“Mama
Dis is Mas”: A Historical Overview of the Trinidad Carnival, 1783
– 1900
�
INTRODUCTION
The Trinidad
Carnival is by far the most significant festival in Trinidad and Tobago.
It has evolved over the past two centuries from an elegant, exclusive
affair to a truly all-inclusive national festival. In order to fully understand
the process of acculturation, assimilation and cultural persistence, it
is necessary to examine the complex historical, social, cultural and political
contexts which gave birth to this national celebration.
HISTORICAL
BACKGROUND
In 1498,
Christopher Columbus landed in Trinidad and as was the practice in the
so called age of Discovery and Exploration, took possession of the island
in the name of the King and Queen of Spain. The island did not have the
promise of immense wealth like the other countries in Spain’s Western
empire. Trinidad was, therefore, largely ignored for over two hundred
and fifty years.
In 1776,
out of concern for this state of affairs, the Spanish king issued a Cedula
of Population, which opened the island to colonization by the French.
A second Cedula followed in 1783. This saw an even larger influx of planters
from the French West Indian islands of Martinique, Guadeloupe and Saint
Dominigue. Arriving also were Free Coloreds and Africans. The French brought
with them their cultural traditions, language, dress, food and customs.
In 1797,
Trinidad was captured by the British and was made a crown colony of Great
Britain. The British immediately began the process of colonization as
they had in Barbados and Jamaica two centuries before.
In this
era, the period between Christmas and Lent was marked by great merrymaking
and feasting by both the French and English. Historians of the nineteenth
century wrote about the balls, fetes champetres and house to house visiting
engaged in by the white upper class. It was also the custom of the British
to impose martial law during the Christmas season. Military exercises
were performed at the start of this martial law.
The Carnival
celebrations between 1783 and 1838 were dominated by the white elite.
Africans and coloreds (persons of mixed race) were forbidden by law to
participate in street festivities. This is not to say that they did not
celebrate in their own way in their compounds.
During
this period also, there were numerous balls, parties and other entertainment.
This gave the Africans some measure of freedom to enjoy themselves and
engage in merry making. These festivities, along with the pomp and ceremony
involved in imposing martial law, provided the Africans with ideas for
some of the earliest masquerades for carnival.
The pre-emancipation
carnival saw whites costume themselves as ‘negre
jardin’ (field Negroes) and mulatresses. They also
reenacted the Cannes Brulees
(French for Burning Canes): the practice of rounding up slaves to put
out fires in the cane field.
With the
emancipation of the slaves in 1838 however, the door was opened for the
full participation of the Africans in the Carnival.
ENTER
THE DRAGONS
While Emancipation
brought freedom for the Africans, it also brought new concerns for the
whites. The British were entrenching themselves as the new Colonial power
in the West. The French had lost their dominance in society. All the whites
were caught up in the problems of labor, low productivity, and financial
structures. Therefore, the opportunity was provided for Africans to take
over Carnival and embrace it as an expression of their newfound freedom.
In the
beginning they celebrated the anniversary of their freedom (August 1)by
reenacting scenes of Cannes Brulees.
This lasted for about a decade, after which the celebrations were transferred
to the pre-Lenten season.
After 1838,
Africans participated fully in the carnival activities. They engaged in
masking, dancing, stick fighting, mocking whites and reenacting scenes
of past enslavement. Whites and coloreds however, ceased their participation
in the street festival, thereby bringing an end to an era. The Whites
nevertheless, continued their house-to-house visiting.
Martial
law was no longer enforced and, consequently, there were no military type
activities.
FROM
CANNES BRULEES TO CARNIVAL
Africans
were unperturbed by the preoccupations of whites and coloreds and proceeded
to celebrate with gay abandon. The Africans introduced their own musical
instruments and dance movements. The drum replaced the fiddle, the poui
stick dethroned the sword, while the nut and minard gave way to the Kalenda
and Bamboula. The vigor and vibrancy of the African masquerade, the militaristic
nature of the Kellenda dance and the mutilancy of the stick fighting rituals,
were frowned upon by the ruling class. 
The stick
fighters were organized into bands representing different social groups.
They were lead by a lead singer called a chantuelle or chanteuse, whose
duty it was to egg on the fighters. The chantuelle was supported by a
chorus of women. The purpose of the singing was to divide the opponent
in song. These activities were known as Cannes Brulees and they preceded
the street carnival of Monday and Tuesday.
