhabits that space. Designs of costumes and what is classified as a costume has varied and been influenced greatly over the years. Politics, religion and culture all play an important part in its evolution and the costumes that are presently paraded on the streets of port of spain. Also technological advancements and shifts in the countries economy and concept of culture continue to play a vital role. These influences will further be discussed in another chapter.

In fashion often what stands out is that which challenges the norm. Carnival pushes this idea. Over the years costumes and lack of costume seek to challenge the officials and the onlookers. They are daring, controversial, crude and often seek to get a reaction, weather negative or positive, once it has evoked the senses, it has done its job. Donning a costume is often liberating and hence carnival is liberating. It is a world turned upside down and the costume is the added element that pushes the wearer to ecstatic heights unachievable in ‘ordinary’ day to day life. To be other than oneself is often the goal of some who wear elaborate costumes that transform the body’s appearance presenting a new body and on some some level a new self or true self.

Carnival like architecture can be used to give the individual a sense of identity, place and ecstasy. The body experiences and identifies with this.

Inside Out

"People were so to speak, reborn for new, purely human relations. These truly human relations were not only fruit of imagination or abstract thought; they were experienced. The utopian ideal and the realistic merged in this carnival experience, unique of its kind."

Rabelais and his World, Bakhtin