The stories behind the traditional Carnival characters lend meaning and significance to these unusual portrayals. Often an individual plays one specific persona year after year and is familiar with the traditions associated with that role. The custom is usually passed on orally to family members or other interested persons. According to Elma Reyes, some of these portrayals were performed as “mas’ for money” (16). The masqueraders would offer entertainment in the form of humour, songs or skits in exchange for money. In some cases threats and scare tactics were used to coerce bystanders into giving them cash. Some of the best known characters are as follows:
Traditional Carnival Characters
The baby doll character was portrayed mainly in the 1930’s, but is still seen every year at Ole Mas competitions. The masquerader portrays a gaily dressed woman, decked out in a frilled dress and bonnet. In her arms she carries a doll which symbolises an illegitimate baby. The masquerader usually stops male passers-by and accuses them of being the baby’s father. She would then demand money to buy milk for the baby. This character was sometimes portrayed by a man who would speak in a high-pitched voice.
The bat costume is normally black or brown and fitted tightly over the masquerader’s body. The headpiece covers the head entirely, with the player being able to see through the mouth, or lifting it up to his forehead. It is made of swansdown with papier-maché face, teeth, nose and eyes. Leather shoes with metal claws for toes are normally used. Ordinary shoes can also be adapted by attaching of long socks, metal claws and a second sole. The bat wings are made from wire and bamboo or cane, and are covered with the same cloth as the skin-fitting costume. These wings can extend to 12 or 15 feet, and the masquerader’s arms are fastened to them. Matching gloves complete the costume. There is a bat dance to go with the costume. During performance, the masquerader crawls, flaps, dances on his toes, and folds his wings in a series of choreographed movements, imitating those of the bat.
The Bookman, also referred to as the Gownman or Ruler, is a feature of devil mas portrayals. The other two groups of characters in the devil band are the imps and beasts.The Bookman’s costume consists of Tudor-style pants, or a richly embroidered gown made of velvet and satin, with a pleated or fluted bodice, and a flowing cape festooned with biblical scenes. On his head is an oversized head mask which contains small horns and carries a demonic expression. The face of this mask is supposed to mirror the face of the devil himself. The Bookman carries a pen and a large book in which he writes the names of prospective souls for the devil. The Bookman is the principal character in the devil band, and, in keeping with his status, his movement is waltz-like, with constant bowing. Musical accompaniment is provided by an orchestra of trumpet, saxophones, bass and drums playing conventional tunes.
Burrokeet, derived from the Spanish word burroquito (little donkey), is constructed from bamboo so as to give the illusion of a dancer riding a small burro or donkey. This masquerade was derived from both the East Indian culture and the Venezuelan Spaniards. The costume is comprised of a well-decorated donkey’s head made from coloured paper. This head is attached to a bamboo frame. The masquerader enters through a hole at the back of the donkey’s neck and carries the reins in his hands, thereby creating the illusion that he is its rider. The body of the donkey is covered in a long satin skirt with a sisal (rope) tail, sometimes decorated with flowers. The bit and bridle are made of coloured cord. The rider wears a satin skirt and a large matador straw hat and dances in a way that mimmicks the antics of a donkey. He also performs a dance called Burriquite, which originated in Venezuela.
The Cow Band, which dates back to the days of the Canboulay, consisted of a small group of men dressed in costumes of sacking made from rice bags. These costumes were completely covered with dried plantain leaves. Each masquerader wore a homemade papier-mâché mask representing the head of a cow surmounted by a pair of horns. Members of the band would frolic and move through the crowds behaving like real cows. This masquerade became dormant for a few years, and was later revived by the employees of the abattoir, and became part of the J’Ouvert celebrations.
In later years, on Carnival Tuesday, the Cow Band came out in brightly coloured costumes, with picadors and a matador who would challenge the cows. The cow character’s costume consisted of tight-fitting breeches of yellow velvet or satin, with gold braid and spangles along the sides and around the bottom at the knees, a tight-fitting maroon satin long-sleeved blouse completely covered with a soutache decoration of gold braid, gloves, cream stockings and alpagatas. A well-secured cap-like contraption on the head supported a pair of highly polished cow horns. A short section of the hairy part of the cow’s tail was attached to the seat of the breeches. An imported wire gauze mask replaced the cow mask of the previous day.