The torchbearers,
carrying flambeaux, led the march. They were followed by the batonnieres
or stick fighters, then came the king and queen and royal attendants –
body of supporters, substitute stick men, paraders, chanteuse,lead band.
They all marched to kalenda songs and calypsoes, accompanied by horns,
conch shells, rattles and skin drums. Cannes Brulees marked the beginning
of the organized carnival bands.
Cannes
Brule�s
The most intense
activity of the Africans on Carnival days was the Cannes
Brule�s (French for Burnt Canes), comprising
songs, dances and stick fights. Cannes Brule�s had its genesis
during slavery. Whenever a fire broke out in the cane fields, the
slaves on the surrounding properties were rounded up and marched
to the spot, to the accompaniment of horns and shells. The gangs
were followed by the drivers cracking their whips and urging them,
with cries and blows, to harvest the cane before it was burnt. This
event became known as the Cannes Brule�s – Later called
Canboulay. After emancipation the slaves commemorated this event
on 1st August, as a symbol of the change in their status. Later
the date was changed to midnight carnival Sunday. This was, in essence
the beginning of the Africans’ Kalenda or Carnival.
The
Kalenda/Stickfight
The Calinda, a
stick dance of probably African origin was a popular form of entertainment
for male slaves. It is an agile and dexterous dance performed to
drums and chants while the dancers engage in mock combat with their
sticks (bois). In the second half of the 19th century Canboulay
and stick fights dominated the Carnival. The main activity in the
Cannes Brule� was the stick- fight. The term Kalenda emerged
as a general term for the stickfight, the dance, the songs and other
performances that accompanied it. The stick-fight involved two persons
at a time with sticks three and a half to four feet long, who would
Karay – take up a defensive position - in the middle of a
circle (gayelle) and try to draw blood.
SOURCE
Liverpool,
Hollis (2001). Rituals of Power and Rebellion: the Carnival
Tradition in Trinidad and Tobago,1763-1962.
|
THE
JAMETTE CARNIVAL
This was a term which was used
by the French and English to describe the Carnival celebrations of the
African population during the period 1860 to 1896. The term comes from
the French “diametre” meaning beneath the diameter of respectability,
or the underworld . It was a term used at that time to describe a certain
class in the community.
The view of the whites was that
the Carnival activities were immoral, obscene and violent. The kalenda,
the drumming, the dances and the sexually explicit masquerades were thought
to be totally objectionable.
They were fully supported in this view by the contemporary press. Throughout
the period there was a sustained attack on Carnival in most newspaper
editorials. This ranged from outright condemnation to calls for a total
ban. This was also the era of repressive legislation. The British Colonial
Government passed several laws against all forms of African cultural traditions.
As was seen in 1881, it took more than legislation and police batons to
stop the Carnival. For the more repressive the legislation, the more aggressive
the reponses. Carnival was more than just music , masquerade and dance.
It was about their very existence.
Who were these
Jamettes?
The Jamettes occupied the barrack yards of East Port of Spain. They lived
in appalling conditions. These were the stickfighters, prostitutes, chantuelles,
matadors, dustmen. There existed all the conditions for social instability
: crime, vagrancy, disease, prostitution, unemployment, sexual permissiveness
and dysfunctional families. It is no wonder, therefore, that Carnival
was embraced with such fervour. For the Jamettes, it was a necessary release
from the struggle that was their daily lives.
TYPES
OF MASQUERADE
Africans
used current topics to highlight the plight of the ordinary people and
to poke fun at officialdom. In the 1840s, one band portrayed the Tour
Council Elections of 1841. Another portrayed the victim of the Creole
epidemic of 1854. Masqueraders dressed as doctors, nurses and afflicted
persons.
Police
and Thief was another masquerade enacted to highlight the
problem of petty theft and the (often bad) relationship between the police
and the urban working class. This was enacted by two persons, one of whom
would be the thief who would be chased by the police.
The Negre
Jardin (Garden Negroes)- also called Negue
Jadin in French patois - masquerade first seen in pre-emancipation
times, was also portrayed. This was popular among the stick fighters.
The European
Clowns were another masquerade in this era.
