You might be asking what is Carnival in Trinidad and Tobago? Carnival in Trinidad and Tobago is a complex, bewildering, exciting and sometimes unpredictable mix of art, performance and resistance. The history of Carnival is rooted in the pre-Emancipation practices of former enslaved Africans and elements of European masquerade traditions, this Festival has a history unlike any other.

Who started Carnival in Trinidad? In the pre-Emancipation period, before 1838, there was a ritual that came to symbolise freedom from enslavement. On occasion, fires would erupt on the plantation, often in the early hours of the morning. The overseers would blow horns and conch shells, shout and wake the enslaved to go put out the fires. Bleary-eyed and exhausted, they would rise and grab flambeaux – homemade lights made of old bottles, kerosene and wicks of cloth. The flambeaux would be held high to light their way into the heat, smoke and dangers of the raging fire. Leading the way would be a Chantwell, a singer, versed in songs designed to boost their spirits and make their impending task easier. The different groups of enslaved would be followed by slave drivers, cracking their whips and shouting at them to get to their work.

In recent times, researchers have suggested that it was highly likely that these plantation fires would have been set by the enslaved themselves as one of the ways to fight back against the lives they were forced to lead. The fires would damage the crops of cane used in the making of sugar, the major source of profit for the masters.

This ritual became known as Cannes Brûlées, burning of the canes. After Emancipation, these scenes of going to put out the fires, the noise and chaos were repeated during the celebrations of the former enslaved. Cannes Brûlées became the foundation of the Carnival of the Africans. Over time, as language shifted and changed, Cannes Brûlées became Canboulay or Camboulay. An essential part of Emancipation celebrations included Kalenda or Kalinda dances, chants, and stick-fighting, an African-inspired martial arts. Stick-fighting took place on the estates during enslavement and this activity was an integral aspect of the celebration of Emancipation in 1838. Importantly, the social nature of this activity allowed for plans of rebellion and escape to be discussed before the eyes of the masters.

Even before 1834 when the first Emancipation Proclamation was read, the celebrations of the Africans included the wearing of masks, part of their ancient African traditions. They often created bands that mocked their former enslavers, for instance, bands that mimicked the marching style of the English militia. Later, Calypsoes served as scathing commentaries on oppression, to express the frustration of the masses and to keep officials honest.

Today, the spirit of resistance is still very much present in the Carnival. From Calypsoes to Traditional Masquerades and Stickfighting, every year, the origins of this Festival are remembered and the struggles of the former enslaved are honoured.

Carnival in Trinidad and Tobago is thus more than a celebration or a party. It is a complex, bewildering, exciting and unpredictable ritual of remembrance encircled by the joyous abandon of revelry.

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