Male singers and the musicians wore yellow breeches, maroon shirts with billowing sleeves tight at the wrist, a sash around the waist and red beret. The women wore yellow skirts, red or maroon bodices, and headties. All wore masks of the wire gauze type, those of the women being decorated with gold braid along the forehead and at the sides, with gaudy earrings dangling from them. Music was provided by such string instruments as the mandolin, teeplay, bandol, banjo, cuatro, guitar, violin and chac-chacs (maracas).
The Dame Lorraine or Dame Lorine was imitative of the mas played by the 18th and early 19th century French planters, who would dress up in elegant costumes of the French aristocracy and parade in groups at private homes, particularly on Carnival Sunday night. They also performed the sophisticated dances of the period. The liberated slaves recreated these costumes – complete with elaborate fans and hats – in their own fashion, using materials that were readily available, such as assorted rags and imitation jewellery-type items, but emphasizing and exaggerating the physical characteristics, and dancing to small bandol and cuatro bands.
The major Dame Lorraine performers through the years however, were descendants of the French planters and persons of some respectability, who hid behind masks, mainly of the fine wire mesh variety, and found their way into the downtown Old Yards, where they paraded and danced for all and sundry. The tune which became associated with the Dame Lorraines still exists, and is played whenever they appear in groups at cultural events.
This mas is based on the indigeneous people of North America. The wearer decides how expensive or expansive he wants this costume to be. The headpiece, in its simplest form, is worn with feathers sticking up, and more feathers making tails down the back. More elaborate headpieces are built over bamboo or wire frames. The headpiece then becomes so heavy, it needs to be supported by a structure that covers the masquerader’s entire body. This, the masquerader’s wigwam, is richly worked with ostrich plumes, mirrors, beads, feather work, papier-maché masks, totem poles, canoes and ribbons. Bands of Indians can comprise a warrior chief and his family, a group of chiefs, or a group of warriors.
The Fancy Indian is the most popular variety of Indian mas. A feature of this mas is the language or languages they speak, in a call and response pattern, possibly adapted from the Black Indians of the New Orleans Mardi Gras and their characteristic movements. Other kinds of Indians that are disappearing are generally known as Wild Indians. These comprise Red Indians (Warahoons) and Blue Indians, which have links with the indigenous peoples of Venezuela. There are also Black Indians or African Indians.
The name of this mas is derived from the French patois for “Diable Diable”. It is pretty devil mas. The costume consists of a Kandal or satin knickers, and satin shirt with points of cloth at the waist, from which bells hang. On the chest, there is a shaped cloth panel which is decorated with swansdown, rhinestones and mirrors. Stockings and alpagatas are worn on the feet, while the headdress consists of a hood with stuffed cloth horns. The costume can come in alternating colours and be divided into front and back panels. The Jab Jab has a thick whip of plaited hemp which he swings and cracks threateningly. These whips can reduce the costumes of other Jab Jabs to threads.
Jab is the French patois for Diable (Devil), and Molassie is the French patois for Mélasse (Molasses). The Jab Molassie is one of several varieties of devil mas played in Trinidad and Tobago Carnival. The costume consists of short pants or pants cut off at the knee, and a mask and horns. The Jab Molassie would carry chains, and wear locks and keys around his waist, and carry a pitch fork. He may smear his body with grease, tar, mud or coloured dyes (red, green or blue). The Jab Molassie “wines” or gyrates to a rhythmic beat that is played on tins or pans by his imps. While some of his imps supply the music, others hold his chain, seemingly restraining him as he pulls against them in his wild dance. The differences among the various forms of devil mas were once distinct, but have become blurred over time.
