#sexypink/Jouvert 2022

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SEXYPINK - I missed this wonderful presentation in 2022. Thus I look forward to Crick Crack in 2023.

From the Facebook page of Crick Crack Traditional and Folklore Band  (2022) Sunday at the Coco dance festival a traditional mas character Babydoll decided to take the stage and bring the performance out of the carnival..I've learned alot in this process and will continue my journey in "becoming" you don't choose the mas it choose you! Special thanks to cocc family for allowing me to keep this thing we call art alive. The Uncanny doll

All photos are copyright by Maria Nunes

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                                       Vulgar Fraction 2022

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                        JOUVERT 2022 | Makeda Thomas writing

Mas! Today makes 3 weeks into “Studies in Mas & Carnival Performance” with a brilliant cohort of dance artists, professors, PhD students, and Carnival lovers. Give Thanks to our recent guests - Marvin George @marvinsgeorge of Jouvay Ayiti and University of the West Indies, Mona, Jamaica and Dr. @Lyndon Gill, @ateba.kamaal Professor, University of Texas @u_texas at Austin and author of “Erotic Islands: Art and Activism in the Queer Caribbean”. This evening’s session enters the Dolls House and I am in my glee. #BelmontBabyDolls. Happy Carnival, Lovers. Let’s Dance! Image: “Madanm La Sirene” by Leah Gordon @leah_gordon_1804.

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Vulgar Fraction will present Mas Mourning–Becoming Wreaths for Carnival 2022.  person @markymark_82 .Image by @jason.c.audain Carnival scholar and doer of things @drbrowne Kevin Adonis Browne on Mas Mourning--Becoming Wreaths: This concept—which will unfold into a band—falls squarely within the notion of Carnival as an opportunity for public expression. Not just mourning, obviously, but expression that spans the spectrum of public feeling, and (more importantly) of intensely private feeling that may be publicly aired.

Such public airings are typically inconvenient, often disconcerting, and almost always exactly what we need. They are intended to do things with us, for us—but especially _to_ us. And if we're paying attention, we feel it. Call it spirit, if you like, but it moves us, inspires us to act. So we see, in plain terms, how the spirit of _Mas_ is contained in a concept of a band, then we see (or hope to see) how that concept will burst into the public for the rest of us to feel. And why is this important right now? Because, lately, everyday life has eclipsed public rituals of mourning in the sense that everyday life in this pandemic moment _is_ a ritual of mourning. We're mired in death news daily as a matter of public policy, forced in a way to receive death as a matter of protocol.

Wreaths are more than a superficial reminder of this—that we live and will die, losing but may yet win, struggling but may still get through. They show, as an undercurrent of all those preoccupations, that what connects us is not merely what the wreath becomes, but the desire to become wreaths in the first place. By pointing us toward "becoming," Young seems to yearn (and we, with him) for that aspect of ourselves that precedes even the language to describe what we have felt and have needed to feel. By going back to "becoming," Young brings us along, one chip-step at a time. And, as our momentum grows and turns to a familiar pace, he propels us—conceptually, at first, then in practice—into a future that will welcome and celebrate us, as we so desperately hope to celebrate it. A _Jouvay Mourning_ indeed.