#CulturalPursuits

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"a powerful, positive, soul to soul message"

Rizon has always striven to make his life a positive example for the younger generation and his visibility as a recording artiste has afforded him further opportunities to share his message. With numerous invitations as a motivational speaker, he believes these occasions complement his efforts through music to offer guidance and inspiration. This dedication to youth and the improvement of their social and spiritual consciousness has been seen as a genuine passion and strengthened his place as an ambassador for the youth. The popularity of Rizon’s music has defied all expectations. His themes are not considered mainstream yet the universality of his message coupled with a unique musical style has captured the attention of music lovers in the Caribbean and beyond, achieving both commercial and critical acclaim, including his live performances, for which he has been described by one journalist as ‘a powerhouse’. Rizon has established himself in the music industry as a distinctly conscious voice. With sharp lyrical compositions; evocative images; refreshing musical structures; a powerful, effervescent personality; and a fierce resolve to confront the violence and moral corruption that has become so prevalent in Trinbagonian society and the world at large. Rizon is set to create a lasting impact on the Caribbean music scene, an ambassador with a distinctive sound and an eternal message.

see more of Rizon: http://www.rizonmusic.com

rizonmusic.com twitter.com/rizonmusic facebook.com/rizonmusic youtube.com/rizon001

Press contact

THINKSTAGE: 868-746-7047 info@rizonmusic.com

Booking agent

THINKSTAGE: 868-746-7047 bookings@rizonmusic.com

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In commemoration of this festival here is a link to an article for those of us who do not know much about the origin and reason for the celebation.

To my  Hindu family and friends Blessed Holi may we destroy the evils that we may have within ourselves and to allow the truth to flow in our hearts, the love to flow, the unity to flow.

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Be sure to read the comments as well.

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"We took away the rituals and replaced them with rules. Rules decided by people who do not un- derstand the nature of the jumbie. Who wanted to destroy the significance and replace it with a harmless and therefore meaningless beauty."

No respect for the rituals of carnival

http://www.guardian.co.tt/columnist/2012-02-25/no-respect-rituals-carnival

This is an initial look at the role  Creative destruction plays in changing the landscape of our heritage. Stay tuned for more of my thoughts on this.

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Peter Minshall speaks out.

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With his passing in late 2011, it was no surprise there were tributes to the esteemed Wayne Berkeley. This article re-counts his stellar contributions to the aesthetic of Carnival.

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This is along the lines of what I was saying in my post from the 22February, 2012.

 Of course he has been photographing Carnival longer than I have been analyzing it.

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Some of the other things I saw for Carnival 2012.

All photos by Jaime Bagoo

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WHITEROSE CARNIVAL BAND, PORT OF SPAIN 1930s Carnival in Trinidad has its origins in the pre-Lenten masquerade balls staged by French emigrants who began arriving in the island in 1783 under the Cedula of Population. Slaves mimicked the masked finery of their masters and after Emancipation, took the celebration to the streets of POS in what soon became known as Canboulay (Cannes Brulees or ‘Burnt Canes’ since the festival occurred during the sugar crop harvest when canes were fired to get rid of sharp leaves and vermin). The Canboulay was strictly the preserve of the lower classes and its wild revelry (which spawned kaiso) was frowned upon by the upper and middle classes who looked upon the pleasures of the masses as sheer barbarism. In 1887, J.H Collens described the unrest of the Carnival of 1881 thus:

read more of this description of Trinidad Carnival in the 1930s from Virtual Museum of Trinidad and Tobago's Facebook page, click the link above.

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I was asked what aspect of Carnival I like and why? My brief response. What is yours?

I do not have one particular aspect but there are several elements when combined make my carnival experience memorable:

attending the the king and queen of carnival competitions (junior and senior ) categories. I am privy to see firsthand... and very up-close the ingenuity that goes into most of the (larger) costumes the workmanship, the passion of the players for their particular piece, to see that an idea they had could take shape and become a reality; the joy on the faces of the persons when their costume is not only finally mounted in the Savannah but able to withstand the wind (treacherous at times);persons whose months/weeks of dedication enable us to see works of art that otherwise may have not seen the light.

  The Children's competition takes my breath away everytime and the youngsters (most of them) who portray these costumes have an innate sense of the performance of the masquerade, they do not just come on stage to twirl around in the costume.

I also enjoy  Traditional mas; the regional carnival competitions, seeing school kids learn about and then execute a perfomance of the bat, the different sailor dances, jab jab, fancy indians, just to name some.

  Then there is the Panorama semis, yes it is a glorified cooler party but, I also listen to the pan, for it is at this point I find some of the players/bands give their best; this is the push to get into the finals. Everyone is hyped, everyone gives the judges a good show. Final night is just icing on the cake.