The Midnight Robber is one of the most beloved characters in traditional Carnival. Both his costume and his speech are distinctive. His “Robber Talk” is extravagant and egocentric, and boastful. He brags about his great ancestry, exploits, strength, fearlessness and invincibility. This “Robber Talk” is derived from the tradition of the African Griot or storyteller, and the speech patterns and vocabulary are imitative of his former master. He wears a black satin shirt, pantaloons, influenced by the American cowboy tradition, and a black, flowing cape on which the skull and cross bones are painted. Also painted on the cape is his sobriquet. He also wears a huge black, broad-brimmed, fringed hat on which a coffin is often superimposed. In his hand he carries a weapon –either a dagger, sword or gun – and a wooden money box in the shape of a coffin. He carries a whistle which he blows to punctuate his tales of valour.
Black and white minstrels are based on the American minstrel shows popular around the turn of the century in which white singers painted their faces black. The local minstrels are black persons who perform with their faces painted white. Their costume consists of a scissors tail coat, striped trousers, tall straw hat and gloves. One or two minstrel bands still remain, entertaining audiences with popular old American songs such as Swanee River and Who’s Sorry Now. They accompany themselves on the guitar and the rattling bones played between the hands. They may sometimes have a dance routine..
Moko is a derivation of the god “Moko”, coming straight out of West African tradition. Moko is a “diviner” in the Congo language. The term “jumbie” or ghost was added by the freed slaves. It was believed that the height of the stilts was associated with the ability to foresee evil faster than ordinary men. The Moko Jumbie was felt to be a protector of the village. This mas is well-known throughout the Caribbean. It is an authentic African masquerade mounted on sticks. The stilt walker plays on stilts 10 to 12 feet high. His costume consists of a brightly coloured skirt or pants, jacket and elaborate hat. He would dance through the streets all day, and collect money from people on the upper floors and balconies. His dance was similar to a jig, and he was often accompanied by a drum, flute and triangle..
This character, which is now extinct, goes back to the pre-emancipation era. During that period, Carnival was observed mainly by the upper classes . While the slaves and free coloureds were not forbidden from celebrating Carnival, they were compelled to stay within their own stratum of society and not presume to rub shoulders with the aristocracy. The planter class on the other hand, often imitated the dress and customs of their slaves during the carnival celebrations. One of their favourite disguises was that of theNegue Jadin (Negre Jardin – French for garden slave).
This costume consists of tight-fitting satin or khaki breeches reaching to just above the knee where willows are hung, and a bright, plain coloured shirt with a “fol” or heart-shaped panel of contrasting colour sewn on the chest and bordered with swansdown. The fol is decorated with tiny mirrors and rhinestones. As with all carnival costumes during this period, the masquerader covered his face with a mask. After emancipation, the former slaves adopted the Negue Jadin character in their carnival celebrations, but as a satirical portrayal of the planter trying to imitate them.
The Pierrot Grenade is a descendant of the Pierrot – a finely dressed masquerader and deeply learned scholar, who displayed his erudition by spelling polysyllabic words and quoting passages from Shakespeare. He was also a feared fighter with a whip or bull pistle, and was followed by a band of female supporters who fought on his behalf against other Pierrot groups. His descendant, the Pierrot Grenade, is a satire on the richer and more respectable Pierrot.
The Pierrot Grenade is egotistical and retains the scholarly mien, but instead of the elegant costume, he wears rags. His gown consists of crocus bag (burlap), on which strips of coloured cloth, small tins containing pebbles, and small boxes that rattle, are attached. He may wear a hat or a coloured head tie on his head, and his face is covered with a grotesque mask. The mask provides anonymity for someone who delights in making barbed comments on “respectable” members of the community.
This character was introduced in the 1880s when British, French and American naval ships came to Trinidad. It is one of the more popular costumes, being lightweight and inexpensive. There are several variations on the sailor mas, including Free French Sailor, King Sailor, and Fancy Sailor to name a few. The costume of the Free French sailor consists of 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, bell-bottomed black melton pants, and black shoes.
Source – NALIS