Spirit of Carnival 1 *, 1962

This artwork depicts the Dragon or Devil Band of Carnival and depicts the three main characters of this type of carnival band, Imps, Beasts, and Gownmen.

Carnival Costumes - The Art of the Carnival Costume, by Sybil Atteck

Of the Traditional Costumes the Devils and Demons (or Beasts) and Gownmen, as they are sometimes called, are very beautiful costumes. Although not strictly an old time Carnival costume the Beast has always been in our carnival. Nowadays the Devil masker has become very popular and there is a tendency to elaborate on this costume. For instance, the traditional colours used for these were red or green, but gold and other metallic colour are now being used, also plastic materials for the beast costumes. Beads and rhinestones, paintings, embroidery and even metal medallions are now being used, also for some of the characters like King Lucifer for Belzeebub.

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The Dragon Band or Devil Band as it was first known originated from the Jab Jab or Devil Mas'. It had its beginnings in 1906 when Patrick Jones assisted by Gilbert Scamaroni, and prompted by a sacred picture illustrating the exorcision of the devil from a sick person, decided to organise a band. This sacred picture was seen by Patrick Jones at a shop situated at what is now No. 65 Queen Street in the City of Port-of-Spain.

It is interesting to note that while Patrick Jones introduced this type of mas' because of its novelty and its dramatic possibilities there is now a well established theory about dragon mas'. The theory is that the dragon band is an ambulatory depiction of Satan and his horde cast from Heaven. Theoretically he and his followers return to earth on the two days before the Lenten season commences in order during "the forty days and forty nights" to try the virtue of the faithful. It seems that though this theory is fairly wide-spread and well known, the persons who play this kind of mas' feel no reluctance in portraying the forces of evil and regard it merely as a means of enjoying themselves. Undoubtedly however, some individuals go through periods of great excitement preparing to play this type of mas' and seem to be completely absorbed during this period with thoughts of the two days of revelry to come.

Dragon bands consist of three sets of players:
Imps, Beasts, and Gownmen.
The beasts wear an overall type costume of scales (sometimes wool) with usually a movable tongue and tail, the head mask of a dragon, and a chain around their waists from which go three or four lengths in different directions. These chains are held by imps who by means of them control the progress of their character. The dance of the beast consists of a lunging movement, portraying attempts to strike surrounding imps who constantly goad him while their companions restrain his efforts by pulling on the chains. The number of beasts in any band is unlimited but usually there are not more than three, one of which is the chief beast.
The imps wear face masks with horns, and tights with wings and tails. They carry in their hands an assortment of implements including axes, scrolls, horns, bells, dice, face cards and scales with weights. One of them is known as the King Imp or Tempter, and he carries either a bell or a face card and plays a prominent part in the dance of "crossing the water".

Art work was on display at the Sybil Atteck Art Gallery at the Salvatori Building in 1970.

The Art of the Carnival Costume

By Sybil Atteck

“Some years ago, while discussing indigenous arts with Dr Dan Crowley, the Anthropologist, (“Daniel J. Crowley Curriculum Vitae” n.d.) the question of the West Indian Art came up. Dr Crowley said then that he was thoroughly convinced that the carnival costume was the true expression of the local artist. It was to prove his point that he organized the first exhibition of Carnival Costumes in Port of Spain.

This exhibition sponsored by the Extra Mural Department, was the first in a series of such exhibitions. At this first exhibition, held in a small back room at the Royal Victoria Institute, I recognized for the first time some of the important artistic elements expressed in some of the lovely Indian head pieces. The head pieces were strung up high with the slight breeze turning them around, I became conscious that these pieces had the aesthetic qualities of the true sculpture in the round. Here was indeed sculptural material of a new and revealing nature handled in a way which produce startling results. I stood in awe at the number of pieces having the same quality, namely beauty of line colour and design. In some there was an excellent understanding of spatial qualities.

The materials used were feathers, beads, fabrics, wire, bits of glass, paint, etc. In contrast, when I had visited the backyards, of these same artists, I found their use of clay, wood and plaster awkward. And if anything, clumsy. The results of their work was not very pleasing. There was not the same mastery, or understanding of the artistic elements.

These sculptural pieces, then, were the result of an original idea created by the need for colourful decoration that could be admired from all sides, which could be attractive while the wearer danced; twisting now to the right, now to the left, “making play” in time to the music.

Since this first exhibition I have looked forward to each year’s costumes and each succeeding year proved to me more and more that this was a genuine art activity of great importance to Trinidad; it has been a pity to see these costumes disappear after the exhibitions.

Now to fully understand, or at least appreciate, the variety of costumes it would be interesting to study them in the categories as established by the carnival committee. These, of necessity, must be very arbitrary, but it seems that this basis, which had been set up in order that prizes could be awarded each year, could well serve our purpose.
Because many old traditional costumes have been disappearing gradually from carnival, the category, “Old Time Carnival” has been added and special prizes awarded in this category.