   I cannot leave the pop culture out- yes I must attend a few fetes where I re-connect with old friends, where I get on like a baddist and behave a lil wotless cause they know me and have no judgements of me after. The same goes for the road experience for j'ouvert, after which I put on  my adjudicator's hat for the rest of that day.

  Carnival Tuesday, the moment of waiting to cross the stage- be it on the road or the 'big'stage- there is a moment when time slows when you are at the front of the section waiting for the okay to burst in your glory in front of the judges, you get a lil impatient but then the rope is dropped and that expanse is in front of you , I sometimes loose sense of where I am all I know is I feel the glory of the earth that my feet are touching,the music is in me, cocooning me, I emerge from that cocoon only as consciousness returns and well the rest is history....

  Other wise I enjoy the fact the carnival enables all to participate there is  something for everyone. To those who do not understand or have not found their aspect yet, all I can say to them: be open to the experience; try watching the kiddies parade, listen to them compete for the junior calypso monarch title you would be surprised to hear what the kids are saying...if that does not tickle your fancy watch the king and queen competition or attend the Old Yard heritage fair even if to say you did it once in your life time.

I become unreachable (for the most part) for the week after carnival...sleep is usually  of no consequence...Trinbago Carnival -Be open to the experience.

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Please click the link above to see video

Part of a treasure is this clipping, if only for the imagery.

The photographer, Fritz Henle, has been able to capture the Carnival from pre-independence days. This would most likely  have been the  parade as they revelers made their way from downtown to uptown  venues. One can see the route/ stage area is what is now known as Independence square, in front of what is today known as Excellent City centre, Scotia Bank and just after the Roundabaout. You can clearly see in the background the original Salvatori's building. Later on you see the green of the Savannah with the Victoria Institute (now the National Museum) in the background of the shot.

 Look carefully at the masqueraders and their costumes. What do you see?

 some features to note (there are others of  course but I do not  want to inundate your thoughts):

The policeman at 1:18 what does it  say to you?

What are you hearing in the background music?

 Look at the crowd as they make their way at 2:54

At 3:17 the masquerader leaves the barrack yard to go join the parade.

 Clowns were still part of the masquerade tradition. a tradition that is perhaps only seen in th ekiddies' carnival of today.

Invaders panside is featured.

 The bystanders are corralled off with many a real policeman.

 There are glimpses of nurses in costume, a spattering if any are visible in contemporary carnival.

 At 8:48 .the narrator is describing the Indian version of stick-fighting the Gatkha.

 This 13 minute feature was  used as a theatrical exhibition by Universal -International and shown across the US  from 1953 to 1954 titled as:Calypso Carnival.

It only leaves one question for me to ask: When are we going to tell our story (stories) accurately and with pride? or do we wait another 50 years for someone else to use their travelogue with little research or understanding to tell it for us.

Video  from the National Film Preservation Foundation a non nonprofit organization created by the U.S. Congress to help save America's film heritage. They support activities nationwide that preserve American films and improve film access for study, education, and exhibition.

 Since we do not wish to lead should  we not follow this "example" it is after all one of the better things they have done in an effort to preserve a part of their heritage.

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To commemorate the 100th Anniversary of the Recording Industry of Trinidad and Tobago, RIATT, in association with Barrack Yard Productions, proposes to create a documentary highlight the milestones of the century. From 1912 to 2012. That's quite a lot of music to look forward to!

 An exhibition will also be set up.

 If you have any old records or recordings to share contact RIATT at 678 5579 or drop a line on this blog or visit both the Recording Industry Association of Trinidad and Tobago's as well as  Barrack Yard Productions  pages on Facebook.

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What do these pictures have to do with culture you say? Well, just look at them.

The view from a hill shows part of the skyline of upper Port of Spain, as seen from Carr Street in Belmont. In a couple of years it will be transformed just as it changed within the twenty-something odd years of my seeing this view everyday.

The Moravian Church fell into dis-use and decay over a period spanning twenty six years, mainly as persons of the Moravian faith moved out of the area. The church is built in typical architectural style of other churches of the faith.

That house on the corner of Piccadilly street itself is perhaps close to being 100 years or so. It was typical of the style of houses from pre -independence days.

The Rosary Church is an historic monument with its own rich history and part of the Catholic Church's impact on the country.

Laventille road... These were taken as I had just finished reading Lovelace's "The Dragon can't Dance" as well as looking at the  movie "Fire Down Below" starring Rita Hayworth and shot entirely in Trinidad...it actually is very reminiscent of the scenes described in the book as well as the footage from the movie.

Will these places be around in the next twenty years? Whether they are or not it would be good to have  some evidence of what the place looked like back then (even if they are not really stellar photos).

This is part of documenting our history as we go along, telling  our own stories.

Join me in capturing images of the country.

Photos by Jaime Bagoo