Congo
and Shango bands - These bands comprised mainly newly arrived
native Africans, depicting religious beliefs of West Africa. They were
dressed like ancestral spirits of the Yoruba people. They sometimes depicted
animals. The Shango warriors wore masks on their face to represent Gods.
Ancestral
Spirits - Newly arrived Africans also depicted ancestral
spirits such as Lagahu, Papa Bois, C-ann, the Soucouyant and Douenne.
They adorned their bodies with decorated cloth and raffia costumes to
which were attached beads and glass decorations – jewellery, amulets,
anklets, etc.
Moko
Jumbie - This is an authentic African masquerade mounted
on sticks. It was believed that the height of the stilts was associated
with the ability to foresee evil faster than ordinary men. A jumbie among
Africans is a spirit. Moko is a “diviner” in the Congo language.
The Moko Jumbie was felt to be a protector of the village. This masquerade
is still in existence today and is seen at occasions other than carnival.
TRADITIONAL
CARNIVAL CHARACTERS
MINSTRELS
 Black
and white minstrels are based on the American minstrel shows popular
around the turn of the century. The faces are painted white, while
the 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.
|
DAME
LORRAINE
 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 imitative jewellery-type
items, but emphasising 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.
|
MOKO
JUMBIE
 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. |
JAB
JAB
 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 headress 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.
|
FANCY
INDIANS
 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-mach� 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 indigeneous peoples of Venezuela.
There are also Black Indians or African Indians.
|
JAB
MOLASSIE
 Jab
is the French patois for 'Diable' (Devil), and Molassie is the
French patois for M�lasse (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 malassie 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.
|
PIERROT
GRENADE
 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.
|
BATS
 This
mas is almost extinct. 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 being able to lift it up to his forehead. It is
made of swansdown with papier-mach� face, teeth, nose and
round eyes. Leather shoes with metal claws for toes are normally
used. Ordinary shoes can also be adapted by the use 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-fitted 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. In performance, the masquerader
crawls, flaps, dances on his toes, and folds his wings in a series
of choreographed movements, imitating the bat. |
MIDNIGHT
ROBBER
 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 the
name by shich the robber goes. 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.
|
BURROKEET
 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 framework.
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 skirt satin skirt with a sisal 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.
|
BOOKMAN
 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 write 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. |
SAILOR
MAS
 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.
The
King Sailor's costume consists of a white drill or corduroy pants
and shirt with a sailor collar. There are epaulettes on each shoulder,
a red sash across the chest, a crown on the masquerader's head,
cords, medals and war ribbons on the left side of the chest and
a walking stick in his hand.
 The
Fancy Sailor was an off-shoot of the King Sailor. The fancy sailor
costume consists of papier-m�ch� headpieces, decorated
and painted to look like bird, animals or plants. The sailor outfit
is decorated with ribbons, medals, braiding, swansdown and other
embellishments to match the headpieces.
There
are several dances to go along with the sailor mas portrayal,
such as the Bote, Crab, Marrico, Pachanga, Rock de Boat, Skip
Jack and the Camel Walk. |
BABY
DOLL
 The
baby doll character, which is now extinct, was played up to the
1930s. The masquerader portrays a gaily dressed doll, decked out
in a frilled dress and bonnet. In her arms she carries a doll
which symbolises an illegitimate baby. The masquerader portraying
the baby doll, stops male passers-by and accuses them of being
the baby's father.
|
NEGUE
JADIN
 This
character, which is now extinct, goes back to the pre-emancipation
era.
During
that period, Carnival was observed by the upper classes mainly.
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 the Negue Jadin
or field slave. This costume consists of a 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 swans down. 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. |
COW
BAND
 The
Cow Band, which dates back to the days of the Canboulay, consisted
of a small group of men dressed in gowns of sacking made from
rice bags. These gowns were completely covered with dried plantain
leaves. Each masquerader wore a homemade papier-m�ch�
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 Jouvert 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 sutach
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
Cow Band became extinct just before World War I.
|
CARNIVAL
IN THE EARLY 20TH CENTURY
The ruling
classes withdrew from Carnival for most of the latter half of the ninetenth
century. After the festival was purged of some of the coarser elements
they returned gradually. Even then they turned out in carriages and lorries.