Pierrot Grenade is one of these costumes and one of the most interesting. My mother tells me that the old days of the costume of the Pierrot was the most elaborate. He wore several lace petticoats over his pants, a breast piece studded with rhinestones, beads, bits of glass, ribbons and a scarf on his head. He held a whip in one hand and a book in the other. He was well masked with a wire mesh mask edged with swansdown. The Pierrot was a very learned personage who challenged everyone to a duel of words and spelling and it was most entertaining to see two of these maskers in such a contest. Pierrot Grenade grew out of this character; he tried to ridicule the Pierrot, so he dressed in all bags hung with tin cups and old bones, a straw hat and “sabukaras” for shoes. He also carried a book and a whip. He still appears at Carnival but this costume is fast disappearing in the city areas.

Of the Traditional Costumes the Devils and Demons (or Beasts) and Gownmen, as they are sometimes called, are very beautiful costumes. Although not strictly an old time Carnival costume the Beast has always been in our carnival. Nowadays the Devil masker has become very popular and there is a tendency to elaborate on this costume. For instance, the traditional colours used for these were red or green, but gold and other metallic colour are now being used, also plastic materials for the beast costumes. Beads and rhinestones, paintings, embroidery and even metal medallions are now being used, also for some of the characters like King Lucifer for Belzeebub.

These latter have most elaborate costumes consisting of a skirt with several overskirts worked with beads, embroidery or smocking, large pleated sleeves, collar and wings of wire covered with transparent materials and studded with sequins. The head mask is usually large, and so is probably the most outstanding part of the costume. Good head masks are not very common and are used from year to year, repainted. One of the most famous of these heads is calculated to be over 50 years old. The Imps or Taunting Demons wear a tight costume with a small head mask. The beast’s head is usually a horse's head with attributes of the Dragon, i.e., fire breathing horns, wings and sometimes wearing a crown.

Robbers, Clowns, Bats and Jab Jabs, all could be called traditional since they have always been in carnival. The Fancy Sailor on the other hand developed from the regular sailor. This costume has been elaborated in two directions: the individual costume with a decorated headgear and flared pants legs with sequin decorations and on the other hand, the elaborate “Stills” which have to be carried on wheels. These may consist of fruit, flowers, animals, modes of transport, Noah's Ark, a Jeep or a battleship. One of the most attractive of the Fancy Sailor bands came out just after the War and was inspired by creatures of the sea, crabs, lobsters, star fish, etc.

Indians are the second most popular costume after sailors and these have been listed under 2 heads, Authentic and Fancy – meaning I suppose just what it says. But the judges always have difficulty deciding which is the right category for certain costumes, as it would seem that even in Africa there are Indians – so far as masqueraders are concerned. Anyhow, it is from such indefinite origins that monumental Fancy Indian emerges. As a rule, it is the head which has gone through change. Some Fancy Indians are quite unable to carry their hats and so wheels have to be attached, in order to move them. More often the dress part remains comparatively simple. These Fancy Indian head-pieces are by far the most sculptural of the costumes and therefore I shall describe it in detail. The frame is built of wire, good hard wire held in place by smaller wire whipped tightly around each seam. This wire frame must then be covered with strips of cloth on which the basic material is attached. On this base is attached feathers, beads, rhinestones, metal medallions, or paintings. In parts the beads are strung on wire to create a transparent effect, altogether making an elaborate design with a variety of textures. These headpieces are worn over a dress consisting of a skirt, apron and several arm bands, waist bands and necklaces.

I should say that these costumes develop from year to year according to the finances of the masker or that the regular masker stores his old decorations from year to year and uses them again and again. Hence the monumental hat on wheels.

In the actual execution of costumes there are specialists in each department. The wire bender, the beadworker, the metal worker, the dressmaker, or tailor and the embroiderer. In many cases parts of the costume are made in different workshops and put together by the masquerader himself. I don’t think he knows exactly what his costume will look like until the day he puts it on; during this time, he can spend a great deal extra on refinements.

In the last category we have the more theatrical of the costumes – the Historical costume. Most of these bands are inspired by films like “The Ten Commandments”, “The Hordes of Attilla”, or “Marco Polo” but some have been inspired by historical books. Much metal work is done for these bands – the making of helmets, armour plates and shields. This type of costume always appeals to the audiences and they win many of the best prizes. But on the whole the designs are copied and for the most part uninteresting except when the artist forgets about authenticity and lets himself go on design.

So out of hundreds of costumes each year a few find their way into the costume exhibition and some of these are truly works of art, beautiful, refreshing and the eye of the artist. It is my hope that one day these costumes will find their way into some permanent collection where we could go often and feast our eyes on the beauty of carnival and remember that we have this genuine art activity very much alive in our island.”