It took
another forty years before they rejoined the street masquerade. They restricted
their participation to house parties and club dances and fancy balls.
It is from these balls that the Carnival Queen Show and the Dimanche Gras
productions emerged.
Fancy dress
balls were held at the Prince’s building adjacent to the Queen’s
Park Savannah. In 1922, the first major Carnival stage spectacle was presented
by the Les Amantes de Jesus Society – a voluntary organization under
the leadership of M. Joseph Scheult. The Society gave an annual charity
ball on Carnival Monday night. This started in the 1920s and continued
until 1948. After a fire destroyed the City Council building, the Council
offices were moved to the Princes' Building. The offices were then moved
to the Queen's Park Oval.
In the
early 1950s, with the rise in nationalism, the government decided that
carnival was too important a national festival to be left in the hands
of private enterprise. The CDC (Carnival Development Committee) was therefore
set up and given the responsibility of managing the carnival celebrations.
�
LINKS
TO NEWSPAPER ARTICLES ABOUT CARNIVAL
The
Carnival Story
162
Years of Mas
A
Festival is Born
Police
and Press Internvene
The
Birth of Tamboo Bamboo
And
so, Calypso Began
Calypso
Evolution
Calypso
Censorship
Making
of the Barber-Green
Starting
the Mas
The
Music of the Mas
The
Negative List
Birth
of High Mas
Theatre
of the Streets
Pelting
at Progress
Sailors
Ashore
Sources
of Information
Hill, Errol. (1972). The Trinidad Carnival.
Austin and London: University of Texas Press, 1972.
Liverpool,
Hollis (2001). Rituals of Power and Rebellion: the
Carnival Tradition in Trinidad and Tobago,1763-1962.Chicago,
Ill.; Trinidad and Tobago: Research Associates School Times; Frontline
Distribution.
Pearse,
Andrew. Carnival in Nineteenth Century Trinidad. Caribbean
Quarterly vol. 4 no. 2 p31.
Viey
La Cou Information Brochure. Mas an' Ting from the
Past.
Images
were scanned from a series of paintings on traditional mas, done
by Gizelle Winter. |
Carnival
Images
Assorted
Ole Mas Characters: Pierrot Grenade, Baby Doll, Jab Jab
Minstrels.
Acompanied by an article entitled: Look at What They Call
Mas Today
Wild
Indian Mas
Negue
Jadin
Devil
Mas:
Bookman
Blue
Devils
Bats
Cow
Main
Source of the Carnival Images above - Trinidad Carnival
by Errol Hill, available at the Heritage Library.
|
Other
Articles
Ancient
Influences in T&T Carnival
The
Next Jump-Up, Cyber Carnival
Cow
Band: Costumes of Carnival
When
Mas was Cow, Bat and Robber
The
Sailor Mas - a History
Pretty
Devils: Oldest Type of Costume on the Road
Historical
Carnival: Look de Devil Dey!
Robber
Groping in Dark for Heirs
The
Costumes of Carnival: Pierrot
What
Happens to the Costumes?
The
Days of Mas and Wire
Carnival
Bands: The Gathering of the Tribes - Thoughts in African History
Month
'Vish
Que Voosh' - That was the 1947 Chant
Dame
Lorraine Vulgarity goes back to Florence
Genesis
of Carnival: Another View
Memories
of Stalwarts and Mas of Carnivals Past
The
Pagan Custom we have Inherited
Giving
Praise, Feeling Blessed (Carnival in San Juan)
Dos
and Don'ts of Carnival Tourist Advice
The
Ultimate Fete Primer
Notting
Hill Carnival
Carnival
on de Net 2002
Carnival
2002 Winners
Carnival
2003 Winners
Carnival
2004 Winners
|
Home
| People | Places
| Education | Health
| Government | Agriculture
| Sport | Culture
| Libraries | Socio-Economic
Issues |
Search the OPAC | Search
the Site | Search
the Databases | Email Us
�
2004 National Library and Information System Authority
Hart and Abercromby Streets, Port of Spain
Telephone: (868) 623-6962; 623-9673; 624-3409; 624-4466; 624-5142;
627-8507;
625-2873; 625-5255; 627-5679; 627-8507; 624-5075; 624-6541; 625-3501;
627-1878;
Fax: (868) 625-6096
Email: [email protected]
|
